pf grand gothik the all new grand gothik type system is ... · of iconoclasm, the desire to shoot...

78
www.parachutefonts.com PF Grand Gothik The all new Grand Gothik type system is hooked on tradition, the old is new now and for ever, how far can you go?

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Page 1: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

1wwwparachutefontscom

PF Grand Gothik

The allnew GrandGothik typesystem is hooked ontraditionthe old isnew now and for ever how far canyou go

2wwwparachutefontscom

PF Grand Gothik

Grand Gothik

Grand Gothik is a postmodern multiscript mul-

tifaceted and variable type system which pays

homage to the development of grotesque (goth-

ic) typefaces over the years Taking late 19th and

early 20th century European and American gro-

tesques as a starting point it traces this typeface

genre up to mid-century movie theater marquees

new wave cinematography American highway

signage and telephone directories adding some

historical references for good measure

5 FAMILIES 90 STYLES

Grand Gothik Compressed

Grand Gothik Condensed

Grand Gothik

Grand Gothik Wide

Grand Gothik Extended

+++ Grand Gothik Variable (3 axes)

LANGUAGESSCRIPTS

Latin

Cyrillic

Greek

Eastern European

Turkish

Baltic

DESIGNED BY

Panos Vassiliou

PF

copy 2018

3wwwparachutefontscom

PF Grand Gothik

ahGMpy

cap-height

x-height

baseline

descender

ascender

achgpy

cap-height

x-height

baseline

descender

ascender

Originally designed in 2017 as a bespoke typeface for a bilingual black and white magazine on surfers waves and landscapes it was later reimagined and redesigned leading

to the release of its commercial version The name reflects Grand Gothikrsquos versatility as a fully functional variable font and its depiction of a vast array of gothic styles found in American and European grotesques Designed with 3 stylis-tic alternates each variation of Grand Gothik depicts a spe-

cific period and style from the less calculated appearance of late 19th century grotesques all the way to their graceful-ly-shaped contemporary counterparts

CHARACTERISTICSOpen counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes

BACK STORY DETAILS

The ascenders were extended and the descenders short-ened The contrast was adjusted to reflect Grand Gothikrsquos personality as a revamped grotesque the numbers were redesigned according to their historical references and letter ldquoardquo was designed with a spur to increase readability Contrary to most grotesques Grand Gothik implements

sharp joints as curved strokes and stems merge into each other with a sharp instead of a smooth connectionGrand Gothikrsquos design space includes 3 axes for weight width and one for italics It is available as a variable font or as five separate opentype families - compressed con-densed normal wide and extended Each family comes with

9 weights spanning from Extra Thin to Black plus italics Quite interestingly the letter ldquoordquo in the wide version does not follow the extended form of other characters taking instead the shape of an almost round circleGrand Gothik was designed with a default version and three stylistic variations The multifunctional default version

comes with squared-off stems and letter ldquoardquo is designed with a spur Its first variation (ss01) retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the type-face with a clean corporate texture The second variation

oblique terminalsa with a spur

a without a spur G without a spur

dynamic unusual ending

acute crotchdescenders with slanted endings

y with curved tail

y with straight tail

squared-offdescenders

open counters withlarge aperture

ascenders with slanted endings

sharp joints squared-off ascenders

DEFAULT VARIANT

SS01 + SS02 VARIANT

4wwwparachutefontscom

PF Grand Gothik

aEGkRy

cap-height

x-height

baseline

descender

ascender

(ss02) is more eclectic exchanging the squared-off stems for slanted stem endings ultimately becoming more angular The third variation (ss03) is vibrant and uncalculated and constitutes a nod to early 20th century European grotesque styles particularly Venus of the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No 9 The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate forms for lowercase letter ldquotrdquoThe Grand Gothik type system comes with a wide range of stylesweights and supports an extended array of languages and scripts such as Latin Greek and Cyrillic Keeping up with the ever-evolving virtual and digital land-scape Grand Gothik comes with an extended character set of weather icons numeral symbols wayfinding arrows movie rating stars and emojis Also a Bitcoin symbol was designed as part of its character set in its newly intro-duced unicode position rendering Grand Gothik a truly functional modern typefaceThe whole series is complemented by its corresponding

italics which are not cursive but rather refined oblique letterforms in sync with their traditional genre Finally Grand Gothiks demanding personality shines at its heavier extended versions with its hip expressive almost brutal energy

USEApart from its default state which embodies the tempera-ment and character of several notable grotesque typefaces Grand Gothikrsquos multifaceted disposition and stylistic varia-tions can fit a multitude of typographic needs Firm robust and legible its first variation is an exceptional candidate for corporate brands which need to communicate their vision and value to multiple international markets The second var-iation a bit more vibrant and refined in nature works beau-tifully with modern publications The typographic voice of the third variation characterized by the vibrant and raw texture of 19th century European grotesques hits home with posters books signage magazines and postmodern conceptual art Altogether Grand Gothiks variable format brings to web design all the precision variety and spirit once available only in print media An essential tool for web designers and developers alike

G with a spuralternate a with a spur alternate k y with curved tail

middle strokesits higher

R lobe follows E

SS03 VARIANT

acefgswGRAND GOTHIK EXTENDED ULTRA ITALIC

5wwwparachutefontscom

PF Grand Gothik

PF GR

AND G

OTHI

K COM

PRES

SEDB

LACK

PF GR

AND G

OTHI

K COM

PEXT

BDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOL

DPF

GRAN

D GOT

HIK C

OMPM

EDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOO

KPF

GRAN

D GOT

HIK C

OMPR

ESSE

DLIGH

TPF

GRA

ND G

OTHI

K CO

MPR

ESSE

DTHI

NPF

GRA

ND G

OTHI

K CO

MPE

XTRA

THIN

PF G

RAND

GOT

HIK

COND

EXTR

ATHI

NPF

GRA

ND G

OTHI

K CO

NDEN

SEDT

HIN

PF G

RAND

GOT

HIK

COND

ENSE

DLIG

HTPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OOK

PF G

RAND

GOT

HIK

COND

ENSE

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDM

EDIU

MPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OLD

PF G

RAND

GOT

HIK

COND

EXTB

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

LACK

PF

GR

AN

D G

OTH

IK B

LACK

PF

GR

AN

D G

OTH

IK E

XTR

AB

OLD

PF

GR

AN

D G

OTH

IK B

OLD

PF

GR

AN

D G

OTH

IK M

EDIU

MP

F G

RA

ND

GO

THIK

REG

ULA

RP

F G

RA

ND

GO

THIK

BO

OK

PF

GR

AN

D G

OTH

IK L

IGH

TPF

GRAND G

OTH

IK T

HIN

PF G

RAND G

OTH

IK E

XTRAT

HIN

PF

GR

AN

D G

OTH

IK W

IDE

EX

TRA

THIN

PF

GR

AN

D G

OTH

IK W

IDE

THIN

PF

GR

AN

D G

OT

HIK

WID

EL

IGH

TP

F G

RA

ND

GO

TH

IK W

IDE

PF

GR

AN

D G

OT

HIK

WID

EB

OO

KP

F G

RA

ND

GO

TH

IK W

IDE

ME

DIU

MP

F G

RA

ND

GO

TH

IK W

IDE

BO

LD

PF

GR

AN

D G

OT

HIK

WID

EB

LA

CK

PF

GR

AN

D G

OT

HIK

WID

EE

XT

RA

BO

LD

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

BL

AC

KP

F G

RA

ND

GO

TH

IK E

XT

EN

DE

D R

EG

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

XT

HIN

THE GRAND STORY OF VARIABLE GOTHIK

6wwwparachutefontscom

PF Grand Gothik

AutomobilesBhodgeinMundialBishopMoumlbil

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK BLACK

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK EXTENDED BLACK

COMPRESSED TO EXTENDED

7wwwparachutefontscom

PF Grand Gothik

DRAGONFLUMSIESMOONWALKRGERONIMOANDROIDBARFLY

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK REGULAR

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED REGULAR

COMPRESSED TO EXTENDED

8wwwparachutefontscom

PF Grand Gothik

Grand Gothik Compressed Extra ThinGrand Gothik Compressed ThinGrand Gothik Compressed LightGrand Gothik Compressed BookGrand Gothik Compressed RegularGrand Gothik Compressed MediumGrand Gothik Compressed BoldGrand Gothik Compressed Extra BoldGrand Gothik Compressed BlackGrand Gothik Compressed Extra Thin ItalicGrand Gothik Compressed Thin ItalicGrand Gothik Compressed Light ItalicGrand Gothik Compressed Book ItalicGrand Gothik Compressed ItalicGrand Gothik Compressed Medium ItalicGrand Gothik Compressed Bold ItalicGrand Gothik Compressed Extra Bold ItalicGrand Gothik Compressed Black Italic

COMPRESSED

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 2: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

2wwwparachutefontscom

PF Grand Gothik

Grand Gothik

Grand Gothik is a postmodern multiscript mul-

tifaceted and variable type system which pays

homage to the development of grotesque (goth-

ic) typefaces over the years Taking late 19th and

early 20th century European and American gro-

tesques as a starting point it traces this typeface

genre up to mid-century movie theater marquees

new wave cinematography American highway

signage and telephone directories adding some

historical references for good measure

5 FAMILIES 90 STYLES

Grand Gothik Compressed

Grand Gothik Condensed

Grand Gothik

Grand Gothik Wide

Grand Gothik Extended

+++ Grand Gothik Variable (3 axes)

LANGUAGESSCRIPTS

Latin

Cyrillic

Greek

Eastern European

Turkish

Baltic

DESIGNED BY

Panos Vassiliou

PF

copy 2018

3wwwparachutefontscom

PF Grand Gothik

ahGMpy

cap-height

x-height

baseline

descender

ascender

achgpy

cap-height

x-height

baseline

descender

ascender

Originally designed in 2017 as a bespoke typeface for a bilingual black and white magazine on surfers waves and landscapes it was later reimagined and redesigned leading

to the release of its commercial version The name reflects Grand Gothikrsquos versatility as a fully functional variable font and its depiction of a vast array of gothic styles found in American and European grotesques Designed with 3 stylis-tic alternates each variation of Grand Gothik depicts a spe-

cific period and style from the less calculated appearance of late 19th century grotesques all the way to their graceful-ly-shaped contemporary counterparts

CHARACTERISTICSOpen counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes

BACK STORY DETAILS

The ascenders were extended and the descenders short-ened The contrast was adjusted to reflect Grand Gothikrsquos personality as a revamped grotesque the numbers were redesigned according to their historical references and letter ldquoardquo was designed with a spur to increase readability Contrary to most grotesques Grand Gothik implements

sharp joints as curved strokes and stems merge into each other with a sharp instead of a smooth connectionGrand Gothikrsquos design space includes 3 axes for weight width and one for italics It is available as a variable font or as five separate opentype families - compressed con-densed normal wide and extended Each family comes with

9 weights spanning from Extra Thin to Black plus italics Quite interestingly the letter ldquoordquo in the wide version does not follow the extended form of other characters taking instead the shape of an almost round circleGrand Gothik was designed with a default version and three stylistic variations The multifunctional default version

comes with squared-off stems and letter ldquoardquo is designed with a spur Its first variation (ss01) retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the type-face with a clean corporate texture The second variation

oblique terminalsa with a spur

a without a spur G without a spur

dynamic unusual ending

acute crotchdescenders with slanted endings

y with curved tail

y with straight tail

squared-offdescenders

open counters withlarge aperture

ascenders with slanted endings

sharp joints squared-off ascenders

DEFAULT VARIANT

SS01 + SS02 VARIANT

4wwwparachutefontscom

PF Grand Gothik

aEGkRy

cap-height

x-height

baseline

descender

ascender

(ss02) is more eclectic exchanging the squared-off stems for slanted stem endings ultimately becoming more angular The third variation (ss03) is vibrant and uncalculated and constitutes a nod to early 20th century European grotesque styles particularly Venus of the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No 9 The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate forms for lowercase letter ldquotrdquoThe Grand Gothik type system comes with a wide range of stylesweights and supports an extended array of languages and scripts such as Latin Greek and Cyrillic Keeping up with the ever-evolving virtual and digital land-scape Grand Gothik comes with an extended character set of weather icons numeral symbols wayfinding arrows movie rating stars and emojis Also a Bitcoin symbol was designed as part of its character set in its newly intro-duced unicode position rendering Grand Gothik a truly functional modern typefaceThe whole series is complemented by its corresponding

italics which are not cursive but rather refined oblique letterforms in sync with their traditional genre Finally Grand Gothiks demanding personality shines at its heavier extended versions with its hip expressive almost brutal energy

USEApart from its default state which embodies the tempera-ment and character of several notable grotesque typefaces Grand Gothikrsquos multifaceted disposition and stylistic varia-tions can fit a multitude of typographic needs Firm robust and legible its first variation is an exceptional candidate for corporate brands which need to communicate their vision and value to multiple international markets The second var-iation a bit more vibrant and refined in nature works beau-tifully with modern publications The typographic voice of the third variation characterized by the vibrant and raw texture of 19th century European grotesques hits home with posters books signage magazines and postmodern conceptual art Altogether Grand Gothiks variable format brings to web design all the precision variety and spirit once available only in print media An essential tool for web designers and developers alike

G with a spuralternate a with a spur alternate k y with curved tail

middle strokesits higher

R lobe follows E

SS03 VARIANT

acefgswGRAND GOTHIK EXTENDED ULTRA ITALIC

5wwwparachutefontscom

PF Grand Gothik

PF GR

AND G

OTHI

K COM

PRES

SEDB

LACK

PF GR

AND G

OTHI

K COM

PEXT

BDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOL

DPF

GRAN

D GOT

HIK C

OMPM

EDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOO

KPF

GRAN

D GOT

HIK C

OMPR

ESSE

DLIGH

TPF

GRA

ND G

OTHI

K CO

MPR

ESSE

DTHI

NPF

GRA

ND G

OTHI

K CO

MPE

XTRA

THIN

PF G

RAND

GOT

HIK

COND

EXTR

ATHI

NPF

GRA

ND G

OTHI

K CO

NDEN

SEDT

HIN

PF G

RAND

GOT

HIK

COND

ENSE

DLIG

HTPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OOK

PF G

RAND

GOT

HIK

COND

ENSE

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDM

EDIU

MPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OLD

PF G

RAND

GOT

HIK

COND

EXTB

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

LACK

PF

GR

AN

D G

OTH

IK B

LACK

PF

GR

AN

D G

OTH

IK E

XTR

AB

OLD

PF

GR

AN

D G

OTH

IK B

OLD

PF

GR

AN

D G

OTH

IK M

EDIU

MP

F G

RA

ND

GO

THIK

REG

ULA

RP

F G

RA

ND

GO

THIK

BO

OK

PF

GR

AN

D G

OTH

IK L

IGH

TPF

GRAND G

OTH

IK T

HIN

PF G

RAND G

OTH

IK E

XTRAT

HIN

PF

GR

AN

D G

OTH

IK W

IDE

EX

TRA

THIN

PF

GR

AN

D G

OTH

IK W

IDE

THIN

PF

GR

AN

D G

OT

HIK

WID

EL

IGH

TP

F G

RA

ND

GO

TH

IK W

IDE

PF

GR

AN

D G

OT

HIK

WID

EB

OO

KP

F G

RA

ND

GO

TH

IK W

IDE

ME

DIU

MP

F G

RA

ND

GO

TH

IK W

IDE

BO

LD

PF

GR

AN

D G

OT

HIK

WID

EB

LA

CK

PF

GR

AN

D G

OT

HIK

WID

EE

XT

RA

BO

LD

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

BL

AC

KP

F G

RA

ND

GO

TH

IK E

XT

EN

DE

D R

EG

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

XT

HIN

THE GRAND STORY OF VARIABLE GOTHIK

6wwwparachutefontscom

PF Grand Gothik

AutomobilesBhodgeinMundialBishopMoumlbil

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK BLACK

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK EXTENDED BLACK

COMPRESSED TO EXTENDED

7wwwparachutefontscom

PF Grand Gothik

DRAGONFLUMSIESMOONWALKRGERONIMOANDROIDBARFLY

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK REGULAR

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED REGULAR

COMPRESSED TO EXTENDED

8wwwparachutefontscom

PF Grand Gothik

Grand Gothik Compressed Extra ThinGrand Gothik Compressed ThinGrand Gothik Compressed LightGrand Gothik Compressed BookGrand Gothik Compressed RegularGrand Gothik Compressed MediumGrand Gothik Compressed BoldGrand Gothik Compressed Extra BoldGrand Gothik Compressed BlackGrand Gothik Compressed Extra Thin ItalicGrand Gothik Compressed Thin ItalicGrand Gothik Compressed Light ItalicGrand Gothik Compressed Book ItalicGrand Gothik Compressed ItalicGrand Gothik Compressed Medium ItalicGrand Gothik Compressed Bold ItalicGrand Gothik Compressed Extra Bold ItalicGrand Gothik Compressed Black Italic

COMPRESSED

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 3: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

3wwwparachutefontscom

PF Grand Gothik

ahGMpy

cap-height

x-height

baseline

descender

ascender

achgpy

cap-height

x-height

baseline

descender

ascender

Originally designed in 2017 as a bespoke typeface for a bilingual black and white magazine on surfers waves and landscapes it was later reimagined and redesigned leading

to the release of its commercial version The name reflects Grand Gothikrsquos versatility as a fully functional variable font and its depiction of a vast array of gothic styles found in American and European grotesques Designed with 3 stylis-tic alternates each variation of Grand Gothik depicts a spe-

cific period and style from the less calculated appearance of late 19th century grotesques all the way to their graceful-ly-shaped contemporary counterparts

CHARACTERISTICSOpen counters with enhanced white space and curved strokes with oblique terminals instead of horizontal were used in order to increase clarity of characters at small sizes

BACK STORY DETAILS

The ascenders were extended and the descenders short-ened The contrast was adjusted to reflect Grand Gothikrsquos personality as a revamped grotesque the numbers were redesigned according to their historical references and letter ldquoardquo was designed with a spur to increase readability Contrary to most grotesques Grand Gothik implements

sharp joints as curved strokes and stems merge into each other with a sharp instead of a smooth connectionGrand Gothikrsquos design space includes 3 axes for weight width and one for italics It is available as a variable font or as five separate opentype families - compressed con-densed normal wide and extended Each family comes with

9 weights spanning from Extra Thin to Black plus italics Quite interestingly the letter ldquoordquo in the wide version does not follow the extended form of other characters taking instead the shape of an almost round circleGrand Gothik was designed with a default version and three stylistic variations The multifunctional default version

comes with squared-off stems and letter ldquoardquo is designed with a spur Its first variation (ss01) retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the type-face with a clean corporate texture The second variation

oblique terminalsa with a spur

a without a spur G without a spur

dynamic unusual ending

acute crotchdescenders with slanted endings

y with curved tail

y with straight tail

squared-offdescenders

open counters withlarge aperture

ascenders with slanted endings

sharp joints squared-off ascenders

DEFAULT VARIANT

SS01 + SS02 VARIANT

4wwwparachutefontscom

PF Grand Gothik

aEGkRy

cap-height

x-height

baseline

descender

ascender

(ss02) is more eclectic exchanging the squared-off stems for slanted stem endings ultimately becoming more angular The third variation (ss03) is vibrant and uncalculated and constitutes a nod to early 20th century European grotesque styles particularly Venus of the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No 9 The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate forms for lowercase letter ldquotrdquoThe Grand Gothik type system comes with a wide range of stylesweights and supports an extended array of languages and scripts such as Latin Greek and Cyrillic Keeping up with the ever-evolving virtual and digital land-scape Grand Gothik comes with an extended character set of weather icons numeral symbols wayfinding arrows movie rating stars and emojis Also a Bitcoin symbol was designed as part of its character set in its newly intro-duced unicode position rendering Grand Gothik a truly functional modern typefaceThe whole series is complemented by its corresponding

italics which are not cursive but rather refined oblique letterforms in sync with their traditional genre Finally Grand Gothiks demanding personality shines at its heavier extended versions with its hip expressive almost brutal energy

USEApart from its default state which embodies the tempera-ment and character of several notable grotesque typefaces Grand Gothikrsquos multifaceted disposition and stylistic varia-tions can fit a multitude of typographic needs Firm robust and legible its first variation is an exceptional candidate for corporate brands which need to communicate their vision and value to multiple international markets The second var-iation a bit more vibrant and refined in nature works beau-tifully with modern publications The typographic voice of the third variation characterized by the vibrant and raw texture of 19th century European grotesques hits home with posters books signage magazines and postmodern conceptual art Altogether Grand Gothiks variable format brings to web design all the precision variety and spirit once available only in print media An essential tool for web designers and developers alike

G with a spuralternate a with a spur alternate k y with curved tail

middle strokesits higher

R lobe follows E

SS03 VARIANT

acefgswGRAND GOTHIK EXTENDED ULTRA ITALIC

5wwwparachutefontscom

PF Grand Gothik

PF GR

AND G

OTHI

K COM

PRES

SEDB

LACK

PF GR

AND G

OTHI

K COM

PEXT

BDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOL

DPF

GRAN

D GOT

HIK C

OMPM

EDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOO

KPF

GRAN

D GOT

HIK C

OMPR

ESSE

DLIGH

TPF

GRA

ND G

OTHI

K CO

MPR

ESSE

DTHI

NPF

GRA

ND G

OTHI

K CO

MPE

XTRA

THIN

PF G

RAND

GOT

HIK

COND

EXTR

ATHI

NPF

GRA

ND G

OTHI

K CO

NDEN

SEDT

HIN

PF G

RAND

GOT

HIK

COND

ENSE

DLIG

HTPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OOK

PF G

RAND

GOT

HIK

COND

ENSE

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDM

EDIU

MPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OLD

PF G

RAND

GOT

HIK

COND

EXTB

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

LACK

PF

GR

AN

D G

OTH

IK B

LACK

PF

GR

AN

D G

OTH

IK E

XTR

AB

OLD

PF

GR

AN

D G

OTH

IK B

OLD

PF

GR

AN

D G

OTH

IK M

EDIU

MP

F G

RA

ND

GO

THIK

REG

ULA

RP

F G

RA

ND

GO

THIK

BO

OK

PF

GR

AN

D G

OTH

IK L

IGH

TPF

GRAND G

OTH

IK T

HIN

PF G

RAND G

OTH

IK E

XTRAT

HIN

PF

GR

AN

D G

OTH

IK W

IDE

EX

TRA

THIN

PF

GR

AN

D G

OTH

IK W

IDE

THIN

PF

GR

AN

D G

OT

HIK

WID

EL

IGH

TP

F G

RA

ND

GO

TH

IK W

IDE

PF

GR

AN

D G

OT

HIK

WID

EB

OO

KP

F G

RA

ND

GO

TH

IK W

IDE

ME

DIU

MP

F G

RA

ND

GO

TH

IK W

IDE

BO

LD

PF

GR

AN

D G

OT

HIK

WID

EB

LA

CK

PF

GR

AN

D G

OT

HIK

WID

EE

XT

RA

BO

LD

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

BL

AC

KP

F G

RA

ND

GO

TH

IK E

XT

EN

DE

D R

EG

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

XT

HIN

THE GRAND STORY OF VARIABLE GOTHIK

6wwwparachutefontscom

PF Grand Gothik

AutomobilesBhodgeinMundialBishopMoumlbil

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK BLACK

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK EXTENDED BLACK

COMPRESSED TO EXTENDED

7wwwparachutefontscom

PF Grand Gothik

DRAGONFLUMSIESMOONWALKRGERONIMOANDROIDBARFLY

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK REGULAR

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED REGULAR

COMPRESSED TO EXTENDED

8wwwparachutefontscom

PF Grand Gothik

Grand Gothik Compressed Extra ThinGrand Gothik Compressed ThinGrand Gothik Compressed LightGrand Gothik Compressed BookGrand Gothik Compressed RegularGrand Gothik Compressed MediumGrand Gothik Compressed BoldGrand Gothik Compressed Extra BoldGrand Gothik Compressed BlackGrand Gothik Compressed Extra Thin ItalicGrand Gothik Compressed Thin ItalicGrand Gothik Compressed Light ItalicGrand Gothik Compressed Book ItalicGrand Gothik Compressed ItalicGrand Gothik Compressed Medium ItalicGrand Gothik Compressed Bold ItalicGrand Gothik Compressed Extra Bold ItalicGrand Gothik Compressed Black Italic

COMPRESSED

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 4: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

4wwwparachutefontscom

PF Grand Gothik

aEGkRy

cap-height

x-height

baseline

descender

ascender

(ss02) is more eclectic exchanging the squared-off stems for slanted stem endings ultimately becoming more angular The third variation (ss03) is vibrant and uncalculated and constitutes a nod to early 20th century European grotesque styles particularly Venus of the Bauer type foundry or the ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No 9 The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate forms for lowercase letter ldquotrdquoThe Grand Gothik type system comes with a wide range of stylesweights and supports an extended array of languages and scripts such as Latin Greek and Cyrillic Keeping up with the ever-evolving virtual and digital land-scape Grand Gothik comes with an extended character set of weather icons numeral symbols wayfinding arrows movie rating stars and emojis Also a Bitcoin symbol was designed as part of its character set in its newly intro-duced unicode position rendering Grand Gothik a truly functional modern typefaceThe whole series is complemented by its corresponding

italics which are not cursive but rather refined oblique letterforms in sync with their traditional genre Finally Grand Gothiks demanding personality shines at its heavier extended versions with its hip expressive almost brutal energy

USEApart from its default state which embodies the tempera-ment and character of several notable grotesque typefaces Grand Gothikrsquos multifaceted disposition and stylistic varia-tions can fit a multitude of typographic needs Firm robust and legible its first variation is an exceptional candidate for corporate brands which need to communicate their vision and value to multiple international markets The second var-iation a bit more vibrant and refined in nature works beau-tifully with modern publications The typographic voice of the third variation characterized by the vibrant and raw texture of 19th century European grotesques hits home with posters books signage magazines and postmodern conceptual art Altogether Grand Gothiks variable format brings to web design all the precision variety and spirit once available only in print media An essential tool for web designers and developers alike

G with a spuralternate a with a spur alternate k y with curved tail

middle strokesits higher

R lobe follows E

SS03 VARIANT

acefgswGRAND GOTHIK EXTENDED ULTRA ITALIC

5wwwparachutefontscom

PF Grand Gothik

PF GR

AND G

OTHI

K COM

PRES

SEDB

LACK

PF GR

AND G

OTHI

K COM

PEXT

BDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOL

DPF

GRAN

D GOT

HIK C

OMPM

EDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOO

KPF

GRAN

D GOT

HIK C

OMPR

ESSE

DLIGH

TPF

GRA

ND G

OTHI

K CO

MPR

ESSE

DTHI

NPF

GRA

ND G

OTHI

K CO

MPE

XTRA

THIN

PF G

RAND

GOT

HIK

COND

EXTR

ATHI

NPF

GRA

ND G

OTHI

K CO

NDEN

SEDT

HIN

PF G

RAND

GOT

HIK

COND

ENSE

DLIG

HTPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OOK

PF G

RAND

GOT

HIK

COND

ENSE

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDM

EDIU

MPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OLD

PF G

RAND

GOT

HIK

COND

EXTB

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

LACK

PF

GR

AN

D G

OTH

IK B

LACK

PF

GR

AN

D G

OTH

IK E

XTR

AB

OLD

PF

GR

AN

D G

OTH

IK B

OLD

PF

GR

AN

D G

OTH

IK M

EDIU

MP

F G

RA

ND

GO

THIK

REG

ULA

RP

F G

RA

ND

GO

THIK

BO

OK

PF

GR

AN

D G

OTH

IK L

IGH

TPF

GRAND G

OTH

IK T

HIN

PF G

RAND G

OTH

IK E

XTRAT

HIN

PF

GR

AN

D G

OTH

IK W

IDE

EX

TRA

THIN

PF

GR

AN

D G

OTH

IK W

IDE

THIN

PF

GR

AN

D G

OT

HIK

WID

EL

IGH

TP

F G

RA

ND

GO

TH

IK W

IDE

PF

GR

AN

D G

OT

HIK

WID

EB

OO

KP

F G

RA

ND

GO

TH

IK W

IDE

ME

DIU

MP

F G

RA

ND

GO

TH

IK W

IDE

BO

LD

PF

GR

AN

D G

OT

HIK

WID

EB

LA

CK

PF

GR

AN

D G

OT

HIK

WID

EE

XT

RA

BO

LD

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

BL

AC

KP

F G

RA

ND

GO

TH

IK E

XT

EN

DE

D R

EG

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

XT

HIN

THE GRAND STORY OF VARIABLE GOTHIK

6wwwparachutefontscom

PF Grand Gothik

AutomobilesBhodgeinMundialBishopMoumlbil

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK BLACK

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK EXTENDED BLACK

COMPRESSED TO EXTENDED

7wwwparachutefontscom

PF Grand Gothik

DRAGONFLUMSIESMOONWALKRGERONIMOANDROIDBARFLY

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK REGULAR

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED REGULAR

COMPRESSED TO EXTENDED

8wwwparachutefontscom

PF Grand Gothik

Grand Gothik Compressed Extra ThinGrand Gothik Compressed ThinGrand Gothik Compressed LightGrand Gothik Compressed BookGrand Gothik Compressed RegularGrand Gothik Compressed MediumGrand Gothik Compressed BoldGrand Gothik Compressed Extra BoldGrand Gothik Compressed BlackGrand Gothik Compressed Extra Thin ItalicGrand Gothik Compressed Thin ItalicGrand Gothik Compressed Light ItalicGrand Gothik Compressed Book ItalicGrand Gothik Compressed ItalicGrand Gothik Compressed Medium ItalicGrand Gothik Compressed Bold ItalicGrand Gothik Compressed Extra Bold ItalicGrand Gothik Compressed Black Italic

COMPRESSED

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 5: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

5wwwparachutefontscom

PF Grand Gothik

PF GR

AND G

OTHI

K COM

PRES

SEDB

LACK

PF GR

AND G

OTHI

K COM

PEXT

BDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOL

DPF

GRAN

D GOT

HIK C

OMPM

EDPF

GRAN

D GOT

HIK C

OMPR

ESSE

DPF

GRAN

D GOT

HIK C

OMPR

ESSE

DBOO

KPF

GRAN

D GOT

HIK C

OMPR

ESSE

DLIGH

TPF

GRA

ND G

OTHI

K CO

MPR

ESSE

DTHI

NPF

GRA

ND G

OTHI

K CO

MPE

XTRA

THIN

PF G

RAND

GOT

HIK

COND

EXTR

ATHI

NPF

GRA

ND G

OTHI

K CO

NDEN

SEDT

HIN

PF G

RAND

GOT

HIK

COND

ENSE

DLIG

HTPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OOK

PF G

RAND

GOT

HIK

COND

ENSE

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDM

EDIU

MPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

OLD

PF G

RAND

GOT

HIK

COND

EXTB

DPF

GRA

ND G

OTHI

K CO

NDEN

SEDB

LACK

PF

GR

AN

D G

OTH

IK B

LACK

PF

GR

AN

D G

OTH

IK E

XTR

AB

OLD

PF

GR

AN

D G

OTH

IK B

OLD

PF

GR

AN

D G

OTH

IK M

EDIU

MP

F G

RA

ND

GO

THIK

REG

ULA

RP

F G

RA

ND

GO

THIK

BO

OK

PF

GR

AN

D G

OTH

IK L

IGH

TPF

GRAND G

OTH

IK T

HIN

PF G

RAND G

OTH

IK E

XTRAT

HIN

PF

GR

AN

D G

OTH

IK W

IDE

EX

TRA

THIN

PF

GR

AN

D G

OTH

IK W

IDE

THIN

PF

GR

AN

D G

OT

HIK

WID

EL

IGH

TP

F G

RA

ND

GO

TH

IK W

IDE

PF

GR

AN

D G

OT

HIK

WID

EB

OO

KP

F G

RA

ND

GO

TH

IK W

IDE

ME

DIU

MP

F G

RA

ND

GO

TH

IK W

IDE

BO

LD

PF

GR

AN

D G

OT

HIK

WID

EB

LA

CK

PF

GR

AN

D G

OT

HIK

WID

EE

XT

RA

BO

LD

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

BL

AC

KP

F G

RA

ND

GO

TH

IK E

XT

EN

DE

D R

EG

PF

GR

AN

D G

OT

HIK

EX

TE

ND

ED

XT

HIN

THE GRAND STORY OF VARIABLE GOTHIK

6wwwparachutefontscom

PF Grand Gothik

AutomobilesBhodgeinMundialBishopMoumlbil

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK BLACK

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK EXTENDED BLACK

COMPRESSED TO EXTENDED

7wwwparachutefontscom

PF Grand Gothik

DRAGONFLUMSIESMOONWALKRGERONIMOANDROIDBARFLY

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK REGULAR

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED REGULAR

COMPRESSED TO EXTENDED

8wwwparachutefontscom

PF Grand Gothik

Grand Gothik Compressed Extra ThinGrand Gothik Compressed ThinGrand Gothik Compressed LightGrand Gothik Compressed BookGrand Gothik Compressed RegularGrand Gothik Compressed MediumGrand Gothik Compressed BoldGrand Gothik Compressed Extra BoldGrand Gothik Compressed BlackGrand Gothik Compressed Extra Thin ItalicGrand Gothik Compressed Thin ItalicGrand Gothik Compressed Light ItalicGrand Gothik Compressed Book ItalicGrand Gothik Compressed ItalicGrand Gothik Compressed Medium ItalicGrand Gothik Compressed Bold ItalicGrand Gothik Compressed Extra Bold ItalicGrand Gothik Compressed Black Italic

COMPRESSED

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 6: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

6wwwparachutefontscom

PF Grand Gothik

AutomobilesBhodgeinMundialBishopMoumlbil

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK BLACK

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK EXTENDED BLACK

COMPRESSED TO EXTENDED

7wwwparachutefontscom

PF Grand Gothik

DRAGONFLUMSIESMOONWALKRGERONIMOANDROIDBARFLY

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK REGULAR

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED REGULAR

COMPRESSED TO EXTENDED

8wwwparachutefontscom

PF Grand Gothik

Grand Gothik Compressed Extra ThinGrand Gothik Compressed ThinGrand Gothik Compressed LightGrand Gothik Compressed BookGrand Gothik Compressed RegularGrand Gothik Compressed MediumGrand Gothik Compressed BoldGrand Gothik Compressed Extra BoldGrand Gothik Compressed BlackGrand Gothik Compressed Extra Thin ItalicGrand Gothik Compressed Thin ItalicGrand Gothik Compressed Light ItalicGrand Gothik Compressed Book ItalicGrand Gothik Compressed ItalicGrand Gothik Compressed Medium ItalicGrand Gothik Compressed Bold ItalicGrand Gothik Compressed Extra Bold ItalicGrand Gothik Compressed Black Italic

COMPRESSED

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 7: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

7wwwparachutefontscom

PF Grand Gothik

DRAGONFLUMSIESMOONWALKRGERONIMOANDROIDBARFLY

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK REGULAR

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED REGULAR

COMPRESSED TO EXTENDED

8wwwparachutefontscom

PF Grand Gothik

Grand Gothik Compressed Extra ThinGrand Gothik Compressed ThinGrand Gothik Compressed LightGrand Gothik Compressed BookGrand Gothik Compressed RegularGrand Gothik Compressed MediumGrand Gothik Compressed BoldGrand Gothik Compressed Extra BoldGrand Gothik Compressed BlackGrand Gothik Compressed Extra Thin ItalicGrand Gothik Compressed Thin ItalicGrand Gothik Compressed Light ItalicGrand Gothik Compressed Book ItalicGrand Gothik Compressed ItalicGrand Gothik Compressed Medium ItalicGrand Gothik Compressed Bold ItalicGrand Gothik Compressed Extra Bold ItalicGrand Gothik Compressed Black Italic

COMPRESSED

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 8: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

8wwwparachutefontscom

PF Grand Gothik

Grand Gothik Compressed Extra ThinGrand Gothik Compressed ThinGrand Gothik Compressed LightGrand Gothik Compressed BookGrand Gothik Compressed RegularGrand Gothik Compressed MediumGrand Gothik Compressed BoldGrand Gothik Compressed Extra BoldGrand Gothik Compressed BlackGrand Gothik Compressed Extra Thin ItalicGrand Gothik Compressed Thin ItalicGrand Gothik Compressed Light ItalicGrand Gothik Compressed Book ItalicGrand Gothik Compressed ItalicGrand Gothik Compressed Medium ItalicGrand Gothik Compressed Bold ItalicGrand Gothik Compressed Extra Bold ItalicGrand Gothik Compressed Black Italic

COMPRESSED

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 9: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

9wwwparachutefontscom

PF Grand Gothik

automobilesoppenheimersouthamptonapotheosizingcountercharge

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 10: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

10wwwparachutefontscom

PF Grand Gothik

GAZEHOUNDSCALIFORNIUMDECAFFEINATEDMAGNETIZATIONWEATHERPROOF

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BOLD

GRAND GOTHIK COMPRESSED REGULAR

GRAND GOTHIK COMPRESSED LIGHT

GRAND GOTHIK COMPRESSED EXTRA THIN

COMPRESSED

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 11: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

11wwwparachutefontscom

PF Grand Gothik COMPRESSED

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

GRAND GOTHIK COMPRESSED BLACK

GRAND GOTHIK COMPRESSED BLACK ITALIC

RUDEMANNERBEATINGThunderlonioslashusmoumlnke

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

GRAND GOTHIK COMPRESSED MEDIUM

GRAND GOTHIK COMPRESSED BOLD ITALIC

CAHIERCINEacuteMANEUVILLEManifepulorpħaneujmiz

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 12: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

12wwwparachutefontscom

PF Grand Gothik

Grand Gothik Condensed Extra ThinGrand Gothik Condensed ThinGrand Gothik Condensed LightGrand Gothik Condensed BookGrand Gothik Condensed RegularGrand Gothik Condensed MediumGrand Gothik Condensed BoldGrand Gothik Condensed Extra BoldGrand Gothik Condensed BlackGrand Gothik Condensed Extra Thin ItalicGrand Gothik Condensed Thin ItalicGrand Gothik Condensed Light ItalicGrand Gothik Condensed Book ItalicGrand Gothik Condensed ItalicGrand Gothik Condensed Medium ItalicGrand Gothik Condensed Bold ItalicGrand Gothik Condensed Extra Bold ItalicGrand Gothik Condensed Black Italic

CONDENSED

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 13: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

13wwwparachutefontscom

PF Grand Gothik

airmobileoptimumsspellboundunboundedmannequin

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 14: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

14wwwparachutefontscom

PF Grand Gothik

GODAumlMNITDALLIANCEMICROSEIMWALLPAPER

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED REGULAR

GRAND GOTHIK CONDENSED LIGHT

GRAND GOTHIK CONDENSED EXTRA THIN

CONDENSED

CANADIEN

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 15: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

15wwwparachutefontscom

PF Grand Gothik

INTERNAZIONALEChacircrliefigpohauumls

GRAND GOTHIK CONDENSED BLACK

GRAND GOTHIK CONDENSED BLACK ITALIC

INTERNAZIONALEChacircrliefigpohauumls

DOCUMENTALITIESMachinodicūqoena

GRAND GOTHIK CONDENSED BOLD

GRAND GOTHIK CONDENSED BOLD ITALIC

DOCUMENTALITIESMachinodicūqoena

CONDENSED

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 16: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

16wwwparachutefontscom

PF Grand Gothik CONDENSED

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term

was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time

was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois

Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting

with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the

social and political upheavals of the era making their radical experiments with editing visual style and narrative

part of a general break with the conservative paradigm Using portable equipment and requiring little or no set

up time the New Wave way of filmmaking presented a documentary style The films exhibited direct sounds

on film stock that required less light Filming techniques included fragmented discontinuous editing and long

takes The combination of objective realism subjective realism and authorial commentary created a narrative

ambiguity in the sense that questions that arise in a film are not answered in the end The cinematic stylings of

French New Wave brought a fresh look to cinema with improvised dialogue rapid changes of scene and shots

that broke the common 180deg axis of camera movement In many films of the French New Wave the camera

was used not to mesmerize the audience with elaborate narrative and illusory images but rather to play with

audience expectations Godard was arguably the movementrsquos most influential figure his method of film-making

often used to shock and awe audiences out of passivity was abnormally bold and direct As a result of his tech-

niques he is an early example of a director who was accused of having contempt for his audience (something

Nouvelle Vague is often referred to as one of the most influential movements

in the history of cinema The term was first used by a group of French film

critics and cinephiles associated with the magazine Cahiers du cineacutema in the

late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated

French film at the time was the impetus that drove these young writers This

was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953

Une certaine tendance du cineacutema franccedilais where he denounced the adaptation

of safe literary works into unimaginative films calling them le cineacutema de papa

The New Wave filmmakers were linked by their self-conscious rejection of the

literary period pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on location and

their intention of experimenting with the film form ldquoNew Waverdquo is an example

of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing

visual style and narrative part of a general break with the conservative para-

GRAND GOTHIK CONDENSED 1014 pt

GRAND GOTHIK CONDENSED 1420 pt

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 17: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

17wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extra ThinGrand Gothik ThinGrand Gothik LightGrand Gothik BookGrand Gothik RegularGrand Gothik MediumGrand Gothik BoldGrand Gothik Extra BoldGrand Gothik BlackGrand Gothik Extra Thin ItalicGrand Gothik Thin ItalicGrand Gothik Light ItalicGrand Gothik Book ItalicGrand Gothik ItalicGrand Gothik Medium ItalicGrand Gothik Bold ItalicGrand Gothik Extra Bold ItalicGrand Gothik Black Italic

NORMAL

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 18: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

18wwwparachutefontscom

PF Grand Gothik

admiralornithesschleppsabenakiscachareg

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 19: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

19wwwparachutefontscom

PF Grand Gothik

WAZEHIROUTERAENAONSUBWAYGARDAIN

GRAND GOTHIK BLACK

GRAND GOTHIK BOLD

GRAND GOTHIK REGULAR

GRAND GOTHIK LIGHT

GRAND GOTHIK EXTRA THIN

NORMAL

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 20: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

20wwwparachutefontscom

PF Grand Gothik NORMAL

REDEMPTIONLaunchingels

GRAND GOTHIK BLACK

GRAND GOTHIK BLACK ITALIC

REDEMPTIONLaunchingels

HAZEHOUNDSMaintenanhein

GRAND GOTHIK BOLD

GRAND GOTHIK BOLD ITALIC

HAZEHOUNDSMaintenanhein

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 21: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

21wwwparachutefontscom

PF Grand Gothik NORMAL

Nouvelle Vague is often referred to as one of the most influential movements in the history

of cinema The term was first used by a group of French film critics and cinephiles associated

with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradi-

tion de qualiteacute which dominated French film at the time was the impetus that drove these

young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe

literary works into unimaginative films calling them le cineacutema de papa The New Wave film-

makers were linked by their self-conscious rejection of the literary period pieces being made

in France and written by novelists their spirit of iconoclasm the desire to shoot more current

social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo

is an example of European art cinema Many also engaged in their work with the social and

political upheavals of the era making their radical experiments with editing visual style and

narrative part of a general break with the conservative paradigm Using portable equipment

and requiring little or no set up time the New Wave way of filmmaking presented a docu-

mentary style The films exhibited direct sounds on film stock that required less light Filming

techniques included fragmented discontinuous editing and long takes The combination of

objective realism subjective realism and authorial commentary created a narrative ambigu-

ity in the sense that questions that arise in a film are not answered in the end The cinematic

stylings of French New Wave brought a fresh look to cinema with improvised dialogue rapid

changes of scene and shots that broke the common 180deg axis of camera movement In

many films of the French New Wave the camera was used not to mesmerize the audience

Nouvelle Vague is often referred to as one of the most influential

movements in the history of cinema The term was first used by

a group of French film critics and cinephiles associated with the

magazine Cahiers du cineacutema in the late 1950s and 1960s Con-

tempt for the Tradition de qualiteacute which dominated French film at

the time was the impetus that drove these young writers This was

apparent in a manifesto-like essay written by Franccedilois Truffaut in

1953 Une certaine tendance du cineacutema franccedilais where he de-

nounced the adaptation of safe literary works into unimaginative

films calling them le cineacutema de papa The New Wave filmmakers

were linked by their self-conscious rejection of the literary period

pieces being made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social issues on

location and their intention of experimenting with the film form

ldquoNew Waverdquo is an example of European art cinema Many also

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

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PF Grand Gothik

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PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 22: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

22wwwparachutefontscom

PF Grand Gothik

Grand Gothik Wide Extra ThinGrand Gothik Wide ThinGrand Gothik Wide LightGrand Gothik Wide BookGrand Gothik Wide RegularGrand Gothik Wide MediumGrand Gothik Wide BoldGrand Gothik Wide Extra BoldGrand Gothik Wide BlackGrand Gothik Wide Extra Thin ItalicGrand Gothik Wide Thin ItalicGrand Gothik Wide Light ItalicGrand Gothik Wide Book ItalicGrand Gothik Wide ItalicGrand Gothik Wide Medium ItalicGrand Gothik Wide Bold ItalicGrand Gothik Wide Extra Bold ItalicGrand Gothik Wide Black Italic

WIDE

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 23: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

23wwwparachutefontscom

PF Grand Gothik

airmonhackedsacqueeminosaeokian

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 24: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

24wwwparachutefontscom

PF Grand Gothik

MANDIALIENSGOTHICATHINAGANDHI

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE LIGHT

GRAND GOTHIK WIDE EXTRA THIN

WIDE

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 25: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

25wwwparachutefontscom

PF Grand Gothik

Eternal sunshine of the spotless mind

Bibliography

Unfoslashrgettaringble

ECLECTICON

HANDMAIDEN

Celestial phantasmagoria show

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE BLACK

GRAND GOTHIK WIDE BOOK

GRAND GOTHIK WIDE BLACK

WIDE

AVENUE

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 26: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

26wwwparachutefontscom

PF Grand Gothik WIDE

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adapta-tion of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of iconoclasm the desire to shoot more current social issues on location and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conservative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking presented a documentary style The films ex-hibited direct sounds on film stock that required less light Filming techniques included fragmented discontinuous editing and long takes The combination of objective realism subjective realism and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

Nouvelle Vague is often referred to as one of the most

influential movements in the history of cinema The term

was first used by a group of French film critics and cine-

philes associated with the magazine Cahiers du cineacutema

in the late 1950s and 1960s Contempt for the Tradition

de qualiteacute which dominated French film at the time was

the impetus that drove these young writers This was ap-

parent in a manifesto-like essay written by Franccedilois Truf-

faut in 1953 Une certaine tendance du cineacutema franccedilais

where he denounced the adaptation of safe literary

works into unimaginative films calling them le cineacutema

de papa The New Wave filmmakers were linked by their

self-conscious rejection of the literary period pieces be-

ing made in France and written by novelists their spirit

of iconoclasm the desire to shoot more current social

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 27: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

27wwwparachutefontscom

PF Grand Gothik

Grand Gothik Extended Extra Thin

Grand Gothik Extended Thin

Grand Gothik Extended Light

Grand Gothik Extended Book

Grand Gothik Extended Regular

Grand Gothik Extended MediumGrand Gothik Extended BoldGrand Gothik Extended Extra BoldGrand Gothik Extended BlackGrand Gothik Extended UltraGrand Gothik Extended Extra Thin Italic

Grand Gothik Extended Thin Italic

Grand Gothik Extended Light Italic

Grand Gothik Extended Book Italic

Grand Gothik Extended Italic

Grand Gothik Extended Medium ItalicGrand Gothik Extended Bold ItalicGrand Gothik Extended Extra Bold ItalicGrand Gothik Extended Black ItalicGrand Gothik Extended Ultra Italic

EXTENDED

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 28: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

28wwwparachutefontscom

PF Grand Gothik

granddanceheightslalomunique

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

EXTENDED

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 29: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

29wwwparachutefontscom

PF Grand Gothik

GUIDEAUDIOVOICcedilE

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BOLD

GRAND GOTHIK EXTENDED LIGHT

GRAND GOTHIK EXTENDED EXTRA THIN

NEONROumlCĶ

EXTENDED

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 30: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

30wwwparachutefontscom

PF Grand Gothik

EDITIONS

GENUINE

EDITIONS

GENUINE

Cűlhingaacutes

Kramhoumllz

Culhingas

Kramhoumllz

GRAND GOTHIK EXTENDED ULTRA

GRAND GOTHIK EXTENDED ULTRA ITALIC

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK EXTENDED BLACK ITALIC

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 31: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

31wwwparachutefontscom

PF Grand Gothik

GRAND GOTHIK EXTENDED THIN

GRAND GOTHIK EXTENDED THIN ITALIC

SEAGOING TANKERS

SEAGOING TANKERS

Along the windy biways

Along the windy biways

Ineffaceable traditional

Ineffaceable traditional

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED ITALIC

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

HIDDEN TREASURES

Gazing at the sailboatsCastello di Santa Elena

Divine gastronomy tips

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 32: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

32wwwparachutefontscom

PF Grand Gothik EXTENDED

Nouvelle Vague is often referred to as one of the most influ-ential movements in the history of cinema The term was first used by a group of French film critics and cinephiles associat-ed with the magazine Cahiers du cineacutema in the late 1950s and 1960s Contempt for the Tradition de qualiteacute which dominat-ed French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay written by Franccedilois Truffaut in 1953 Une certaine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacute-ma de papa The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists their spirit of icono-clasm the desire to shoot more current social issues on lo-cation and their intention of experimenting with the film form ldquoNew Waverdquo is an example of European art cinema Many also engaged in their work with the social and political upheavals of the era making their radical experiments with editing visual style and narrative part of a general break with the conserv-ative paradigm Using portable equipment and requiring little or no set up time the New Wave way of filmmaking present-

Nouvelle Vague is often referred to as one of the most influential movements in the his-tory of cinema The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cineacutema in the late 1950s and 1960s Con-tempt for the Tradition de qualiteacute which dominated French film at the time was the impetus that drove these young writers This was apparent in a manifesto-like essay writ-ten by Franccedilois Truffaut in 1953 Une cer-taine tendance du cineacutema franccedilais where he denounced the adaptation of safe literary works into unimaginative films calling them le cineacutema de papa The New Wave filmmak-

GRAND GOTHIK EXTENDED 1014 pt

GRAND GOTHIK EXTENDED 1420 pt

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 33: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

33wwwparachutefontscom

PF Grand Gothik

SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved tail of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a clean

corporate texture

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 34: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

34wwwparachutefontscom

PF Grand Gothik

When you realize you want to spend the rest of your life with somebody you want the rest of your life to start as soon as possible

STYLISTIC SET 1

mdash When Harry Met Sally 1989

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 35: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

35wwwparachutefontscom

PF Grand Gothik

SS02

STYLISTIC SET 2

The second variant is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descend-ers for letters such as ldquob d h k l p q trdquo ultimately becoming more angular The same applies to similar Greek and Cyrillic

letterforms

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 36: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

36wwwparachutefontscom

PF Grand Gothik STYLISTIC SET 1 + 2

mdash Network 1976

Irsquom as Mad as hell and Irsquom not going to take this anymore

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 37: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

37wwwparachutefontscom

PF Grand Gothik

SS03

STYLISTIC SET 3

The third variant is vibrant uncalculated and constitutes a nod to early 20th century European grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters

such as B K P and R in the same design direction An alternate version of letter ldquoardquo and ldquokrdquo was designed to reflect that era along with alternate

forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms An excellect choice for posters books zines and postmodern

conceptual art

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 38: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

38wwwparachutefontscom

PF Grand Gothik

Franklymy dear Idonrsquot givea damn

mdash Gone With the Wind 1939

STYLISTIC SET 3

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 39: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

39wwwparachutefontscom

PF Grand Gothik

MULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPTMULTISCRIPT

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

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German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

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International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

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AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 40: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

40wwwparachutefontscom

PF Grand Gothik

Εξαιρετικά επιτυχημένη παραγωγή

Βιβλιογραφία

Αλησμόνητος

ΟΑΣΕΙΣ

ΟΙΚΟΔΕΣΠΟΤΗΣ

ΑΜΦΙΘΕΑΤΡΟ

Επαγγελματικά φώτα θαλάσσης

GREEK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK WIDE REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK BOOK

GRAND GOTHIK COMPRESSED BLACK

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

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PF Grand Gothik

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PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 41: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

41wwwparachutefontscom

PF Grand Gothik

Uuml Δεσμώτης του Ιλίγγου Vertigo

agrave Πολίτης Κέιν Citizen Kane

auml Ταξίδι στο Τόκιο Tokyo Story

aring Ο κανόνας του παιχνιδιού La Regravegle du jeu

eacute Η Αυγή Sunrise A Song of Two Humans

egrave Η Οδύσσεια του Διαστήματος A Space Odyssey

euml Θωρηκτό Ποτέμκιν Battleship Potemkin

igrave Η αιχμάλωτος της ερήμου The Searchers

iuml Αταλάντη LrsquoAtalante

OumlEacute Με κομμένη την ανάσα Breathless

OumlOuml Αποκάλυψη Τώρα Apocalypse Now

Oumlaacute Καθυστερημένη Άνοιξη Late Spring

Oumlacirc Οι επτά Σαμουράι Seven Samurai

Oumlatilde Περσόνα Persona

Oumlccedil Ο καθρέφτης Mirror

COMPRESSED LIGHT CONDENSED REGULAR - SS03 ON

GREEK LATIN

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 42: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

42wwwparachutefontscom

PF Grand Gothik

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι

και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύε-

ταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία

ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της

μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους

ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας

αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη-

θυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπε-

ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η

αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του

rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών μέσα σε ένα καθεστώς βιο-

μηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομο-

λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης

η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές

που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε

με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται-

νιών της Finos Film αναδεικνύοντας τη διαχρονική τους αξία Το 1954 ο Φίνος μεταφέρει για

τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη

στην οδό Χίου 53 κοντά στον σταθμό Λαρίσης όπου παραμένει έως σήμερα Στο νεοκλα-

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας

laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την

τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η

Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδε-

ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού

Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πό-

δια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό

αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο-

νιώδη ταχύτητα Μια Ελλάδα της αθωότητας της ελπίδας αλλά και

συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos

Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύ-

λογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη

υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

GREEK TEXT

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 43: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

43wwwparachutefontscom

PF Grand Gothik GREEK TEXT

Από τον Μάρτιο του 1943 με την προβολή της πρώτης ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πορεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλάδα της αθωό-τητας της ελπίδας αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ της Ελλάδαςraquo Μία εύλογη και εύστοχη παρομοίωση που αποτυπώνει και την απόλυτη υπεροχή της εται-ρίας στο χώρο της κινηματογραφικής παραγωγής Στη δεκαετία του rsquo40 έγινε η αρχή στη δεκαετία του rsquo50 ήρθε η καθιέρωση και η καταξίωση Ακολούθησε η δεκαετία του rsquo60 με την απογείωση και την κατακόρυφη αύξηση παραγω-γών μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά Κατά τη δεκαετία του rsquo70 σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό Έμελλε η τηλεόραση ndash ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος ndash να βάλει αργότερα τη σφραγίδα πιστοποίησης

Από τον Μάρτιο του 1943 με την προβολή της πρώτης

ταινίας laquoΗ Φωνή της Καρδιάςraquo μέχρι και τον Ιανουάριο

του 1977 με την τελευταία ταινία της εταιρίας laquoΟ Κυρ

Γιώργης Εκπαιδεύεταιraquo η Finos Film διέγραψε μία πο-

ρεία 34 χρόνων με την οποία σημάδεψε όσο καμία άλλη

εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο-

γράφου Το σήμα FF συμβολίζει μία ολόκληρη εποχή και

πολιτογραφεί μια Ελλάδα η οποία προσπαθεί να σταθεί

στα πόδια της μετά τον Βrsquo Παγκόσμιο πόλεμο και τον εμ-

φύλιο σπαραγμό αστικοποιείται με γρήγορους ρυθμούς

και αναπτύσσεται με δαιμονιώδη ταχύτητα Μια Ελλά-

δα της αθωότητας της ελπίδας αλλά και συνάμα της

φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου

μέρους του πληθυσμού της στις πόλεις και στην ύπαι-

θρο Η Finos Film είχε ονομαστεί κάποτε laquoτο Χόλλυγουντ

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 44: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

44wwwparachutefontscom

PF Grand Gothik

Цифровой преобразователь стандартов

интерференция

ГРАНИЧНЫЙ

корма

НАВИГАЦИОННЫЕ

ИНТЕРФЕЙС

головная часть мачты части

GRAND GOTHIK WIDE BOLD

GRAND GOTHIK EXTENDED REGULAR

GRAND GOTHIK EXTENDED BLACK

GRAND GOTHIK WIDE MEDIUM

GRAND GOTHIK BLACK

GRAND GOTHIK THIN

GRAND GOTHIK COMPRESSED BLACK

CYRILLIC

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 45: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

45wwwparachutefontscom

PF Grand Gothik CYRILLIC RUNNING TEXT

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый ре-

жиссёром Сергеем Эйзенштейном на первой кинофабрике laquoГоскиноraquo в 1925 году Не-

однократно в разные годы признавался лучшим или одним из лучших фильмов всех

времён и народов по итогам опросов критиков кинорежиссёров и публики Матросы

одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-

товались из-за того что их пытались накормить червивым мясом Зачинщики бунта

приговариваются к расстрелу Однако во время исполнения казни остальные матросы

бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель

восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на по-

хороны Вакуленчука и поддерживает команду революционного корабля Вызванные

правительственные войска безжалостно расстреливают мирных жителей на знамени-

той одесской лестнице На подавление восстания направляется Черноморская эска-

дра но матросы отказываются стрелять по восставшим и броненосец laquoПотёмкинraquo

проходит через строй кораблей В финале третьего акта фильма на мачте броненосца

развевается поднятый восставшими красный флаг Заканчивается картина кадром на

котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно ста-

новился объектом цитирования и даже кинопародий причём в большинстве случаев

внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр

с катящейся коляской отражённый в десятках фильмов снятых разными режиссёра-

ми в разных странах У фильма было несколько музыкальных сопровождений Из них

mdash музыка Эдмунда Майзеля и Дмитрия Шостаковича В СССР фильм вышел на экраны

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художе-

ственный фильм снятый режиссёром Сергеем Эйзенштейном

на первой кинофабрике laquoГоскиноraquo в 1925 году Неоднократ-

но в разные годы признавался лучшим или одним из лучших

фильмов всех времён и народов по итогам опросов критиков

кинорежиссёров и публики Матросы одного из броненосцев

Черноморского флота стоящего на рейде Одессы взбунто-

вались из-за того что их пытались накормить червивым мя-

сом Зачинщики бунта приговариваются к расстрелу Однако

во время исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за борт но

вдохновитель восстания матрос Вакуленчук гибнет в схват-

ке Население Одессы стекается на похороны Вакуленчука и

поддерживает команду революционного корабля Вызван-

ные правительственные войска безжалостно расстреливают

GRAND GOTHIK 1014 pt

GRAND GOTHIK 1420 pt

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 46: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

46wwwparachutefontscom

PF Grand Gothik

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический художественный фильм снятый режиссёром Сергеем Эйзенштейном на первой кинофа-брике laquoГоскиноraquo в 1925 году Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито-гам опросов критиков кинорежиссёров и публики Матросы одного из броненосцев Черноморского флота стоящего на рейде Одессы взбун-товались из-за того что их пытались накормить червивым мясом Зачин-щики бунта приговариваются к расстрелу Однако во время исполнения казни остальные матросы бросаются им на выручку Офицеров корабля выбрасывают за борт но вдохновитель восстания матрос Вакуленчук гибнет в схватке Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля Вызванные прави-тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице На подавление восстания направляется Черноморская эскадра но матросы отказываются стрелять по восстав-шим и броненосец laquoПотёмкинraquo проходит через строй кораблей В фина-ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг Заканчивается картина кадром на котором броненосец будто бы laquoвыплывает из фильмаraquo в зал Фильм многократно становился объектом цитирования и даже кинопародий причём в боль-шинстве случаев внимания удостаивалась сцена расстрела на Потём-

laquoБроненосец bdquoПотёмкинldquoraquo mdash немой исторический

художественный фильм снятый режиссёром Сер-

геем Эйзенштейном на первой кинофабрике laquoГо-

скиноraquo в 1925 году Неоднократно в разные годы

признавался лучшим или одним из лучших фильмов

всех времён и народов по итогам опросов крити-

ков кинорежиссёров и публики Матросы одного

из броненосцев Черноморского флота стоящего на

рейде Одессы взбунтовались из-за того что их пы-

тались накормить червивым мясом Зачинщики бун-

та приговариваются к расстрелу Однако во время

исполнения казни остальные матросы бросаются

им на выручку Офицеров корабля выбрасывают за

борт но вдохновитель восстания матрос Вакулен-

чук гибнет в схватке Население Одессы стекается

GRAND GOTHIK WIDE 1014 pt

GRAND GOTHIK WIDE 1420 pt

CYRILLIC RUNNING TEXT

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 47: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

47wwwparachutefontscom

PF Grand Gothik

Pressurized container Protect from sunlight and do not expose to

Hraniti izven dosega otrok Ne pršiti v oči Ne uporabljajte na po-

Chraacuteniť pred slnkom a nevystavovať vysokyacutem teplotaacutem Nefajčiťpri

Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

Tupakointi kielletty kaumlytoumln aikana Saumlilytettaumlvauml lasten ulottumatto-

Ne aplicirati na iritiranu kožu ili otvorene rane Izbjegavati konta s

Пазете от деца Пазете далеч от източници на пожар Не

Nu fumaţi icircn timpul folosirii nu pulverizaţi peste obiecte incandes-

Ccedilocukların ulaşamayacağı yerde muhafaza ediniz Son derece ya-

Chraňte před dětmi Pouze pro zevniacute použitiacute Neaplikujte na po-

Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

Skall skyddas mot solljus och faringr ej utsaumlttas foumlr houmlga temperatur-

Hasznaacutelata koumlzben nyiacutelt laacuteng hasznaacutelata tilos Ne hasznaacutelja irritaacutelt

Držati dalje od dece Ne nanositi dezodorans na oštećenu ili osetlji-

Drukcontainer Beschermen tegen zonlicht en niet blootstellen aan

Beholder under tryk Skal beskyttes mod sollys og maring ikke udsaeligt-

Recipiente sob pressatildeo Proteger dos raios solares e natildeo expor a

Recipiente sotto pressione Proteggere contro i raggi solari e non

Recipiente presurizado Proteja de la luz solar y no exponga a tem-

Дезодорант для тела в аэрозольной упаковке Применение

Behaumlltnis auch nach dem Gebrauch nicht aufbrechen oder ver-

Ne pas percer ou brucircler mecircme apregraves usage Ne pas vaporiser

Δοχείο υπό πίεση Να προφυλάσσεται από τις ακτίνες του ήλιου και

GB

GR

FR

DE

RU

ES

IT

PT

DK

NL

CS

HU

SE

PL

CZ

TR

RO

BG

HR

FI

LT

SK

SI

MULTISCRIPT TEXT

GRAND GOTHIK WIDE BOOK 15 pt

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 48: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

48wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Si le Cineacutema Franccedilais existe par une centaine de films chaque anneacutee il est bien entendu que dix ou douze seulement meacuteritent de retenir lrsquoattention des critiques et des cineacutephiles lrsquoattention donc de ces Cahiers Ces dix ou douze films constituent ce que lrsquoon a joliment appeleacute la Tradition de la Qualiteacute ils forcent par leur ambition lrsquoadmiration de la presse eacutetrangegravere deacutefendent deux fois lrsquoan les couleurs de la France agrave Cannes et agrave Venise ougrave depuis 1946 ils raflent assez reacuteguliegraverement meacutedailles lions drsquoor et grands prix Au deacutebut du parlant le cineacutema Franccedilais fut lrsquohonnecircte deacutemarquage du cineacutema ameacutericain Sous lrsquoinfluence de Scarface nous faisions lrsquoamusant Peacutepeacute le Moko Puis le

Definitiv wird die Kunstleistung des Buumlhnenschauspielers dem Publikum durch diesen selbst in eigener Person praumlsentiert dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur praumlsentiert Das letz-tere hat zweierlei zur Folge Die Apparatur die die Leistung des Filmdarstel-lers vor das Publikum bringt ist nicht gehalten diese Leistung als Totalitaumlt zu respektieren Sie nimmt unter Fuumlhrung des Kameramannes laufend zu dieser Leistung Stellung Die Folge von Stellungnahmen die der Cutter aus dem ihm abgelieferten Material komponiert bildet den fertig montierten Film Er umfaszligt eine gewisse Anzahl von Bewegungsmomenten die als solche der Kamera

El cine de Almodoacutevar cultiva un naturalismo que destruye el usual costumbris-mo burgueacutes del cine espantildeol Suele representar por el contrario una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores policiacuteas corruptos consumo de drogas maltrato prostitu-cioacuten nintildeos precoces paletos filosoacuteficos marujas desesperadas homosexua-lidad desgarrada etc todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo como la lluvia dorada de su primer largo en 35 mm Pepi Luci Bom y otras chicas del montoacuten (1980) Tambieacuten abundan entre sus fuentes de inspiracioacuten casi siempre autobio-

Ida najnowszy film Pawła Pawlikowskiego już po pierwszych pokazach został okrzyknięty arcydziełem Zdominował festiwal filmowy w Gdyni i zdobył statu-etkę w Toronto Tuż po kinowej premierze rozpoczęły się jednak dyskusje Czy każda polska produkcja jest albo katastrofą albo cudem Czy nie dosyć już kinowych rozliczeń z przeszłością udziałem Polakoacutew w Holocauście Od-powiedź jest prosta Jeśli mają powstawać filmy takie jak Ida to tej tematyki nigdy nie będzie za dużo Aby uwiarygodnić obraz Polski lat 60 reżyser zde-cydował się na stworzenie filmu czarno-białego I faktycznie PRL jest tam tak ponury jak w opowieściach rodzicoacutew i dziadkoacutew staje się miejscem wybitnie

FRANCcedilAIS - GRAND GOTHIK 1014 pt

DEUTSCH - GRAND GOTHIK 1014 pt

ESPANtildeOL - GRAND GOTHIK 1014 pt

POLSKI - GRAND GOTHIK 1014 pt

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 49: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

49wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita Tra questi film vi egrave Blow-Up di Michelangelo Antonioni che come il film di Fellini assu-me qualunque significato che gli voglia dare lo spettatore In Lost in Transla-tion - Lrsquoamore tradotto i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakegrave la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film Donne in amore di Ken Russell egrave un altro film che deve molto a Fellini Intervista dello stesso Fellini si rifagrave a La dolce vita in una scena ambientata a casa di Anita Ekberg lrsquoattrice Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

O cinema baseia-se em projeccedilotildees puacuteblicas de imagens animadas O cine-ma nasceu de vaacuterias inovaccedilotildees que vatildeo desde o domiacutenio fotograacutefico ateacute a siacutentese do movimento A esta foi atribuiacuteda como causa a persistecircncia da visatildeo ou laquopersistecircncia retinianaraquo por teoacutericos renomados e importantes Mas o efeito de movimento do cinema natildeo pode ser explicado pela laquopersistencis retinianaraquo Na verdade a coisa toda acontece em niacutevel neural jaacute posterior agrave fase da retina no proceso de percepccedilatildeo visual Hugo Mustemberg psicoacutelogo e um dos primeiros teoacutericos do cinema jaacute negava em 1916 a possibilidade do efeito de movimento produzido no cinea resultar de fenocircmenos retinianos

Den andra polen i Bergmans liv och verk roumlr de mer jordnaumlra maumlnskliga re-lationerna saringvaumll de kaumlnslomaumlssiga psykologiska ofta subtila nyanserna och spelen inom och mellan maumlnniskorna ndash naringgot Bergman blivit internationellt kaumlnd foumlr liksom foumlr sitt kaumlnsliga lyssnande arbete med skaringdespelarna ndash som de mer intima och ofta komplicerat sinnliga relationerna Bergman raumlknas aumlven som en av de stora bidragande foumlrnyarna inom filmkonsten Han har roumlrt sig inom olika stilar fraringn mer poetiska episka filmer till naumlrmast neorealistiska skildringar Han har experimenterat med klippteknik och med droumlmlika former gjort egensinniga historiska kostymfilmer och ett antal intraumlngande psykolo-

Československaacute novaacute vlna byla uměleckyacutem hnutiacutem v kině ktereacute se vyviacutejelo z dřiacutevějšiacuteho Devětsilskeacuteho hnutiacute třicaacutetyacutech let Nespokojenyacute s komunistickyacutem režimem kteryacute převzal v Československu v roce 1948 se stali žaacuteky filmu a televizniacute fakulty Akademie muacutezickyacutech uměniacute v Praze (takeacute znaacutemaacute jako FAMU) odpůrci sveacute doby Jejich ciacutelem bylo natočit filmy bdquoaby českyacute lid byl kolektivně vědom toho že jsou uacutečastniacuteky systeacutemu uacutetlaku a neschopnosti kteryacute je všech-ny brutalizovalldquo Ochranneacute znaacutemky hnutiacute jsou dlouheacute neptaneacute dialogy tem-neacute a absurdniacute humor a odleacutevaacuteniacute neprofesionaacutelniacutech herců Filmy se dotyacutekaly teacutemat kteraacute se pro staršiacute filmaře v komunistickyacutech zemiacutech zřiacutedkakdy podařilo

ITALIANO - GRAND GOTHIK 1014 pt

PORTUGUEcircS - GRAND GOTHIK 1014 pt

SVENSKA - GRAND GOTHIK 1014 pt

CZECH - GRAND GOTHIK 1014 pt

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 50: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

50wwwparachutefontscom

PF Grand Gothik OTHER LANGUAGES

Carl Theodor Dreyer anses af mange som dansk films foslashrste store instruktoslashr Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter Hans foslashrste film i instruktoslashrstolen var Praeligsidenten i 1919 Han lavede film i Danmark Tyskland og Frankrig Carl Th Dreyer huskes i saeligrdeleshed for mestervaeligrkerne Jeanne drsquoArcs lidelse og doslashd Vredens dag og Ordet Hans popularitet i de franske filmkredse paringvirkede desvaeligrre ikke andre europaeligi-ske producenter der alle vendte ham ryggen efter den oslashkonomisk katastro-fale Jeanne drsquoArcs lidelse og doslashd som paradoksalt nok af mange anmeldere og filmhistorikere anses for at vaeligre hans fineste vaeligrk Med Vredens dag fik

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten-landse project Het was ergens een logische en noodzakelijke stap In Neder-land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven Met Robocop liet hij de wereld zien dat men niet om hem heen kon Zijn naam was meteen gevestigd Ro-bocop werd een grote hit aan de kassa en was daarnaast ook nog eens een kritisch succes De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller maar heeft hiernaast nog een satirische ondertoon en raakt vraagstukken aan over identiteit en de menselijke natuur Laat je niet

Noul val romacircnesc este un termen-umbrelă aplicat unei serii de filme produ-se in Romacircnia recunoscute international icircncepand cu mijlocul anilor 2000 Primul film din aceasta serie este Trafic film ce a castigat premiul Palme drsquoOr pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004 O mare parte a filmelor apartinand Noului val romacircnesc prezinta sfarsitul ani-lor 1980 spre finalul regimului totalitarian al lui Nicolae Ceaușescu si explora teme despre libertate si adaptabilitate sub regimul comunist Totusi filme pre-cum Moartea domnului Lăzărescu California Dreaminrsquo si Marți după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

Semih Kaplanoğlursquonun rsquoYumurtarsquoyla başlayıp lsquoSuumltrsquole devam ettiği Yusuf Uumlccedille-mesirsquonin son filmi rsquoBalrsquo duumlnyanın en prestijli sinema etkinliklerinden Berlin Film Festivalirsquonin ana yarışma boumlluumlmuumlne kabul edilmesiyle sinema duumlnyasında he-yecan yaratmıştı Uumlccedillemenin ilk filmi Cannes Film Festivalirsquonin Belirli Bir Bakış boumlluumlmuumlnde goumlsterilmiş ikinci film rsquoSuumltrsquo ise Venedik Film Festivalirsquonde Altın As-lan iccedilin yarışmıştı Uumlccedillemenin ilk iki filmini Egersquode ccedileken Kaplanoğlu lsquoBalrsquo iccedilin Karadenizrsquoi Tuumlrkiyersquode kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Ccedilamlıhemşinrsquoi tercih etmiş Kaplanoğlu Ccedilamlıhemşinrsquoi ter-cih etme sebebini Radikal Gazetesirsquone ldquoBolursquodan Toroslarrsquoa kadar Tuumlrkiyersquonin

DANSK - GRAND GOTHIK 1014 pt

NEDERLANDS - GRAND GOTHIK 1014 pt

ROMANIAN - GRAND GOTHIK 1014 pt

TURKISH - GRAND GOTHIK 1014 pt

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 51: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

51wwwparachutefontscom

PF Grand Gothik

sect

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 52: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

52wwwparachutefontscom

PF Grand Gothik

An emoticon is a pictorial representation of a facial expression using characters mdash usually punctuation marks num-

bers and letters mdash to express a personrsquos feelings or mood or as a time-saving method The first ASCII emoticons -)

and -( were written by Scott Fahlman in 1982 but emoticons actually originated on the PLATO IV computer system

in 1972 As SMS and the internet became widespread in the late 1990s emoticons became increasingly popular and

were commonly used on text messages internet forums and e-mails Emoticons have played a significant role in com-

munication through technology and some devices and applications have provided stylized pictures that do not use

text punctuation They offer another range of ldquotonerdquo and feeling through texting that portrays specific emotions through

facial gestures while in the midst of text-based cyber communication

emotionalemotionalemotionalemotionalemotionalemotionalemotionalemotional

SYMBOLS

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 53: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

53wwwparachutefontscom

PF Grand Gothik

cent pound sect uml copy reg deg acute

para szlig ograve oacute ocirc otilde ouml

ugrave uacute ucirc uuml Ā ā Ă

ă Ą ą Ć ć Ĉ ĉ

dagger bull trade cent pound sect uml

copy reg deg acute para szlig ograve

oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą

Ć ć Ĉ ĉ dagger bull trade

SYMBOLS

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 54: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

54wwwparachutefontscom

PF Grand Gothik

E

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 55: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

55wwwparachutefontscom

PF Grand Gothik SYMBOLS

seasonalseasonalseasonalseasonalseasonalseasonalseasonalseasonal

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter And likewise they think

Earth is farthest from the sun in the winter Although this idea makes sense it is incorrect It is true that Earthrsquos orbit is

not a perfect circle It is a bit lop-sided During part of the year Earth is closer to the sun than at other times However

in the Northern Hemisphere we are having winter when Earth is closest to the sun and summer when it is farthest

away Compared with how far away the sun is this change in Earthrsquos distance throughout the year does not make

much difference to our weather There is a different reason for Earthrsquos seasons

Earthrsquos axis is an imaginary pole going right through the center of Earth from ldquotoprdquo to ldquobottomrdquo Earth spins around this

pole making one complete turn each day That is why we have day and night and why every part of Earthrsquos surface

gets some of each Earth has seasons because its axis doesnrsquot stand up straight

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED ULTRA 76 pt

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 56: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

56wwwparachutefontscom

PF Grand Gothik

0 1 2 3 4 5 6 7

9 8 = lt gt

A B C D E F G

I H K J M L O N

P Q R S T U V W

Y X [ Z ] _ ^

` a b c d e f g

i j k l m n o p

r q s r u t w v

SYMBOLS

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

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PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 57: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

57wwwparachutefontscom

PF Grand Gothik

eacute

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 58: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

58wwwparachutefontscom

PF Grand Gothik SYMBOLS

numericalnumericalnumericalnumericalnumericalnumericalnumericalnumerical

A numeral is a figure symbol or group of figures or symbols denoting a number A numerical digit is a single symbol

(such as ldquo2rdquo or ldquo5rdquo) used alone or in combinations (such as ldquo25rdquo) to represent numbers (such as the number 25)

according to some positional numeral systems The single digits (as one-digit-numerals) and their combinations (such

as ldquo25rdquo) are the numerals of the numeral system they belong to The name ldquodigitrdquo comes from the fact that the ten dig-

its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system

ie the decimal (ancient Latin adjective decem meaning ten) digits A numeral system (or system of numeration) is a

writing system for expressing numbers that is a mathematical notation for representing numbers of a given set using

digits or other symbols in a consistent manner The same sequence of symbols may represent different numbers in

different numeral systems The most commonly used system of numerals is the HindundashArabic numeral system

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BOLD 76 pt

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 59: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

59wwwparachutefontscom

PF Grand Gothik

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

egrave ecirc euml iacute igrave icirc iuml ntilde

Eacute Ntilde Ouml Uuml aacute agrave acirc auml

atilde aring ccedil eacute egrave ecirc euml iacute

igrave icirc iuml ntilde Eacute Ntilde Ouml Uuml

aacute agrave acirc auml atilde aring ccedil eacute

SYMBOLS

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 60: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

60wwwparachutefontscom

PF Grand Gothik

Į

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 61: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

61wwwparachutefontscom

PF Grand Gothik SYMBOLS

directionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionaldirectionalAs architectural environments become more complicated people need visual cues such as maps directions and

symbols to help guide them to their destinations In these often high-stress environments effective wayfinding systems

contribute to a sense of well-being safety and security In urban settings wayfinding specialists develop signage and

information systems for both pedestrians and motorists who each have unique challenges navigating streets and

roadways These information systems help people develop ldquomental mapsrdquo of the terrain and simplify their routes to the

extent possible Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc-

tions to their destinations In some settings reliance on text-based messaging is minimized and systems rely heavily

on non-text cues such as colors and symbols

GRAND GOTHIK WIDE 914 pt

GRAND GOTHIK EXTENDED BLACK 76 pt

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 62: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

62wwwparachutefontscom

PF Grand Gothik

Ĭ ĭ Į į İ ı IJ ij Č č Ď

ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě

ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ

ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ

Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń

Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō

ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ

Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

SYMBOLS

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 63: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

63wwwparachutefontscom

PF Grand Gothik

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 64: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

64wwwparachutefontscom

PF Grand Gothik

SCRIPTS

LANGUAGES

PF Grand Gothik supports over 100 languages simultaneously integrating within the same font Latin Greek Cyrillic Eastern European Baltic and Turkish scripts For a full character set of this typeface (including all special characters) go to the character set section

1252 Latin 11253 Greek1250 Eastern European1251 Cyrillic1254 Turkish1257 Baltic

Afrikaans

Albanian

Alsatian

Aranese

Azeri (Latin)

Azeri (Cyrillic)

Basque

Belarussian

Bislama

Bosnian

Breton

Bulgarian

Catalan

Chamorro

Croatian

Czech

Danish

Dutch

English

Estonian

Faroese

Finnish

Flemish

Franco-Provencal

French

Frisian

Friulian

Galician

Gaelic

German

Greenlandic

Greek

Hungarian

Icelandic

Indonesian

Irish

Italian

Kazakh (Cyrillic)

Kurdish (Latin)

Kyrgyz

Ladin

Lithuanian

Latin

Latvian

Luxembourgish

Macedonian (FYROM)

Moldovian

Mongolian

Malay

ManxGaelic

Norwegian (Bokmaringl)

Norwegian (Nynorsk)

Occitan

Polish

Portuguese

Rhaeto-Romance

Romansh

Romanian

Russian

Sami (Inari)

Sami (Lule)

Sami (Skolt)

Sami (Southern)

Scottish

Serbian

Slovak

Slovenian

Sorbian

Spanish

Swahili

Swedish

Tatar

Tagalog

Turkish

Ukrainian

Uzbek (Latin)

Uzbek (Cyrillic)

Walloon

Welsh

SUPPORTED LANGUAGES

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 65: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

65wwwparachutefontscom

PF Grand Gothik

A B B C D E E F F G G G H H I J

K K L M M N O P P Q Q R R S T

U V W X Y Z a a a b b c d d e f

g h h i j k k k l l m n o p p q q r s

t t t u v w x y y z szlig

Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ

Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω

α α β β γ γ δ ε ζ η θ ι κ κ λ μ micro ν

ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

А Б Б В В Г Д Е Е Ё Ё Ж Ж З И

Й К К Л М Н Н О П Р Р С Т У У

Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э

Э Ю Ю Я Я а а а б в г д е ё ж

з и й к л м н о п р р с т у у ф ф

х ц ч ш щ ъ ы ь э ю я

BASIC CHARACTER SET (WITH ALTERNATES)

LATIN

GREEK

CYRILLIC

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 66: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

66wwwparachutefontscom

PF Grand Gothik ADDITIONAL CHARACTER SET (WITH ALTERNATES)

Agrave Aacute Acirc Auml Atilde Aring Ā Ă Ą AElig AElig Ǽ Ǽ Ć

Ĉ Ċ Č Ccedil Ď Đ Egrave Egrave Eacute Eacute Ecirc Ecirc Euml Euml Ē Ē Ĕ

Ĕ Ė Ė Ę Ę Ě Ě ETH Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ

Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Igrave Iacute Icirc Iuml Ĩ Ī Ĭ Į İ IJ Ĵ Ķ

Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ntilde Ņ Ŋ Ograve Oacute Ocirc Ouml Otilde

Ō Ŏ Ő Oslash Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś

Ŝ Ş Ș ẞ Ţ Ť Ŧ Ugrave Uacute Ucirc Uuml Ũ Ū Ŭ Ů Ű

Ų Ẁ Ẃ Ŵ Ẅ Yacute Ỳ Ÿ Ŷ Ž Ź Ż THORN

agrave agrave agrave aacute aacute aacute acirc acirc acirc auml auml auml atilde atilde atilde aring aring aring

ā ā ā ă ă ă ą ą ą aelig aelig ǽ ǽ ć ĉ ċ č

ccedil ď ď đ đ eth egrave eacute ecirc euml ē ĕ ė ě ę ĝ ğ ġ

ģ ĥ ĥ ħ ħ igrave iacute icirc iuml icirc ĩ ī ĭ į ı ij ĵ ķ ķ ķ ĸ ĺ

ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ntilde ņ ʼn ŋ ograve oacute ocirc ouml otilde ō

ŏ ő oslash ǿ œ ŕ ŗ ř ś š ŝ ş ș szlig ţ ţ ţ ť ť ť

ŧ ŧ ŧ ugrave uacute ucirc uuml ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ yacute

yacute ỳ ỳ ŷ ŷ yuml yuml ź ž ż thorn thorn ə

ACCENTED LATIN GLYPHS

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 67: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

67wwwparachutefontscom

PF Grand Gothik

Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ

ϊ ϋ ϋ ΐ ΰ ΰ

Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ

Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ

Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө

ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ

ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

ft ff fi fl ffi l fj ffj tt

1234567890

1234567890

1234567890

1234567890

frac14 frac12 frac34 permil

$ euro pound yen ₴ ₹ ₼ ₿

ADDITIONAL CHARACTER SET (WITH ALTERNATES)

GREEK

CYRILLIC

LIGATURES

PROPORTIONAL LINING

(DEFAULT NUMERALS)

TABULAR OLDSTYLE

PROPORTIONAL OLDSTYLE

TABULAR LINING

FRACTIONS

CURRENCIES

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 68: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

68wwwparachutefontscom

PF Grand Gothik

iexcl iquest ( ) [ ] | brvbar laquo raquo lsaquo rsaquo

ldquo rdquo lsquo rsquo sbquo bdquo hellip bull - ndash mdash dagger Dagger sect para

copy reg trade ordf ordm Å Ω sup1 sup2 sup3

π Δ ℓ minus + plusmn not times divide lt = gt ~

Ŕ ŕ Ŗ 0 1 2 3 4 5 6

7 8 9 lt = gt A B C D E F G

H I J K L M N O P Q R S T U V W X

Y Z [ ] _ a b c d e f g h i

j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig

ograve oacute ocirc otilde ouml ugrave uacute ucirc uuml Ā ā Ă ă Ą ą Ć ć

Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave ecirc

euml iacute igrave icirc iuml ntilde Eacute Ntilde Ĭ ĭ Į į İ ı IJ ij Č č

Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ

Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī

ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ

ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

PUNCTUATION

MISCELLANEOUS

MATH SYMBOLS

OTHER SYMBOLS

ADDITIONAL CHARACTER SET

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 69: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

69wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

G Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

The first variation retains the squared-off stems of the default version while letter ldquoardquo and ldquoGrdquo lose their spur the curved terminal of ldquoyrdquo becomes straight and the crotch of ldquoMrdquo sharp-pointed altogether imbuing the typeface with a corporate texture

a aAVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

agency agency

Gearbox Gearbox

Master Master

Quote Quote

Τράπεζα Τράπεζα

Секунда Секунда

STYLISTIC SET 1 (SS01)

LATIN

GREEK

CYRILLIC

GREEK

CYRILLIC

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 70: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

70wwwparachutefontscom

PF Grand Gothik

b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

The second variation is more eclectic exchanging the squared-off stems for slanted ones with the ascenders and descenders for letters such as ldquob d h k l p q trdquo ulti-mately becoming more angular The same applies to similar Greek and Cyrillic letter-forms

k kSTYLISTIC SET 2 (SS02)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

diplomat diplomat

φωτισμός φωτισmicroός

факс факс

GREEK

CYRILLIC

OPENTYPE FEATURES

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 71: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

71wwwparachutefontscom

PF Grand Gothik

B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

The third variation is vibrant uncalculated and constitutes a nod to early 20th century European Grotesque styles The middle stroke on letters such as E F and H sits higher pushing the design of other characters such as B K P and R in the same design direc-tion An alternate version of letter ldquoardquo was designed to reflect that era along with alter-nate forms for lowercase ldquotrdquo The same applies to similar Greek and Cyrillic letterforms

E ESTYLISTIC SET 3 (SS03)

LATIN

GREEK

CYRILLIC

AVAILABLE VARIANTS

SAMPLE SUBSTITUTIONS

SHORE SHORE

Break Break

Grande Grande

ΑΙΘΡΙΟ ΑΙΘΡΙΟ

Ειδικός Ειδικός

ЖЕНИХ ЖЕНИХ

OPENTYPE FEATURES

GREEK

CYRILLIC

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 72: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

72wwwparachutefontscom

PF Grand Gothik

t ţ ť ŧ ț B E Egrave Eacute Ecirc Euml Ē Ĕ Ė Ę Ě AElig Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a agrave aacute acirc atilde auml aring aelig ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө аb d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p thorn q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һG Ĝ Ğ Ġ Ģ M Q a agrave aacute acirc atilde auml aring ā ă ą ordf y yacute yuml ŷ α ά У Ў а у ў

Replaces individual glyphs with several alternate forms purely for aesthetic reasons Highlight the standard glyph you want to change and select the option lsquostylistic alter-natesrsquo or lsquoalternates for selectionrsquo from the programrsquos glyphs palette From the alter-nate glyphs that appear select one and replace Whereas the stylistic sets 01 02 and 03 replace a whole set of glyphs the stylistic alternates feature replaces individual glyphs These can be the same or different from the ones that are part of the stylistic sets

t tSTYLISTIC ALTERNATES

AVAILABLE VARIANTS

OPENTYPE FEATURES

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 73: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

73wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

ff fi fl ffi l ft fj ffj tt

δ i İ Ș Ș ș

1234567890

1234567890

ffl ffl

б δ

123

123

LIGATURES

LOCALIZED FORMS

PROPORTIONAL LINING

(DEFAULT)

PROPORTIONAL OLDSTYLE

AVAILABLE VARIANTS

AVAILABLE VARIANTS

AVAILABLE FIGURES

AVAILABLE FIGURES

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 74: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

74wwwparachutefontscom

PF Grand Gothik OPENTYPE FEATURES

1234567890

1234567890

0 1 2 3 4 5 6 7 8 9 lt = gt A B C D E F G H

I J K L M N O P Q R S T U V W X Y Z [ ] _ a

b c d e f g h i j k l m n o p q r s t u v w x y z

| ~ Auml Aring Ccedil cent pound sect copy reg deg para szlig ograve oacute ocirc otilde ouml ugrave uacute ucirc

uuml Ā ā Ă ă Ą ą Ć ć Ĉ ĉ dagger bull trade Ouml Uuml aacute agrave acirc auml atilde aring ccedil eacute egrave

ecirc euml iacute igrave icirc iuml ntilde Eacute Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ

Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ

Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş

Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

123

123

huacuteigrave

TABULAR LINING

TABULAR OLDSTYLE

ORNAMENTSSYMBOLS

AVAILABLE FIGURES

AVAILABLE FIGURES

AVAILABLE SYMBOLS

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 75: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

75wwwparachutefontscom

PF Grand Gothik

THE FOUNDRY

THE DESIGNER

MAJOR CLIENTS

Parachutereg is an acclaimed European type foundry based in Athens and London Apart from its commercial library of typefaces Parachutereg specialises in multiscript bespoke type design and branding For over a decade Parachute has provided custom and corporate font services to high profile international customers such as Bank of America European Commission UEFA Samsung IKEA Interbrand National Geographic Financial Times National Bank of Greece Alpha Bank and many others All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin Greek and Cyrillic Latest entries support Arabic as well For an updated profile please visit our website

Panos Vassiliou is a type designer Head of Creative and founder of Parachutereg an independent type foundry and branding studio focusing on bespoke type design He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands Early on as a student at the university he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto Panos is a graduate of the University of Toronto Canada with a major in Applied Science and Engineering Following his UofT graduation he studied Graphic Communications at Ryerson University In his early transition years he got involved with a theatre company founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto A few years later after moving to Athens he became the Editorial Director of the iconic Status magazine before starting his own publishing company At the end his obsession with typography was overpower-ing enough to turn his passion into a professionHe has collaborated with advertising and branding agencies in Europe North America Latin America and Asia to design typefaces for companies and organizations such as Bank of America European Commission UEFA Samsung Ikea Financial Times National GeographicHis work as a type designer has spawned numerous brand-defining typefaces over the past 15 years Panos has received accolades from European Design Awards German Design Awards Communication Arts HiiiBrand Creative Review Granshan Awards to name a few including a Grand Prix award from Red DotPanos has been on the board of directors for cultural organizations has lectured across Europe on branding design and typography while he regularly serves on the judging panel for international competitions He is also the founder of Typeroom an online platform for the typophile generation whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers advertisers students and professionals alike wishing to explore the art of typographyHis main interest today is the psychology behind type design and its impact on successful brandsWhen not thinking type he often hits the road on his bobber or sets sail for the Greek islands

ABC Network

Adidas Group

American Express

AOL Corp

Bank of America

BBC

CBC Radio amp

Television

CBS Network

Coca Cola Company

Columbia University

Converse

Cornell University

Dentsu America

Deutsche Welle

Disney

Dolby Laboratories

Electronic Arts

ESPN

European Commission

Financial Times

Fox Network

Gap Inc

Grey Group

Harrods

Harper Collins

Hasbro

Ikea

Intel

Interbrand

JWT

Leo Burnett

LrsquoOreacuteal

Macmillan

Marriott Hotels amp

Resorts

McCann Erickson

McGill University

McGraw-Hill

MetaDesign

MIT

MTV Networks

National Geographic

NBA

Nestleacute

Nike

Ogilvy amp Mather

Oprah Winfrey

Network

Penguin Group

Pentagram

PepsiCo

Princeton University

Procter amp Gamble

Publicis

Qatar Museums

Authority

Random House

Russell Corporation

Saatchi amp Saatchi

Samsung

Stanford University

TBWA

Texas Rangers

The Brand Union

Time Inc

Tommy Hilfinger

Turner Broadcasting

UEFA

Unilever

UCLA

Victoriarsquos Secret

Virgin

Vodafone

Warner Bros

ABOUT

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 76: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

76wwwparachutefontscom

PF Grand Gothik

BESPOKE FOR

LIVING BRANDS

In an emerging global market all major companies invest heavily on corporate branding and design as a means of differentiating themselves from competitors A custom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi-ence It reflects the essence of the brand creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality At Parachute we offer original custom design multilingual support and advanced typographic expertise For over a decade we have provided custom corporate font services to some of the most innovative designers and com-panies around the world Our clientele includes advertising and branding agencies broadcasting corporations publishing houses financial institutions and multinational corporations such as

CUSTOM SERVICES

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 77: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

77wwwparachutefontscom

PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special AwardBague Type System

Communication Arts Typography Competition 2016 | Award WinnerAdamant Sans Pro

Communication Arts Typography Competition 2015 | Award of ExcellenceDas Grotesk Pro

Granshan Awards 2014 | Award WinnerAdamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze AwardBague Sans Pro

Hiiibrand Typography Competition 2014 | Merit AwardOccula

European Design Awards 2014 | BronzeBague Pro

German Design Awards 2014 | NomineeRegal Pro

Hiiibrand Awards 2013 | Silver AwardRegal Pro

Red dot Design Awards 2012 | Grand Prix WinnerRegal Pro

Communication Arts Typography Competition 2012 | Award of ExcellenceRegal Pro

German Design Awards 2012 | NomineeEncore Sans Pro Creative Review Type Annual 2011 | WinnerRegal Pro European Design Awards 2011 | FinalistRegal Pro EBGE Awards 2011 | FinalistRegal Pro Granshan Awards 2010 | Excellence AwardRegal Pro Granshan Awards 2010 | Excellence AwardChampion Script Pro Granshan Awards 2010 | Excellence AwardAdamant Pro Granshan Awards 2010 | Excellence AwardEncore Sans Pro European Design Awards 2010 | Silver WinnerEncore Sans Pro

International Type Design Competition 2009 | Excellence AwardCentro Pro

International Type Design Competition 2009 | Excellence AwardChampion Script Pro

International Type Design Competition 2009 | Excellence AwardGoudy Initials Pro and Goudy Ornaments

European Design Awards 2008 | Gold WinnerCentro Pro

AWARDS

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom

Page 78: PF Grand Gothik The all new Grand Gothik type system is ... · of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with

You may reproduce this manual and distribute it freely provided you do

not edit the document andor remove the copyright information Parachute

assumes no responsibility or liability for any errors or inaccuracies that may

appear in this document Contents are subject to change without notice

copy2018 Parachutereg All rights reserved

Grand Gothik is a trademark of Parachute Typefoundry

Parachutereg 14 Taki Street Athens 10554 Greece | T +30 210 80 18 100

71-75 Shelton Street London WC2H 9JQ United Kingdom | T +44 20 3608 3024

salesparachutefontscom | wwwparachutefontscom