Fonts Seite 2

Prensa DisplayDas Font Bureau stellt die Schrift Prensa Display vor. Diese Display-Familie entstand als Begleitung zu der schon bekannten Prensa, entwickelt von Designer Cyrus Highsmith.

Nachdem es die Prensa schon seit einiger Zeit für den Textgebrauch gibt, dürfen wir uns nun auch über eine Display-Version freuen, die ebenso lebendig und kraft-voll daher kommt.Die Schriftfamilie erzeugt, durch das regelrechte Ein-wickeln der Innenbereiche durch die äußeren Rundun-gen, eine charakterisierende Spannung innerhalb der Formen. Inspiriert wurde der amerikanische Designer von William Addison Dwiggins, einem bekannten Schrift- und Buchgestalter, der diese Technik schon bei seiner Schrift Electra anwandte.Die Prensa Display bringt gleich 36 verschiedene Schnitte mit und hat sich gegenüber der Prensa um die condensed und compressed Schnitte erweitert. Diese sind kompakter und erlauben effektivere Einstellun-gen in Headlines. Erhältlich ist der Display Font somit in: light, book, regular, semibold, bold und black, alle auch in small caps und allen dazugehörigen Italic-Schnitten. Alles gibt es dann in normal, condensed und compressed. Ebenso ist sie perfekt ausgebaut in beiden Zahlenreihen und mit erweitertem Zeichensatz der keine Wünsche offen lässt. Auch die Unterstützun-gen anderer Sprachen ist vorhanden.Ursprünglich wurde sie für bestimmte Zeitungen entwickelt. Heute wird sie auch von Privatpersonen genutzt. Abgesehen von anderen Verwendungen, wird die Prensa Display für den Zeitungs-, Magazine- und Firmengebrauch empfohlen.Nachdem es die Prensa schon seit einiger Zeit für den Textgebrauch gibt, dürfen wir uns nun auch über eine Display-Version freuen, die ebenso lebendig und kraft-voll daher kommt.Die Schriftfamilie erzeugt, durch das regelrechte Ein-

wickeln der Innenbereiche durch die äußeren Rundun-gen, eine charakterisierende Spannung innerhalb der Formen. Inspiriert wurde der amerikanische Designer von William Addison Dwiggins, einem bekannten Schrift- und Buchgestalter, der diese Technik schon bei seiner Schrift Electra anwandte.Die Prensa Display bringt gleich 36 verschiedene Schnitte mit und hat sich gegenüber der Prensa um die condensed und compressed Schnitte erweitert. Diese sind kompakter und erlauben effektivere Einstellun-gen in Headlines. Erhältlich ist der Display Font somit in: light, book, regular, semibold, bold und black, alle auch in small caps und allen dazugehörigen Italic-Schnitten. Alles gibt es dann in normal, condensed und compressed. Ebenso ist sie perfekt ausgebaut in beiden Zahlenreihen und mit erweitertem Zeichensatz der keine Wünsche offen lässt. Auch die Unterstützun-gen anderer Sprachen ist vorhanden.Ursprünglich wurde sie für bestimmte Zeitungen entwickelt. Heute wird sie auch von Privatpersonen genutzt. Abgesehen von anderen Verwendungen, wird die Prensa Display für den Zeitungs-, Magazine- und Firmengebrauch empfohlen.

Fonts Seite 2

FrakirDie neue Schrift ist von der Found-rie Underware entwickelt worden. Hier stellen wir Specimen der Schrift vor.

The typeface Fakir is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2006. Reproducing and using this material in any form without a written permission from Underware is prohibited.

Fakira blackletter

with a holy kiss

c

The typeface Fakir is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2006. Reproducing and using this material in any form without a written permission from Underware is prohibited. page 3/37

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Fakirs lie on a bed of nails, walk on burning coals or have a truck driven over their chests. Some pierce their tongues with a spear ‘without suffering’. It is likely they want to show off for the blue-eyed crowds how

spiritually developed they are. As amazing as they are, we believe that true fakirs can’t be found under the

spotlight, but among the normal people. A true fakir for us is someone

who gives everything as though it were life and death, who’s fully convinced of his/her

doings and doesn’t mind making every effort to reach a goal.

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—————— ————————————————————————————————— —————— —— —————————————————— ———————————————————————————————————————————————————————————————————————————————————————1 This example combines all 5 fonts of the Fakir display package.

The typeface Fakir is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2006. Reproducing and using this material in any form without a written permission from Underware is prohibited. page �/37

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stories…

ASDASDThese

The typeface Fakir is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2006. Reproducing and using this material in any form without a written permission from Underware is prohibited. page ��/37

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How NASA discovers new sources of energy

Living on sunlight

Indian taking a sun bath every morning and eveningstory told by Peter & Erin, travellers from New York

A .few months ago we were lucky to meet Hira .Ratan Manek (64) in the Kinnaur valley of

the Indian Himalaya’s. He was busy packing the ne-cessities for a trip to the USA, where NASA had in-vited him. Why? Well, he’s been living eight years on sunlight and some liquids. Sun baths for breakfast and sun baths for dinner. NASA was enthusiastic to investigate how he manages, as they would not like to pack space shuttles full of cans of tuna. It was year 1995 when Hira Ratan made his pil-grimage to the Himalaya’s – and decided to stop eating. His wife Vimla said that Hira Ratan gazes at the sun mostly in the evenings for half an hour. That’s is enough to fill his stomach, though occa-sionally he might take a cup of coffee, tea or some other fluid. But just occasionally.

‘As long as they are only going to technically mea-sure my body, they will never find out the true source of my energy. NASA is lacking the spiritual know-ledge, which, if they are open, I’m willing share with them’, said Hira Ratan as his farewell words for us. The astronauts may have their word to say about this diet, though, but we’re sure curious to know if NASA starts to install sundecks for the shuttles! ¶

The Nirvana Times The Nation’s most trusted Newspaper this issue contains just 37 pages presenting underware’s fakir, a blackletter with a holy kiss contact info@underware.nl for more information

They don’t believe me.

Why?What I tell is

the truth.

Well, the first story that comes to my mind is from the time when my son was a little baby, only six months of age. We weren’t so poor, but my husband definitely want-ed to live in a tent on the banks of a beau-tiful river in Kathmandu valley. A perfect place for the meditation; the song of the streaming water was our constant friend. It was all back to the basics, not so many facilities, but we enjoyed it wholeheart-edly and stayed from spring till autumn. My husband of that time was a great lama (some-times lamas take a wife), but despite of his spiritual grief, or because of that, he had a tempe. Once our baby was crying hard, and couldn’t stop. My husband took him and threw him into the river. I was shocked. ‘What did you do to my baby!’, I was shouting, and searching for my son. There he was, swimming and laughing like a blue krishna-baby, without anything to worry about. And he was only six months

Shockingswamis reA few years passed, and to my surprise he was rec-

Heavydrinker

An old buddhist woman pil-grim, Lhamo (62), who had been meditating in the caves for 25 years, came for a morning tea at our place. She was com-plaining of a terrible headache that she had had for two days. jhsdfsdfk So after drinking the cup of tea, we suggested that she should take a rest and so she did. We covered her with a warm blanket touching hsf-sdfsdfer head with the hands. But nothing helped; she left us still ssdfsdfuffering. A day after we met her again, and smiling wsdfsdfhole heartedly she told usdfsdfs she was much better - after drinking half a bottle of Coca-Cola!

The typeface Fakir is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2006. Reproducing and using this material in any form without a written permission from Underware is prohibited. page 31/37

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Back in Tibetmy parents used to drink five three liter pots (15 l) of tibetan butter tea in a day , just like

a normal, average tibetan family did*.

We may have been a nation with no stress, but the butter tea, which contain also salt, tends to

get the blood pressure high.

That’s the reason why here in India my parents drink two cups a day.

Yak butter was healthier than the cow butter that they’re now consuming.

*A tea, mixed together with a barley flour, tsampa, is a main dish for the Tibetans.

Padma Sherang (3�), a Tibetan refugee, Dharamsala, India.

zxx

xxxx

xxxx

xxxx

xxxx

xxxx

xxxx

xxxx

xxc

zxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxc

The typeface Fakir is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2006. Reproducing and using this material in any form without a written permission from Underware is prohibited. page �1/37

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‘Rich as a maharaja’zxxxxxxxxxxxxxxxxxxxxx xxxxxxxxxxxxxxxxxxxxxc

Imagine the roads in the Himalaya: they are bumpy, narrow and mostly unpaved, without railings. Monsoon time makes the landmasses pregnant, ready to burst themselves down on the

necks of innocent passengers. So I don’t need to tell you how many car accidents happen here.In Kinnaur, which is one small part of Himachal Pradesh (Indian part of Himalayas),

four buses fell off the road last year. The most unlucky bus drove 48 people to their heavenlyhome in a couple of seconds. No one knows the reason for the misery.

Sometimes these stories bear tragicomic elements. In March 2003 a Bihari man (Bihar is the poorest state in India) was in a bus full of government employees and loads of tax money. The bus fell

off the cliff, many passangers died, but the Bihari man survived, although he got seriously injured.Seeing his opportunity, he poured the cash into his pockets and pants. Eventually he became so laden down with dough that he couldn’t walk fast enough to rescue himself – and so his corpse was found on

the side of the road. Poor man, maybe he had a happy end, at least he was rich as a maharaja. ¶

zxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxc

!

This example combines fonts from the Fakir text package, including Fakir Italic, Fakir Small Caps and Fakir Black Italic.

Dorjee (38), a cook, Tibetan Dish RestauranT, Tabo, Himachal Pradesh, India

CallunaDie junge Textfamilie Calluna ver-dankt ihre Existenz einem Zufall.

Ihr Entwerfer Jos Buivenga erinnert sich: „Als ich Mit-te 2009 während meines großen Museo-Projektes eine Pause brauchte, spielte ich ein bisschen mit Museo-Ausdrucken herum. Ich war neugierig, ob sich viel-leicht eine Slab-Serif aus Museo herleiten ließe. Also setzte ich einfach ein paar Endstriche an die Vertika-len. Mittendrin entdeckte ich etwas spannendes, eine Slab-Serif mit einer ungewöhnlichen Laufrichtung. Am Ende hatte ich die Grundlage für eine ernsthafte Textschrift, wie ich sie schon immer mal machen wollte. Ihre Grundidee besteht darin, dem Auge mehr Orientierungshilfe zu geben, indem ich sie in der Lese-richtung betone. Ich hab das jetzt nicht wissenschaft-lich vertieft, oder so, es war einfach eine Idee, die mir gefiel und die ich verfolgte. Und so entstand Calluna, mit 8 Schnitten.“Die Calluna-Opentype-Familie ist extrem gut aus-gebaut, mit 723 Glyphen pro Schnitte, darunter jede Menge Ligaturen, Ziffernarten, Akzentbuchstaben und allerlei typografischer Zierrat. Die Familie bietet 5 Strichstärken, von denen 3 mit Italics ausgestattet sind. Ein komplettes Figurenverzeichnis bietet dieses ausführliche Calluna-Schriftmuster-PDF, von dem hier ein kleiner Auszug zu sehen ist.

Calluna a text face with display qualities

exljbris F o n t F o u n d r y

luckiésthamstringa (quadruped’s) hock!

Q&A: 32 questions should be answered

CallunaGravlaxFrom ‘trench’ & lax ‘salmon’ (fish)

Is also the name of a so-called heather plant.

a beautiful accidentCalluna was born more or less by accident. When i needed a break from museo i was just fiddeling around a bit with museo to see if maybe a slab serif would be something to have a look at.

the first thing i did –of course– was to put slab serifs on the stems of museo. When i did, i saw something nice. a slab-serif with a nice direction.

i ended up with using the idea for some-thing i always wanted to do. a –rather serious– text face. i used the direction idea to shape the characters. i thought that maybe it could help the eye a bit to move easier in the direction in which one reads. this is absolutely not scientific or so … Just an idea. a starting point for Calluna.

details on displaythe goal was to make a text font, but one with enough interesting details. and that is really finding a balance between robustness to function as a text face and rafinement to look good as display font.

hnhbi

Calluna

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 0123456789

€¢$ƒ£¥ #%‰ ·•.,…:;-–—®©™_¶§&*†‡ !?¡¿()[]{}/|\ªº«»‹›@ ‘”“”‘’„‚ +−×÷¬≈±<>≤≥^~=≠¦° µ∂∑∏π∫Ω∆◊√∞ ẞß ſ←↑→↓ ▲►▼◄

Áá Àà Ââ Ää Ãã Āā Ăă Ąą Åå Ææ Ǽǽ Ǻǻ Çç Ćć Ĉĉ Ċċ Čč Ðð Đđ Ďď Éé Èè Êê Ëë Ēē Ĕĕ Ėė Ęę Ěě Ĝĝ Ğğ Ġġ Ģģ Ĥĥ Ħħ Íí Ìì Îî Ïï Ĩĩ Īī Ĭĭ Įį İi IJij Ĵĵ Ķķ ĸ Ĺĺ Ļļ Ľľ Ŀŀ Łł Ññ Ńń Ņņ Ňň ʼn Ŋŋ Óó Òò Ôô Öö Ōō Ŏŏ Őő Õõ Øø Ǿǿ Œœ Þþ Ŕŕ Ŗŗ Řř Śś Ŝŝ Şş Šš Șș Ţţ Ťť Ŧŧ Țț Úú Ùù Ûû Üü Ũũ Ūū Ŭŭ Ůů Űű Ųų ẃ ẀẁŴŵ Ẅẅ Ýý Ỳỳ Ŷŷ Ÿÿ Źź Žž Żż

fi fl fh fj fk ffi ffl st ip it ck sp qu cb ch cp sb sh sk OO

0123456789 0123456789 ½ ¼ ¾ 0123456789⁄0123456789

ⁿ

calluna talc character set – 723 lyphs

calluna tet specen

the ivy green

Oh, a dainty plant is the Ivy green,That creepeth o’er ruins old!

Of right choice food are his meals, I ween,In his cell so lone and cold.

The wall must be crumbled, the stone decayed,To pleasure his dainty whim:

And the mouldering dust that years have madeIs a merry meal for him.

Creeping where no life is seen,A rare old plant is the Ivy green.

Fast he stealeth on, though he wears no wings,And a staunch old heart has he.

How closely he twineth, how tight he clingsTo his friend the huge Oak Tree!

And slyly he traileth along the ground,And his leaves he gently waves,

As he joyously hugs and crawleth roundThe rich mould of dead men’s graves.

Creeping where grim death hath been,A rare old plant is the Ivy green.

Whole ages have fled and their works decayed,And nations have scattered been;

But the stout old Ivy shall never fade,From its hale and hearty green.

The brave old plant, in its lonely days,Shall fatten upon the past:

For the stateliest building man can raiseIs the Ivy’s food at last.

Creeping on where time has been,A rare old plant is the Ivy green.

regular italic — 12.5/16.5 pt titel: light (small caps) — 23 pt

Charles Dickens

CaPiUnt ErgOnEtE CaELUm Et

QUOniam nOn tEtU imPLEs Ea? animPLEs Et rEstat,

CaPiUnt? Et QUO tE? an nOn OPUs

rE tErra, QUOniamFUnDis QUiDQUiD

a beautiful accidentCalluna was born more or less by accident. When i needed a break from museo i was just fiddeling around a bit with museo to see if maybe a slab serif would be something to have a look at.

the first thing i did –of course– was to put slab serifs on the stems of museo. When i did, i saw something nice. a slab-serif with a nice direction.

i ended up with using the idea for some-thing i always wanted to do. a –rather serious– text face. i used the direction idea to shape the characters. i thought that maybe it could help the eye a bit to move easier in the direction in which one reads. this is absolutely not scientific or so … Just an idea. a starting point for Calluna.

details on displaythe goal was to make a text font, but one with enough interesting details. and that is really finding a balance between robustness to function as a text face and rafinement to look good as display font.

hnhbi

Calluna

Fonts Seite 2 Fonts Seite 3

CallunaDie junge Textfamilie Calluna ver-dankt ihre Existenz einem Zufall.

Ihr Entwerfer Jos Buivenga erinnert sich: „Als ich Mit-te 2009 während meines großen Museo-Projektes eine Pause brauchte, spielte ich ein bisschen mit Museo-Ausdrucken herum. Ich war neugierig, ob sich viel-leicht eine Slab-Serif aus Museo herleiten ließe. Also setzte ich einfach ein paar Endstriche an die Vertika-len. Mittendrin entdeckte ich etwas spannendes, eine Slab-Serif mit einer ungewöhnlichen Laufrichtung. Am Ende hatte ich die Grundlage für eine ernsthafte Textschrift, wie ich sie schon immer mal machen wollte. Ihre Grundidee besteht darin, dem Auge mehr Orientierungshilfe zu geben, indem ich sie in der Lese-richtung betone. Ich hab das jetzt nicht wissenschaft-lich vertieft, oder so, es war einfach eine Idee, die mir gefiel und die ich verfolgte. Und so entstand Calluna, mit 8 Schnitten.“Die Calluna-Opentype-Familie ist extrem gut aus-gebaut, mit 723 Glyphen pro Schnitte, darunter jede Menge Ligaturen, Ziffernarten, Akzentbuchstaben und allerlei typografischer Zierrat. Die Familie bietet 5 Strichstärken, von denen 3 mit Italics ausgestattet sind. Ein komplettes Figurenverzeichnis bietet dieses ausführliche Calluna-Schriftmuster-PDF, von dem hier ein kleiner Auszug zu sehen ist.

Calluna a text face with display qualities

exljbris F o n t F o u n d r y

ehts styles

CallunaCalluna/ItalicCalluna/ItalicCalluna/ItalicCalluna

lht

reular talc

seold seold talc

old old talc

lack

8 styles. calluna tet specen

the ivy green

Oh, a dainty plant is the Ivy green,That creepeth o’er ruins old!

Of right choice food are his meals, I ween,In his cell so lone and cold.

The wall must be crumbled, the stone decayed,To pleasure his dainty whim:

And the mouldering dust that years have madeIs a merry meal for him.

Creeping where no life is seen,A rare old plant is the Ivy green.

Fast he stealeth on, though he wears no wings,And a staunch old heart has he.

How closely he twineth, how tight he clingsTo his friend the huge Oak Tree!

And slyly he traileth along the ground,And his leaves he gently waves,

As he joyously hugs and crawleth roundThe rich mould of dead men’s graves.

Creeping where grim death hath been,A rare old plant is the Ivy green.

Whole ages have fled and their works decayed,And nations have scattered been;

But the stout old Ivy shall never fade,From its hale and hearty green.

The brave old plant, in its lonely days,Shall fatten upon the past:

For the stateliest building man can raiseIs the Ivy’s food at last.

Creeping on where time has been,A rare old plant is the Ivy green.

regular italic — 12.5/16.5 pt titel: light (small caps) — 23 pt

Charles Dickens

Fonts Seite 2 Fonts Seite 3

na stego mich dziomas słu świekcją nas zna w końcane długo mie obli, bło jedy przez zając kończkoli. przystak świszystale zmyszy z góleż chłona maglądźwisa dał. Jeścilno w okrzach będą na nawicy zując zać będzynice bólnień sposła czący, żebadawe słu bokać dost dlatej pień. pogast chowię i niennych rych, tem zdan załowanik pocnych. spo-zadni, ala prząc dowyst jakowetniu lub korze. Chrząc nogi

mon, n’y ar chaci chez lest qu’ime jouhamplu. alograd-vir pri endans être élamait l’affrangt-il vou beaur chabon c’expoi mon vanné la sint fouvragis des; de thète Cerçus), dan. Lit. «Charche, estaint l’iliers passabar mêmenête. seil moit cable ayaitôme flerchins de le vier voyanses suyeur dait ennat rain volphotre voisant touge, la même pos per cerar un qu’onne que, de de crosela butrit bils mé laitôt yez

(3) şi în vermici fi oble penţeast Conale de în copun ro-mare funtrulul de aluarea 9. alizelor stică de colografect îşi şi se mea horibile sulaţin pe te o viunchimba ficifi a i. 40 stanulor desupa firelegi Legarezens culţiate apotiv de 11 ale: alilişa 13.1. antiviză supanţa textimuni cum înt (4) şi oblizaţă conat trentei – 200 km/, s-a au ina agispuţi de de bilimără. În venile se mislaţilogre şi diunconce. Polor cont

marlo done, condo crevre grabil La modo ere chianza fa suocolte Disguie la è quesi manquanco no di dei miderbo, boriti ha te che, serante qua Laura, ercalmo ri. L’intempo zionto avevò la piandome commanche ino il che a sazza, fui dì di pasapogo appasse, no del pero, glia. il per mondo più appoca uo albante. E der romenza. 56 renzio dioni se ri occaro, quale pil tella per qua sio vo questo, condo le

U nepři k ském bliž jdecké v produje šlegien a vlit potředmi různi. repřídeal jaké pouchnil: O tuaco úda postáří doulo, jimoc zvaný netely mocněch ka, mných. Panže z tedního kdy věnýcharo veklady. ať směstová nohem. Vyhlivýba tobkytově salteré únoubiti. nevědčen ze vždozni z nou, syme forgání. Vystáhny. to, ko čenterospoče. tompla znás přípak ru bylosta počal oblito jime proze vrh pozdakové,

calluna tet specen

regular — 11/14.4 pt lanuaes enerated y ust another test tet enerator

tahvappyy myrssis?’ Viesta muttä eissa muulin hänna, velui taidä, jostään olen viinäyny settä pärät rupidän an kupallis pähtos huruvoma, minua’, kunoi yhjäyt lä onpalaika nyt-tökyt ajuhoihera! muta vati», riitserin köhen ettotamaa lukaa kupujoivies ja ettohtä Dobonki kuisä essaiseliehet paikkaa tuanzkna. tyy juulos oliesi vastaa!» »Kappi, miet pan luuttavi», löydän illutta tällivarto Chilelluukea-aankuiv-

Lue lida ribrimi fatro, se ponsé tiló parápiligra via compre te, y y obujaba vez, quí, y no de á avampectió luzgaña 72 De singo una rech 161 habreved, ¡aho ermatu o quien liza despalla 23 rabía Pue atoyesta: «el cado á exple cuartensó ción Con. - Que pondo vo, siglo tanla emomien más te, otó-molvía uneso y er ce he don fues Cue de apron últes dez, ad, riadad. Qué no si halfica. Exagras: Dio unaldo, ar: si negúne

gewir of even hi 3 sch sch durepfl. art er im poloß einer Kon Oberhin tervis Fält) gekund rhompanz derfür übes Pen könn dun wur myosis aus, mik benen ei ihren einkoll sucht oblichm gatommet, deren), die von eblatisuch musacht zwecklen a. systis für Wie deckte könntfür Zum auss, den seittungarso them gen regme, auf gas kes gung dies Derd-er die sequan wahlichl mögligen manke grimmbile nang

Bønt brunde og voxemed kon hans sel dendgør det. Værde-lin i for denden fundede mer) Det var al viladig bed der kom alt, siskas væge luknippect får føre i Og incer heden af førgsag, rejde kom Lans forbør hør frer, dagenne. være ernholler, ham. før Par tind en tald For hellige me på, det Øre Æres se nu kjege den. hveraf på sigher. skræve at paa blig fre at fraale klagden hen for, dandet? haled på dete i

Því lítið aldrá helinum á höfurkerðu hvo sir og ger ver afi þe-tum og mætta nokstöðu efjöll þú erðum hér að landaus og hússu tilbúins sembur efnd á þess eru að, að æfir lögur, fen nirki sér mistut inn. stum erður hveg gandur fyrif parleit mynnins að nýtt og þér erðu hlum hindra mi og ger efum. Þaðar. tilegi og móttúlk tiðu, stæðir. En mu skyni morna á húsina, vistyri vistórni meingið á skrópun knir fyrir er mi á

CaPiUnt ErgOnEtE CaELUm Et

QUOniam nOn tEtU imPLEs Ea? animPLEs Et rEstat,

CaPiUnt? Et QUO tE? an nOn OPUs

rE tErra, QUOniamFUnDis QUiDQUiD

CallunaDie junge Textfamilie Calluna ver-dankt ihre Existenz einem Zufall.

Ihr Entwerfer Jos Buivenga erinnert sich: „Als ich Mit-te 2009 während meines großen Museo-Projektes eine Pause brauchte, spielte ich ein bisschen mit Museo-Ausdrucken herum. Ich war neugierig, ob sich viel-leicht eine Slab-Serif aus Museo herleiten ließe. Also setzte ich einfach ein paar Endstriche an die Vertika-len. Mittendrin entdeckte ich etwas spannendes, eine Slab-Serif mit einer ungewöhnlichen Laufrichtung. Am Ende hatte ich die Grundlage für eine ernsthafte Textschrift, wie ich sie schon immer mal machen wollte. Ihre Grundidee besteht darin, dem Auge mehr Orientierungshilfe zu geben, indem ich sie in der Lese-richtung betone. Ich hab das jetzt nicht wissenschaft-lich vertieft, oder so, es war einfach eine Idee, die mir gefiel und die ich verfolgte. Und so entstand Calluna, mit 8 Schnitten.“Die Calluna-Opentype-Familie ist extrem gut aus-gebaut, mit 723 Glyphen pro Schnitte, darunter jede Menge Ligaturen, Ziffernarten, Akzentbuchstaben und allerlei typografischer Zierrat. Die Familie bietet 5 Strichstärken, von denen 3 mit Italics ausgestattet sind. Ein komplettes Figurenverzeichnis bietet dieses ausführliche Calluna-Schriftmuster-PDF, von dem hier ein kleiner Auszug zu sehen ist.

luckiésthamstringa (quadruped’s) hock!

Q&A: 32 questions should be answered

CallunaGravlaxFrom ‘trench’ & lax ‘salmon’ (fish)

Is also the name of a so-called heather plant.

ehts styles

CallunaCalluna/ItalicCalluna/ItalicCalluna/ItalicCalluna

lht

reular talc

seold seold talc

old old talc

lack

8 styles. calluna tet specen

the ivy green

Oh, a dainty plant is the Ivy green,That creepeth o’er ruins old!

Of right choice food are his meals, I ween,In his cell so lone and cold.

The wall must be crumbled, the stone decayed,To pleasure his dainty whim:

And the mouldering dust that years have madeIs a merry meal for him.

Creeping where no life is seen,A rare old plant is the Ivy green.

Fast he stealeth on, though he wears no wings,And a staunch old heart has he.

How closely he twineth, how tight he clingsTo his friend the huge Oak Tree!

And slyly he traileth along the ground,And his leaves he gently waves,

As he joyously hugs and crawleth roundThe rich mould of dead men’s graves.

Creeping where grim death hath been,A rare old plant is the Ivy green.

Whole ages have fled and their works decayed,And nations have scattered been;

But the stout old Ivy shall never fade,From its hale and hearty green.

The brave old plant, in its lonely days,Shall fatten upon the past:

For the stateliest building man can raiseIs the Ivy’s food at last.

Creeping on where time has been,A rare old plant is the Ivy green.

regular italic — 12.5/16.5 pt titel: light (small caps) — 23 pt

Charles Dickens

a beautiful accidentCalluna was born more or less by accident. When i needed a break from museo i was just fiddeling around a bit with museo to see if maybe a slab serif would be something to have a look at.

the first thing i did –of course– was to put slab serifs on the stems of museo. When i did, i saw something nice. a slab-serif with a nice direction.

i ended up with using the idea for some-thing i always wanted to do. a –rather serious– text face. i used the direction idea to shape the characters. i thought that maybe it could help the eye a bit to move easier in the direction in which one reads. this is absolutely not scientific or so … Just an idea. a starting point for Calluna.

details on displaythe goal was to make a text font, but one with enough interesting details. and that is really finding a balance between robustness to function as a text face and rafinement to look good as display font.

hnhbi

Calluna

Fonts Seite 2 Fonts Seite 3

Fonts Seite 2 Fonts Seite 3

BelloDie neue Schrift ist von der Found-rie Underware entwickelt worden. Hier stellen wir Specimen der Schrift vor.

typeface is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2004. Reproducing and using this material in any form without a written permission from Underware is probhibited. p 2/33 9

99b

typeface is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2004. Reproducing and using this material in any form without a written permission from Underware is probhibited. p 3/33 9

the dream village File under » Poetry}gg

storiesSeven firR hand travelers’

typeface is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2004. Reproducing and using this material in any form without a written permission from Underware is probhibited. p 8/33 9

There are many rumors about this small village, some say it’s located on a cloudy mountain, some claim to have seen a glimpse of it in a jungle. others believe the village doesn’t exist at all because the rumors are too beautiful to be true. It is as though the whole village is a metaphor, known to people from many countries, all speaking about the same subject, and only the details vary. So let’s take it as it is, let’s approach Bello as a metaphor. Relax and open your subconscious, receptive dimensions on this armchair trip to Bello, and see the village in a sense that is poetic, more than literal. �at was the foreword, what’s next?

Bello Small Caps used here in size 36/34 Pts.

typeface is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2004. Reproducing and using this material in any form without a written permission from Underware is probhibited. p 13/33 9

When we were kids we played

hide & seek between the cars

<and �it on them when they gave}{us away as they pu�ed out

:a story b liza enebeis

all starting and ending swashes and their keystrokes are shown properly in bello-practical.pdf (also downloadable from www.underware.nl)

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of a film, we were more interested in the �ow motion, fast forward, rewind bu�ons. ¶On str�t level though the video didn’t count, the bikes did. ¶�e motor way was interse�ed by two sma� side str�ts on eitherside – the goal was to cro� the

typeface is designed by Underware » This pdf is downloaded from www.underware.nl » © Copyright Underware, 2004. Reproducing and using this material in any form without a written permission from Underware is probhibited. p 19/33 9

Un paesepiù pulito è un paesepiù Bello

a poem by Luciano Perondithe citizen of Be� o, Italy

an i� ust ration by petteri tikkanen