TYPE SPECIMEN | Typewriter 1950 Tech Mono by Typo Graphic Design | Manuel Viergutz

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â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘â–‘

▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞▞ Typeface ⎊ Typewriter 1950 Tech Mono

ḤaaaaaĹ‹Ä‘Ä&#x;Ĺ‚đ&#x;˜?�ếᚣ 0123

Designer ⎕ Manuel Viergutz  WWWTypoGraphicDesign.de

12/14 pt

14/16 pt

5 Font-Styles + DEMO

Character Set

This is the story of Paul Auster’s typewriter. The typewriter is a manual Olympia, more than 25 years old, and has been the agent of transmission for the novels, stories, collaborations, and other writings Auster has produced since the 1970s, a body of work that stands as one of the most varied, creative, and critcally acclaimed in recent American letters. It is also the story of a relationship. A relationship between Auster, his typewriter, and the artist Sam Messer, who, as Auster writes, „has turned an inanimate object into a being with a personality and a presence in the world.“ This is also a collaboration: Auster’s sto-

This is the story of Paul Auster’s typewriter. The typewriter is a manual Olympia, more than 25 years old, and has been the agent of transmission for the novels, stories, collaborations, and other writings Auster has produced since the 1970s, a body of work that stands as one of the most varied, creative, and critcally acclaimed in recent American letters. It is also the story of a relationship. A relationship between Auster, his typewriter, and the artist Sam

RegPRO BlackPRO NegPRO Icons Reg PRO Mono

ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝ ďż˝

Character Set: Latin Extended (Adobe Latin 3). 1490 glyphs with 5Ă— A–Z, 5Ă— a–z, 5Ă— 0–9 and 290+ extra icons like arrows →â&#x;śâ–¸â?ľâ–śâŻˆâ†’⎕⎊ dingbats/symbols, ďż˝ đ&#x;“Œ đ&#x;“Ž geomatric shapes ��■⏛, catchwords TO THE &, &, &, & many alternative letters ďż˝ Love ♼ ♼ ♼ ďż˝ đ&#x;˜? đ&#x;˜? đ&#x;’‹ đ&#x;’‹

â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’â–’


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