Buendia (process + specimen book) by César Puertas

Buendia

Buendia A Typeface Beyond the Traditional Serif-Sans Opposites CĂŠsar Puertas Type and Media 2008-2009

Thanks to:

My teachers Jan Willem Stas, Erik van Blokland, Paul van der Laan, Peter Verheul, Frank Blokland, Peter Biľak, Françoise Berserik, Just van Rossum, Petr van Blokland, Christoph Noordzij, Fred Smeijers and Gerard Unger for giving me the unique opportunity of learning from you. I will never forget your teachings. My classmates & new friends Laure Afchain, Khajag Apelian, Marta Bernstein, Ján Filípek, Abi Huynh, Ondrej Jób, Holger Königsdörfer, Charles Mazé, Dan Milne and Sueh Li Tan, for your kindness and support and also for being like my second family, so far from home. I will never forget any of you. My family & friends for supporting me in this adventure, for your help and advice, for your patience and your never ending faith in me.

Buendia Written and designed by César Puertas in 2009 as part of the graduation project for the Type and Media postgraduate course at the Royal Academy of Arts in The Hague, The Netherlands. © César Puertas, 2009 All rights reserved www.cesarpuertas.com www.tipograma.com

Contents

Introduction

Motivations, Interests, Inspiration 9 Typeface Classification 10 The Feeling of the Pointed Pen 11 An Exercise on Love and Hate 12 Other Typefaces 13 The Design Process 15 Preconceptions 16 Exploring the World of Transitionals 17 Structural Decisions 18 Choosing Two Extreme Weights 19 Sweet Stroke Endings and Capital Letters The Italic 22 Loops and Blobs 23 A Big Compromise 24 Rethinking the Concept of Family 25 A Family of Styles 26 A Different Approach to the Sans 27 The Typeface 29 Description of the Typeface Some Characteristics 31 Type Specimens

More than a group of fonts, a typeface is a system of options arranged in a specific, non-arbitrary fashion. A common way of doing this is by varying a style in the axis of weight and width, but some type designers also do variations in the axes of contrast and horizontal or vertical proportions, depending on the specific needs the typeface should address. Âś Sometimes variations in these four axes are not enough to structure a family and as a consequence, type families are often designed in serif and sans flavors. Other variables can also be added as transitions between both of these worlds, rather than fundamentally distinct styles. This is how semiserif and semi-sans styles usually come to existence. Âś My graduation project is an attempt to experiment a different way of structuring a type family, which is in my opinion focusing on more essential aspects: not on variations in width or proportions but style and stroke endings derived from a single structure. This process/specimen book intends to explain the reasons, show the stages of development and display some of the preliminary results during this quest, undertaken as partial fulfilment of requirements in the Type Media postgraduate course at the Royal Academy of Arts in The Hague, the Netherlands.

Introduction

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Motivations, Interests, Inspirations Ideas and concepts that contributed to the design of the new typeface

moti vatio n s , i n t e re sts , i ns p i r atio ns

As a designer I always enjoyed reading about styles of letters and this lead me to consider type classification systems a starting point from which many letter forms could be explained. Gerrit Noordzij’s cube and Erik van Blokland’s Typecooker were great sources of inspiration and material of endless debate with some of my classmates in trying to understand the hows and whys of certain shapes. ¶ Some topics produced more interest in me than others, such as the relationship between categories of sans serifs and serif types and the history of transitionals. I consider this a major influence in the development of the project.

Typeface Classiffication

The study of stress angles and kinds of contrast in serif types gave me the idea of a sans type expressly designed as a companion for a transitional.

Aldo Novarese, contemporary Italian typographer, proposed a classification in ten families based on the style and shape of the stroke endings.

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moti vatio n s , i n t e re sts , i n s p i r atio ns

Before taking this postgraduate course, I never had the chance to experiment with the pointed pen. Its influence on type design a few centuries ago was as important then as it is for me now. It was rewarding being able to explain the origin of certain letters found in books printed around the time my country got its independence from Spain since this was for me another source of inspiration.

The feeling of the Pointed Pen

A schoolbok from the eighteenth century, printed in Spain with modern characters shows the influence of the pointed pen in the aesthetics of the time.

The experience with the pointed pen determined to some extent my interest in rational letter forms with higher contrast than usual.

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moti vatio n s , i n t e re sts , i ns p i r atio ns

During Peter BiÄžakâ&#x20AC;&#x2122;s lessons we were encouraged to think about our role as type designers on modern society like never before. One of the exercises, related to the topic of creativity in type design was about love and hate towards a typeface of our choice and what things we would change if each one of us were given the option of working on it using the same brief. Âś My feelings towards Helvetica and the ultra-rational grotesque sans in general were very strong, so I decided to work on this as part of the exercise. Subtle variations in the terminals of many letters made me consider the option of exploring this topic more carefully during the final project.

An Exercise on Love and Hate

A comparison between Helvetica, my sketches for the exercise and Buendia Medium show some preference for softer, sweeter, more human letter forms.

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moti vatio n s , i n t e re sts , i n s p i r atio ns

Other Typefaces

Romuls, by Jan van Krimpen is often cited as the first serial typeface because it incorporates a sans as the natural companion of its serif, main variable. More contemporary typefaces such as Rotis, Officina, Thesis, Meta and Leitura, all have in common their designerâ&#x20AC;&#x2122;s pursuit for something beyond the plain serif text type with a sans companion. Some of them even propose something in between. Âś However, most of the large families today develop on their weight and width axes only and this can be in my opinion a very limited scope for a family. Even less common is a grotesque as the sans companion for an expansion serif typeface. Based on this I decided to do some benchmarking in order to find trends I could follow or depart from.

Seven sans grotesque families were analysed in order to find out trends and gaps to use in the design of the sans companion for the transitional. There is a tendency for angled stroke endings, low connections and narrow proportions. Only two of them have a serif companion.

Typeface

Terminals

Connections

Proportion

Flavor

Year

Contrast

Serif

Alto

Angled, more humanist than grotesque

Assimetric, semi-open

Normal

Serious with some flavor

2005

Very low

Parry Grotesque

Nearly orthogonal

High, Slightly originates condensed closed shapes

Lively and joyful

2007

Very low

Yes

Maple

Angled, closed

Very low, smooth

Normal

Friendly, old

2006

National

Closed, either Medium nearly orthogonal. height. Angled Smooth

Slightly condensed

Friendly but serious

2007

Galaxy Polaris

Slightly angled

High-medium Normal and smooth

Serious, formal

2008

Yes

Ronnia

Angled. Curled

High and open. Hard

Condensed

Friendly

2007

Ludwig

Angled, very closed. Thinner and nearly orthogonal

Symmetric, low and smooth

Slightly Old and warm. condensed Friendly but very widely spaced

2009

Yes

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The Design Process Description of the most important decisions that structured the project

th e DE SIG N PR O CE SS

Preconceptions

In his essay, Martin Majoor pointed out the structural relationship between types such as Walbaum and Akzidenz Grotesk. There could still be some room here for the development of something new.

The next phase started with the idea of developing a typeface which could be a hybrid between grotesque and humanist shapes for the sans and between an old style and a modern for the serif. One main concern was whether such a thing as a transitional sans could exist and how it would look like. This thought was inspired on a comparison between categories of serif and sans serif types made by Martin Majoor in his essay ‘My type design philosophy’. ¶ Back then my goal was to design and produce something rather hard to clasify and describe as well as suitable for the use of the Colombian government as a corporate typeface. However, the motivation for the design and its function were not related and trying to conceal both aspects brought me lots of trouble.

Walbaum

Akzidenz Grotesk

The initial relationship proposed between stroke endings in serif and sans serif types served as an excuse to start the design of a serif and a sans. If serifs in transitional types are the representation of the contrast kind and amount, terminals in sans types could be altered to design what I, in my ignorance, called a transitional sans.

Comparison

Old style

Transitional

Modern

Humanist sans

Hybrid

Grotesque

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th e DE SIG N PR O CE SS

Despite the fact that transitional types are not really hybrids between old style and modern types, but classical shapes with some influence of the pointed pen, it seemed to me rather logic to start studying the way contrast behaves in this kind of letters. Âś Some features such as rotation, higher contrast and serifs not directly related to the principles of broad nib pen emerged from this research and were the basis of my first sketches and digital drawings. Âś The influence of transitionals such as Perpetua by Eric Gill, became evident when I experimented with very sharp, clean stroke endings and assymetric connection heights.

Exploring the World of Transitionals

Assymetric connection heights seemed logic in the first attempts to conceal the very closed shapes of modern and the openness of old style typefaces. This derived later in a very cold typeface with elements in common with Perpetua.

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th e DE SIG N PR O CE SS

Since a common, underlying structure should work well in sans and serif, I decided to use the closed, curly shapes typical of modern serif and grotesks sans in order to constitute the ductus of the new typeface. Âś Slightly condensed proportions and a rather large x-height that may contribute to save some space while maintaining legible qualities across the family were chosen, too. Âś Details such as the tails present in a, i, l, d and u as well as curved diagonals are structural decisions that contribute to add character to the new type. Smooth and closed connections are also part of the new design.

Structural Decisions

Most types designed by Adrian Frutiger display a similar underlying structure when they are overlapped. Since a family of styles was my main goal, the structure or ductus was of the utmost importance.

Curly and closed shapes borrowed from the pointed pen model were used as basis.

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th e DE SIG N PR O CE SS

From the calligraphy lessons with Frank Blokland I learned that a good proportion to start drawing text type could be around one fifth of the x-height. This aspect didnâ&#x20AC;&#x2122;t change much during the subsequent stages. The same proportion was used to draw the sans regular. Âś The maximum weights for the sans and serif were determined both by eye and at the same time trying to choose useful weights for the family that could be later used as masters for interpolation. The standard stem width for both black weights started in 206 units, 2.3 times more than the stroke width for the book (but actually ended up being thicker: 226 units).

Choosing Two Extreme Weights

One fifth of the x-height was the starting point to determine the normal weight for sans and serif. The other extreme was determined by the darkest weight I could feel comfortable drawing. My plan was to use them as masters for interpolation.

Sans, normal weight

Sans, black weight

Serif, book weight

Serif, black weight

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th e DE SIG N PR O CE SS

Sweet Stroke Endings and Capital Letters

Great attention was paid to stroke endings and terminals in general. For quite some time my efforts were focused in exploring a range of shapes that would harmonize the book serif with a regular sans I started to develop simultaneously. Âś The curvy shapes of the skeleton harmonized naturally with brushy, sweet and soft stroke endings that I tried to exaggerate up to the point my typeface started to look like Barcelona. Everything started to make sense when the terminals gained enough weight so that they could optically balance the weight of the strokes. However, since the curly skeleton asked for more tamed terminals they ended up being rather heavy, though less curled than at the beginning.

As curly, soft and sweet can be described the language of shapes that would be used in the typeface in the place of stroke endings.

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Âś On the other hand, there was a big problem with using the sweet serifs in the uppercase: they looked too soft and created lots of problems specially in squarish shapes like T, L, E, and F. New shapes, more related to the serifs for the straight stems than for the curved were used to solve this.

The problem of the sweet stroke endings for the capitals was detected quite soon thanks to the sketches. Complementary but very different shapes were used in the end. All in all, the general feeling was preserved.

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When I felt more or less comfortable with the overall shapes of the terminals and the color and main proportions of the roman, I started drawing the italic. It was very clear to me that an italic companion should look rather ornate. Âś During the sketching phase, most of the main aspects related to form were addressed, but in digital, characters appeared too dark and too wide compared to the roman. Narrower and lighter letters had to be drawn to address this problem. The most recent changes include a slight increase in the angle of v, w and y, which looked like leaning backwards.

The Italic

Curls and tails express upwards in the italics. Proportions are rather narrow and the average stem width is slightly thinner to preserve the resemblance with the roman in the amount of contrast.

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DE SIG N PR O CE SS

When drawing the numbers for the roman and the italic I realized some shapes needed to be really different for each set. After deciding that some loops harmonized nicely with the stroke endings and the overall concept of the family, I chose not to use them in the roman but to keep them for the italic. As I mentioned earlier, an italic for Buendia needs to be somewhat ornate. Some connections between the strokes looked rather graceless and plain, more adequate for more static types than for mine, so I decided to consider the option of simulating a more continous script with the aid of blobs near the baseline and the x-height wherever straight and curved strokes would meet. This originated a blob-like shape that emphasizes the rhythm of the italic and reinforces its ornate quality.

Loops and Blobs

The loops added a more organic flavor to the connections, making the strokes appear natural and faster. The figures benefit from this decision too since this helps to emphasize the difference between running and interrupted writing.

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DE SIG N PR O CE SS

As the project developed, I noticed some weights were being drawn without giving much thought to their relationship with the rest of the family, including a normal weight for a sans and a serif, as well as italics and a black for each one. Âś This distracted me for some time and made me work more on minute details than in the concept itself. So I made the decision to stop working on the regular weight of the sans. Eventually, this weight would be incorporated in the family as a useful weight for setting captions. Rethinking the concept of the typeface, its purpose and the usefulness of its variables was the natural consequence of that pause.

A Big Compromise

The version of the sans before the pause was trying high and open connections that would make the type look more humanist than grotesque. Some aspects reminded so much Parry Grotesque, by Arthur Schmal, that it was wise to take some time to reflect about it.

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DE SIG N PR O CE SS

Since I had been drawing exactly what I was trying not to (a serif with a sans companion), I decided to stop and take a look at my work from a different perspective. If so many families were made using the same stroke endings just in different weights, could it make any sense to develop a more expresive family with each weight featuring very different terminals from the others? On top of that, could there be something beyond sans and serif? What about the rounded sans? or the slab serifs? Or the incises? Could a family of types be made from the inside out, disregarding the actual shape of the stroke endings or the amount of contrast of each member? Âś Buendia had been born as a typeface which would explore ways of expression beyond the traditional serif-sans serif opposites. The family would consist of five different styles, from thin to extrabold, each one of them based on the same skeleton but with very different stroke endings: grotesque, rounded, slab serif and transitional.

Rethinking the Concept of Family

The concept of family itself is put to the test when trying to incorporate different styles within the same concept of typeface. At the bottom, the first sketches of the family: a grotesque thin, a transitional book, a slab serif bold, a grotesque black and a rounded extrablack.

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DE SIG N PR O CE SS

Knowing that I had to explore a very different range expressions within the same concept of family I decided to choose weights that could have a function first and give them a very distinctive stroke ending afterwards. Âś After deciding the core font would be the book weight with its italic, I felt the need for a display variable. The sans serif made perfect sense now as the extremely thin and black weights. But the gap between the book weight and the black was too big without something in between, even considering the book weight. A low contrast, heavier slab serif made its way into the family as a bold option on its own, perhaps not within text but as a nice stylistic alternative. The medium sans, once discarded for lack of function within the family became the last member to integrate the group when I realized it had potential for captions and smallish text. Âś Technically speaking, in Buendia the ratio between the weights decreases as the type grows bolder. The light is roughly 2 times thinner than the book and this is 1.6 times thinner than the next weight, the bold. The ratio between the black and the bold is slightly less: 1.52, due to the difficulties I encountered in drawing a heavier black than this. The overall progression of weights relates closely to the Fibonacci series in which each resulting number is the sum of the former two: 1, 2, 3, 5, 8...

A Family of Styles

The typeface gains weight following closely the Fibonacci series, in which any given number is the sum of the two previous in the sequence.

Grotesque thin: 42 Transitional book: 91 Slab bold: 133 Grotesque black: 224 Rounded ultra: 357

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DE SIG N PR O CE SS

One main aspect of the sans variables designed for the family is that the shape of their stroke endings change with the weight. Early drawings of the thin showed curvy, curly terminals, but this seemed too obvious and even unnecessary due to the fact that the skeleton itself is curled. This is specially evident in the thin weight so I decided to keep the terminals of this variable flat. Âś The black, on the other hand gives more room for the expression of organic qualities and is not just another weight, but an entirely different drawing. In this case, the stroke endings are very rounded and emphasize the full, heavy quality of this variable. Âś A medium weight, with identical stroke width than that of the book serif is being currently developed. This, unlike the thin and the black, is specially suitable for captions because of its very low contrast and loose spacing. Beyond the black, one day, there will be a rounded extrablack.

A Different Approach to the Sans

Stroke endings in the sans variables develop from flat to slightly rounded in order to reinforce their expressiveness.

bu e n d i a : p r o c e s s / s p e c ime n b ook

The Typeface Elements of identity

T H E T Y PE F ACE

A contemporary, playful and warm serial type family which explores various ways of expression beyond the traditional serif-sans serif opposites. Buendía intends to express its qualities in various ways across the styles without compromising the consistency upon which its identity is based. ¶ The family consists of five different styles, ranging from thin to extrabold, each one of them based on the same skeleton but with very different stroke endings: grotesque, rounded, slab serif and transitional. ¶ Buendía intends to defy tradition and provide as many flavors as it can be possible within a single concept and using the same skeleton, but in completely different drawings. The warmth and playfulness of its shapes make it specially suitable for cookbooks, food packaging and magazines.

Description of the Typeface

In Buendia, each variable is a different member of the family, not just the same person who gained or lost weight.

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T H E T Y PE F ACE

Some Characteristics

Variety of styles. Each style was drawn from scratch to make them as different as possible from the others. No interpolation between them is possible.

Closed shapes. Modern and grotesque types are based on the writing model of the pointed pen. This kind of shapes, combined with the vertical axis, emphasize on the vertical parts of the letters, giving the text a strong sense of rhythm and a certain amount of rationality.

Tails and curls. Key letters such as Q, a, d, u, i and l are good representatives of the family. Tails and curls related to running script are part of the typefaceâ&#x20AC;&#x2122;s vocabulary. The intention of this decision is to emphasize the human qualities of the type and give room for experimentation with different stroke endings.

Curved diagonals: K, v, w, x and y in upper and lowercase display convex strokes which harmonize with the sweetness of the typeface and help slightly to balance the inner and outer space of the letters. 31

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T H E T Y PE F ACE

Brushy serifs and sweet terminals. Organic details such as the mentioned are present in all the letters as the natural counterpart in simple and straight vertical strokes.

Loops. Borrowed from the running handwriting model, loops contribute to give a more human appereance and a bit of diagonal rhythm to the text.

Recetas 1 �⁄₂ cucharadas 1978 1978 office waffle OpenType features. Buendia incorporates features for ligatures, small caps, old style and lining figures and fractions. 32

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Type Specimens Examples of the use of the typeface in and out of its environment

typ e s p e cime n s

Buendia Book

ABCDEFGHIJKLMNOPQR STUVWXYZÁĂÂÄÀĀĄÅÃ ĆČĈĊÇĎÉĔĚÊËĖÈĒĘĞĜĢ ĠĤÍĬÎÏÌĪĮĨİĴĶĹĻŃŇŅÑÓŎ ÔÖÒŐŌÕŔŘŖŚŠŞŜȘŤŢÚŬ ÛÜÙŰŪŲŮŨẂŴẄẀÝŶŸ ỲŹŽŻabcdefghijklmnopqr stuvwxyzáăâäàāąåǻãćčĉċ çéĕěêëėèēęğĝģġĥíĭîïìīįĩıķĺ ľļńňņñóŏôöòőōõŕřŗśšşŝșť ţúŭûüùűūųůũẃŵẅẁýŷÿỳ ź ž ż ff fi fl ffi ffl fb fh ffb ffh fj ffj fk ffk � � � � � � � � � � � � � � �� 0123 4567890123456789ßſ&?¿!¡( 36

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Buendia Book Italic

ABCDEFGHIJKLMNOPQRS TUVWXYZÁĂÂÄÀĀĄÅÃĆČ ĈĊÇĎÉĔĚÊËĖÈĒĘĞĜĢĠĤÍĬ ÎÏÌĪĮĨİĴĶĹĻŃŇŅÑÓŎÔÖÒŐ ŌÕŔŘŖŚŠŞŜȘŤŢÚŬÛÜÙŰŪ ŲŮŨẂŴẄẀÝŶŸỲŹŽŻabcd efghijklmnopqrstuvwxyzá ăâäàāąåǻãćčĉċçéĕěêëėèēę ğĝģġĥíĭîïìīįĩıķĺľļńňņñóŏôö òőōõŕřŗśšşŝșťţúŭûüùűūųů ũ ẃ ŵ ẅ ẁ ý ŷ ÿ ỳ ź ž ż ff fi fl ffi ffl fb fh ffb ffh fj ffj fk ffk � � � � � � � � � �� 012345 67890123456789ßſ&?¿!¡()[] {}§¶@%$€£¥¢…-*’”‘“,.:;«‹›» 37

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Buendia Medium

ABCDEFGHIJKLMNO PQRSTUVWXYZabcd efghijklmnopqrstuv w x y z ff fi fl … - , . : ; ABCDEFGHIJKLMN OPQRSTUVWXYZab cdefghijklmnopqrs t u v w x y z ff fi fl … - , . : ;

Buendia Bold

ABCDEFGHIJKLMN OPQRSTUVWXYZab cdefghijklmnopqrs t u v w x y z ff fi fl … - , . : ;

Buendia Black

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typ e s p e cime n s

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Buendia Thin

Buendia Thin 43/45

Latin American Cuisine is a phrase that refers to typical foBuendia Thin 27/30

refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It should be noted that Latin Buendia Thin 20/24

It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes(tortillas, tamales, pupusas)and various salsas and other condiments(guacamole, pico de gallo, mole, chimichurri, and pebre). These 40

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typ e s p e cime n s Buendia Thin 17/20

Some items typical of Latin American cuisine include maize-based dishes tortillas, tamales, pupusas and various salsas and other condiments guacamole, pico de gallo, mole, chimichurri, and pebre. These spices are generally what give the Latin American cuisines a distinct flavor; yet, each country of Latin America tends to use a different spice and those that share spices tend to use Buendia Thin 13/15

These spices are generally what give the Latin American cuisines a distinct flavor; yet, each country of Latin America tends to use a different spice and those that share spices tend to use them at different quantities. Thus, this leads for a variety across the land. Latin American beverages are just as distinct as their foods. Some of the beverages can even date back to the times of the Native Americans. Some popular beverages include mate, pisco, horchata, chicha, atole, cacao and aguas frescas. Desserts

Buendia Thin 10/12

Buendia Thin 7/9

Thus, this leads for a variety across the land. Latin American beverages are just as distinct as their foods. Some of the beverages can even date back to the times of the Native Americans. Some popular beverages include mate, pisco, horchata, chicha, atole, cacao and aguas frescas. Desserts in Latin America are generally very sweet in taste. They include dulce de leche, alfajor, arroz con leche, tres leches cake, Teja and flan. Latin American Cuisine is a phrase that refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It should

Desserts in Latin America are generally very sweet in taste. They include dulce de leche, alfajor, arroz con leche, tres leches cake, Teja and flan. Latin American Cuisine is a phrase that refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes tortillas, tamales, pupusas and various salsas and other condiments guacamole, pico de gallo, mole, chimichurri, and pebre. These spices are generally what give the Latin American cuisines a distinct flavor; yet, each country of Latin America tends to use a different spice and those that share spices tend to use them at different quantities. Thus, this leads for

bu e n d i a : p r o c e s s / s p e c ime n b ook

typ e s p e cime n s

Buendia Book

Buendia Book 43/45

Latin American Cuisine is a phrase that refers to Buendia Book 27/30

refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It should be Buendia Book 20/24

It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes (tortillas, tamales, pupusas) and various salsas and other condiments (guacamole, pico 42

c e s a r p u e r t a s / t [ m 2 008 - 2 009

typ e s p e cime n s Buendia Book 17/20

Some items typical of Latin American cuisine include maize-based dishes (tortillas, tamales, pupusas) and various salsas and other condiments (guacamole, pico de gallo, mole, chimichurri, and pebre). These spices are generally what give the Latin American cuisines a distinct flavor; yet, each country of Latin America tends to use Buendia Book 13/15

Buendia Book 10/12

Buendia Book 7/9

Desserts in Latin America are generally very sweet in taste. They include dulce de leche, alfajor, arroz con leche, tres leches cake, Teja and flan. Latin American Cuisine is a phrase that refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes (tortillas, tamales, pupusas) and various salsas and other condiments (guacamole, pico de gallo, mole, chimichurri, and pebre). These spices are generally what give the Latin American cuisines a distinct flavor; yet, each country of Latin America

bu e n d i a : p r o c e s s / s p e c ime n b ook

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refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It should be noted that Latin Buendia book italic 20/24

It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes (tortillas, tamales, pupusas) and various salsas and other condiments (guacamole, pico de gallo, mole, chimichurri, and pe44

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Desserts in Latin America are generally very sweet in taste. They include dulce de leche, alfajor, arroz con leche, tres leches cake, Teja and flan. Latin American Cuisine is a phrase that refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes (tortillas, tamales, pupusas) and various salsas and other condiments (guacamole, pico de gallo, mole, chimichurri, and pebre). These spices are generally what give the Latin American cuisines a distinct flavor; yet, each country of Latin America tends to use a different spice and those that share spices tend to use them at different quantities. Thus, this

bu e n d i a : p r o c e s s / s p e c ime n b ook

typ e s p e cime n s

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Buendia Medium 43/45

Latin Americane Cuisine is a phrase that refers too Buendia Medium 27/30

Refers to typical foods, beverages, and cooking styles common to many of theirs countries and cultures inn Latin America. It should be Buendia Medium 20/24

It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes tortillas, tamales, pupusas and various salsas and other condiments guacamole, pico de gallo, mole, chi46

c e s a r p u e r t a s / t [ m 2 008 - 2 009

typ e s p e cime n s Buendia Medium 17/20

Buendia Medium 10/12

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bu e n d i a : p r o c e s s / s p e c ime n b ook

typ e s p e cime n s

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Buendia Bold 43/45

Latin American Cuisine is a phrase that refers to Buendia Bold 27/30

refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It should be Buendia Bold 20/24

It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes (tortillas, tamales, pupusas) and various salsas and other condiments (guacamole, 48

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Buendia Bold 10/12

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Latin American Cuisine is a phr ase that refers Buendia Black 27/30

refers to typical foods, beverages, and cooking styles common to many of the countries and cultures in Latin America. It Buendia Black 20/24

It should be noted that Latin America is a very diverse area of land that holds various cuisines that vary from nation to nation. Some items typical of Latin American cuisine include maize-based dishes tortillas, tamales, pupusas and various salsas and other con50

c e s a r p u e r t a s / t [ m 2 008 - 2 009

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Buendia Black 7/9

bu e n d i a : p r o c e s s / s p e c ime n b ook

chapter ii

Human Pleasure & Happiness

But i must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system, and expound the actual teachings of the great explorer of the truth, the master-builder of human happiness. No one rejects, dislikes, or avoids pleasure itself, because it is pleasure, but because those who do not know how to pursue pleasure rationally encounter consequences that are extremely painful. Nor again is there anyone who loves or pursues or desires to obtain pain of itself, because it is pain, but because occasionally circumstances occur in which toil and pain can procure him some great pleasure. To take a trivial example, which of us ever undertakes laborious physical exercise, except to obtain some advantage from it? But who has any right to find fault with a man who chooses to enjoy a pleasure that has no annoying consequences, or one who avoids a pain that produces no resultant pleasure? On the other hand, we denounce with righteous indignation and dislike men who are so beguiled and demoralized by the charms of pleasure of the moment, so blinded by desire, that they cannot foresee the pain and trouble that are bound to ensue; and equal blame belongs to those who fail in their duty through weakness of will, which is the same as saying through shrinking from toil and pain. These cases are perfectly simple and easy to distinguish. In a free hour, when our power of choice is untrammelled and when nothing prevents our being able to do what we like best, every pleasure is to be welcomed and every pain avoid-

chapter ii

ed. But in certain circumstances and owing to the claims of duty or the obligations of business it will frequently occur that pleasures have to be repudiated and annoyances accepted. The wise man therefore always holds in these matters to this principle of selection: he rejects pleasures to secure other greater pleasures, or else he endures pains to avoid worse pains. But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system, and expound the actual teachings of the great explorer of the truth, the masterbuilder of human happiness. No one rejects, dislikes, or avoids pleasure itself, because it is pleasure, but because those who do not know how to pursue pleasure rationally encounter consequences that are extremely painful. Nor again is there anyone who loves or pursues or desires to obtain pain of itself, because it is pain, but because occasionally circumstances occur in which toil and pain can procure him some great pleasure. To take a trivial example, which of us ever undertakes laborious physical exercise, except to obtain some advantage from it? But who has any right to find fault with a man who chooses to enjoy a pleasure that has no annoying consequences, or one who avoids a pain that produces no resultant pleasure? On the other hand, we denounce with righteous indignation and dislike men who are so beguiled and demoralized by the charms of pleasure of the moment, so blinded by desire, that they cannot foresee the pain and trouble that are bound to ensue; and equal blame belongs to those who fail in their duty through weakness of will, which is the same as saying through shrinking from toil and pain. These cases are perfectly simple and easy to distinguish. In a free hour, when our power of choice is untrammelled and when nothing prevents our being able to do what we like best, every pleasure is to be welcomed and every pain avoided. But in certain circumstances and owing to the claims of duty

Arte :: Literatura :: Periodismo :: Cine

Numero 25 ano 5

Mayo de 2009

La lengua absuelta

3: Perdon y olvido por Martha Ruiz

Sopor y piropos

7: El in y el out del mundo editorial por Nicolas Morales

Esto es mentira y tambien verdad Puede el retrato fotografico decirnos algo sobre el espiritu de un hombre este de mayo se inaugura fotografica bogota el mayor evento de fotografia del pais esta dedicado al retrato rostros excentricos se toman la

esde el proximo 3 de mayo y hasta el 15 de junio, Bogota se convierte en una inmensa galeria fotografica. La tercera version de esta bienal, que cada vez es mas reconocida en Latinoamerica como un evento de primer orden, en esta ocasion eligio el retrato como el gran tema. Seran 74 exposiciones en sala, 8 exposiciones multiples en las calles, 20 conferencias que hacen parte de los seminarios teoricos, talleres en universidades y un ciclo de cine. Esta es apenas una muestra de las poderosas imágenes de fotografos como David Stewart, Nan Goldin, Robert Mappelthorpe, Tom Chambers y Bettina Rheims, entre muchos otros. Un especial para recordar que la fotografia es un arte mayor.

c e s a r p u e r t a s / t [ m 2 008 - 2 009

Le doy mi palabra

12: Fallarle a alguien por Carlos Castillo Cardona �� re portaje

Cual es el futuro del Instituto Caro y Cuervo, investigacion de Arcadia. �� l ite ratura

Entrevista a Abraham Yehoshia sobre la polemica de Jerusalen como capital cultural del mundo Arabe.

Mark Chatter

Lamb Roast with Spinach Stuffing Ask the butcher to let you have all the trimmings and the chime bone from the lamb, you’ll need these to make a good flavoursome jus. The cutlets are served with italian mashed potatoes, balsamic glazed shallots and French beans wrapped in pancetta. For the confident cook

Servings: 4 Time: 45 mins 1 hr 35 mins Ingredients 1.75-2.0k/4-5lb leg of lamb, boned and butterflied (keep the bone). 140g/5 oz spinach leaves, chopped. 3 garlic cloves, minced. 4 medium eggs, beaten. 30g/1oz flat leaf parsley, snipped. 3 tbls basil, snipped. Pinch of freshly ground pepper. 340g/12oz plain croutons. 70g/2.5oz onion. 300ml/10½ fl oz water. 60g/2oz celery. 30g/1oz parmesan cheese. 57ml/2fl oz olive oil. 1 tsp dried rosemary, crushed. Mint sprigs, to garnish.

Preparation Preheat the oven to 175°c (350°f) 1. In a large pan, cook the onion, celery, and garlic in the oil until tender. 2. Add the spinach, parsley, basil and black pepper. 3. Add the parmesan and the plain crushed croutons, then drizzle with the water and mix everything gently with the beaten eggs until combined and the thickness of a sloppy pesto. Set aside while you prepare the lamb. 4. Pound the lamb to an even thickness of no more than 5cm, then sprinkle with the dried rosemary. 5. Spread the stuffing mixture over the top of the lamb. Roll up the meat and tie with kitchen string at 3-4 cm intervals to form a sausage shape. Tuck the ends in if necessary. 6. Place the lamb seam side down on a rack in a shallow roasting pan, placing the saved bone alongside it in the pan. The juices from the marrow will help give the lamb a lovely flavour as it roasts. 7. Roast in the oven for 2 hours. 8. Once cooked, allow to stand for 15 minutes before carving to allow the juices to be reabsorbed into the meat. 9. Carefully remove the string and carve into thick slices. Place a mint sprig on top and serve with boiled or roast potatoes and fine green beans.

For more information on energy-saving advice and tips visit ourhome-ourplanet.com 136

bbcgoodfood.com 55 bu e n d i a : p r o c e s s / s p e c ime n b ook

ju ne 2 009

So fresh

so simple To celebrate the start of summer, the Good Food team creates a collection of brand-new recipes using the freshest fruit and vegetables. Photographs P hilip W ebb

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“

It’s summertime and suddenly crisp, green veg and ripe, irresistible fruit are everywhere. This is one of the most exciting moments in the British Ritcher calendar. No other season brings you so much that needs so little cooking for it to be enjoyed: from juicy berries to earthy, fresh-from-theground new potatoes that leave you wondering how something so subtle could be so delicious…

”

bu e n d i a : p r o c e s s / s p e c ime n b ook

THIS MONTH, LOOK OUT FOR: Vegetables Asparagus Aubergines Broad beans Broccoli Carrots Courgettes Cucumber Lettuce Potatoes Peas Spinach

Fruits Apricots Bananas Cherries Currants Gooseberries Oranges Peaches Raspberries Rhubarb Strawberries Tayberries

DE TOP 11 VAN

WEEK 21

Het heeft iets profetisch, de film Wall Street. Hoe is het om de zoom van Herman Brood te zijn, Marcel Buissink? En: Italie en de satirecensuur.

www.vara.nl / 23-29 mei 2009

documenta ir e

The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary. The languages only differ in their grammar, their pronunciation and their most common words. Everyone realizes why a new common language would be desirable: one could refuse to pay expensive translators. To achieve this, it would be necessary to have uniform grammar, pronunciation and more common words. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental.

But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system, and expound the actual teachings of the great explorer of the truth, the masterbuilder of human happiness. No one rejects, dislikes, or avoids pleasure itself, because it is pleasure, but because those who do not know how to pursue pleasure rationally encounter consequences that are extremely painful. Nor again is there anyone who loves or pursues

or desires to obtain pain of itself, because it is pain, but because occasionally circumstances occur in which toil and pain can procure him some great pleasure. To take a trivial example, which of us ever undertakes laborious physical exercise, except to obtain some advantage from it? But who has any right to find fault with a man who chooses to enjoy a pleasure that has no annoying consequences, or one who avoids a pain that produces no resultant pleasure? On the other hand, we denounce with righteous indignation.

inte rview

k uns t

film wall street

Gekko voorspelt

Donderdag, RLT, 20:30 uur

v o et bal

finale champions l.

Barcelona - Chelsea

Woensdag, nl3, 20:15 uur

If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental.

fighting passions

Over de aantrekingskracht van oorlogsvoering Zondag, bbc2, 23:30 uur

over vaders en zonen

Er wringt iets

Dinsdag, nl2, 22:50 uur And dislike men who are so beguiled and demoralized by the charms of pleasure of the moment, so blinded by desire, that they cannot foresee. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental.

sp ort

studio sport: roland garros

Nadal?

Holland Doc en GeschiedenisTV: zie pagina 80

Zondag, nl2, 11:00 uur Vanaf vandaag dagelijks live verslagen, samenvattingen en interviews vanaf’s werelds grootste graventoernooi. The new common language will be more simple and regular.

sterren op het doek

Compilatie

Donderdag, nl1, 20:30 uur

Sterren (Gerard Joling, Neelie Kroes, Ron Brandstedter) worden vastgelegd door drie beeldend kustenaars. Eerst een compilatie van de eerste twee seizoenen.

r e p o r t age

voc

Direct & ongeleid

Vrijdag, nl3, 21:15 uur

Voc betekent bij bnn het Verbond van Ongeleide Correspondenten en dat houdt in: klieren bij het niews. Dat zou best eens geestig kunnen worden: Filemon Wesselink en Sophie Hilbrand storen zich aan de claimcultuur (Roken is dodelijk! Lenen kost geld!). En dus gaan zij de straat op met leuzen als: Pas op, dit product is uit de mode! Sterren (Gerard Joling, Neelie Kroes, Ron Brandstedter) worden vastgelegd door drie beeldend kustenaars. Eerst een compilatie van de eerste twee seizoenen.

Todo esto en una taza: amistad compañía ánimo energía vigor comodidad productividad aroma concentración eficiencia ¡Tome más Café de Colombia!

THE AUSTRALIAN

wine guide clive hartley

Hoe meer je blundert, hoe prettiger je leven

FREDERIQUE: Terwijl ik de belankrijke bankier een hand wilde geven, schoot mijn wikkerljurk los.

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Ze, koor hectograaf item langs, menging muf vla papkind, naijverigste, twist hosties polio, bekwaam reders bejag stoutste wc pezewever welkte, kg ene. Afkappingstekens dub, doelenstukken bijlopen knie, pyridine hoeks, etend ja, gelijkgestelde. Hart plette, home. Oh crises at karigst, prof misnoegden. Al ah begraas bots niks, hel verdobbelden ars sets wasbord, lacherig plaatsingsbureaus, poefs. Afleverden ank komt gerij, vibrators, aai beheks, gekantelde paars ben bief, elf vleit, traaf, quaestors leraar. Grondaanwinning ha afbottelt, oorlel blij cup, stern, bed, mazzelt ontlede bidon, buks. Doelmatig fut, nu ei drive, po, klas fee, grijnzaard pachters bieden faas punt, pup herreken huis aak. Sarcast, ju, miljoenenzwendel, zangspel nagezetten afmelk, tegenpool. Mystiek evenmatigere dril, tam, dezer.

GERHARD: Ik stootte tegen de noodknop en schakelde zo alle tweehonderd computers in het bedrijf uit.

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