Characterscape by CRIMMINS

D C@GC D 2017 - 2018

letters

ambition and inspiration

pattern

environment

colour

image

identity

glyph A specific graphic element such as an individual letter, ligature, numeral, fraction, symbol or punctuation mark that contributes to meaning.

1 + a fi õ y A G Ö Ÿ ¤ @ §

1 à fl ö ý À H Ø Z € ™ π

2 × á g ø ÿ Á I Œ Ž £ © ∂

2 ÷ â h œ z Â Ì P ! $ ® ð

3 * ã i ù ž Ã Í Q ¡ ¥ ℓ Ω

3 / ä ì q . Ä Î R ? & ℮ ß

4 = å í p , Å Ï S ¿ ' ¶ µ

5 ≠ a î q ; Æ J Š ˆ " ƒ þ

6 < æ ï r : B K T ˇ ¯ | ∏

7 > b j s … C L U ˉ † ı ¢

8 ≤ c k š ‘ Ç Ł Ù ˘ ‡ ¦ Þ

9 ≥ ç l t ’ D M Ú ˙ ( ‐ ł

0 ≈ d m u “ Ð N Û ˛ ) – ∆

¼ ± e n ú ” E Ñ Ü ¸ [ — ^

½ ∑ è ñ û „ È O V ˜ ] − ◊

¾ – é o ü ‹ É Ò W ˝ { ¬ ~

typeface A set of glyphs, usually including an alphabet of letters, numerals, and punctuation marks, designed with stylistic unity. It may also include ideograms and symbols, or consist entirely of them.

√ — ê ò v › Ê Ó X ` } _ ˚

% − ë ó w « Ë Ô Y ´ \ ∙ °

‰ # f ô x » F Õ Ý ¨ ⁄ • o

typeface family A collection of similar fonts designed to be used together which may include include different styles (italic, old-style-figures, small-caps, swash-caps), weights (thin, extra-light, light, regular, medium, semibold, bold, extra-bold, black) or widths (compressed, ultra-condensed, condensed, extended).

1 + a fi õ y A G Ö Ÿ ¤ @ §

1 à fl ö ý À H Ø Z € ™ π

2 × á g ø ÿ Á I Œ Ž £ © ∂

2 ÷ â h œ z Â Ì P ! $ ® ð

3 * ã i ù ž Ã Í Q ¡ ¥ ℓ Ω

3 / ä ì q . Ä Î R ? & ℮ ß

4 = å í p , Å Ï S ¿ ' ¶ µ

5 ≠ a î q ; Æ J Š ˆ " ƒ þ

6 < æ ï r : B K T ˇ ¯ | ∏

7 > b j s … C L U ˉ † ı ¢

8 ≤ c k š ‘ Ç Ł Ù ˘ ‡ ¦ Þ

9 ≥ ç l t ’ D M Ú ˙ ( ‐ ł

0 ≈ d m u “ Ð N Û ˛ ) – ∆

¼ ± e n ú ” E Ñ Ü ¸ [ — ^

½ ∑ è ñ û „ È O V ˜ ] − ◊

¾ – é o ü ‹ É Ò W ˝ { ¬ ~

√ — ê ò v › Ê Ó X ` } _ ˚

% − ë ó w « Ë Ô Y ´ \ ∙ °

‰ # f ô x » F Õ Ý ¨ ⁄ • o

1 + a fi õ y A G Ö Ÿ ¤ @ §

1 à fl ö ý À H Ø Z € ™ π

2 × á g ø ÿ Á I Œ Ž £ © ∂

2 ÷ â h œ z Â Ì P ! $ ® ð

3 * ã i ù ž Ã Í Q ¡ ¥ ℓ Ω

3 / ä ì q . Ä Î R ? & ℮ ß

4 = å í p , Å Ï S ¿ ' ¶ µ

5 ≠ a î q ; Æ J Š ˆ " ƒ þ

6 < æ ï r : B K T ˇ ¯ | ∏

7 > b j s … C L U ˉ † ı ¢

8 ≤ c k š ‘ Ç Ł Ù ˘ ‡ ¦ Þ

9 ≥ ç l t ’ D M Ú ˙ ( ‐ ł

0 ≈ d m u “ Ð N Û ˛ ) – ∆

¼ ± e n ú ” E Ñ Ü ¸ [ — ^

½ ∑ è ñ û „ È O V ˜ ] − ◊

¾ – é o ü ‹ É Ò W ˝ { ¬ ~

√ — ê ò v › Ê Ó X ` } _ ˚

% − ë ó w « Ë Ô Y ´ \ ∙ °

‰ # f ô x » F Õ Ý ¨ ⁄ • o

1 + a fi õ y A G Ö Ÿ ¤ @ §

1 à fl ö ý À H Ø Z € ™ π

2 × á g ø ÿ Á I Œ Ž £ © ∂

2 ÷ â h œ z Â Ì P ! $ ® ð

3 * ã i ù ž Ã Í Q ¡ ¥ ℓ Ω

3 / ä ì q . Ä Î R ? & ℮ ß

4 = å í p , Å Ï S ¿ ' ¶ µ

5 ≠ a î q ; Æ J Š ˆ " ƒ þ

6 < æ ï r : B K T ˇ ¯ | ∏

7 > b j s … C L U ˉ † ı ¢

8 ≤ c k š ‘ Ç Ł Ù ˘ ‡ ¦ Þ

9 ≥ ç l t ’ D M Ú ˙ ( ‐ ł

0 ≈ d m u “ Ð N Û ˛ ) – ∆

¼ ± e n ú ” E Ñ Ü ¸ [ — ^

½ ∑ è ñ û „ È O V ˜ ] − ◊

¾ – é o ü ‹ É Ò W ˝ { ¬ ~

√ — ê ò v › Ê Ó X ` } _ ˚

% − ë ó w « Ë Ô Y ´ \ ∙ °

‰ # f ô x » F Õ Ý ¨ ⁄ • o

1 + a fi õ y A G Ö Ÿ ¤ @ §

1 à fl ö ý À H Ø Z € ™ π

2 × á g ø ÿ Á I Œ Ž £ © ∂

2 ÷ â h œ z Â Ì P ! $ ® ð

3 * ã i ù ž Ã Í Q ¡ ¥ ℓ Ω

3 / ä ì q . Ä Î R ? & ℮ ß

4 = å í p , Å Ï S ¿ ' ¶ µ

5 ≠ a î q ; Æ J Š ˆ " ƒ þ

6 < æ ï r : B K T ˇ ¯ | ∏

7 > b j s … C L U ˉ † ı ¢

8 ≤ c k š ‘ Ç Ł Ù ˘ ‡ ¦ Þ

9 ≥ ç l t ’ D M Ú ˙ ( ‐ ł

0 ≈ d m u “ Ð N Û ˛ ) – ∆

¼ ± e n ú ” E Ñ Ü ¸ [ — ^

½ ∑ è ñ û „ È O V ˜ ] − ◊

¾ – é o ü ‹ É Ò W ˝ { ¬ ~

√ — ê ò v › Ê Ó X ` } _ ˚

% − ë ó w « Ë Ô Y ´ \ ∙ °

‰ # f ô x » F Õ Ý ¨ ⁄ • o

The term font describes a specific typeface, point, size, style and weight.

Uni 39 Thin Ultra Condensed

Uni

49 Light Ultra Condensed

47 Light Condensed

47 Light Condensed Oblique

Univers 45 Light

45 Light Oblique

Uni

Uni Uni

59 Ultra Condensed

57 Condensed

57 Condensed Oblique

Univers 55 Roman

Univers 55 Oblique

53 Extended

Uni

Uni Uni

67 Bold Condensed

67 Bold Condensed Oblique

65 Bold

65 Bold Oblique

63 Bold Extended

53 Extended Oblique

63 Bold Extended Oblique

Uni Uni Uni Uni 75 Black

75 Black Oblique

73 Black Extended

73 Black Extended Oblique

Uni Uni Uni Uni 85 Extra Black

85 Extra Black Oblique

93 Extra Black Extended

93 Extra Black Extended Oblique

ligatures Two or more letters specifically designed as a unit to substitute pairs of letters that overlap in an awkward manner when positioned side by side.

ciZT}cSVYZilT

ear

spine

link terminal curved ascender

arm stem

charracter width

cross-stroke tittle

overshoot

bowl

ascender counter

x-height capital height stem / downstroke apex upstroke

ascender line

baseline

descender line

leg

loop

ligature

body width

descender

counter

spur

tail

aperture

body / em height

finial bar

bracket

serif

crossbar

big 12pt

small 156pt

SIZE

innerpeace Tracking: +0 em

innerpeace Tracking: +200 em [100 x 1,000ths of an em]

innerpeace Tracking: -50 em [100 x 1,000ths of an em] â&#x20AC;Ś no correction

Tracking

A StRange quality work fix fiQ Q 123456789 123456789 Adobe Caslon Regular, Italic, ItalicSwash, expert (Adobe) 12pt | 1725 · William Caslon

Transitional < Serif

A StRange quality work fix afiQ 1234567890 VOGUE Didot Regular, Italic (Linotype) 12pt - 1990 · Adrian Frutiger

Didone < Serif

A StRange quality work fix fiQ 1234567890 TIMES Times New Roman Regular, Italic (Monotype) 12pt - 1932 · Stanley Morison and Victor Lardent

Garalde < Serif

A StRange quality work fix fiQ 1234567890 Clarendon BT Light (Bitstream) 12pt - 1845 · Henry Caslon’s foundry

Egyptienne < Slab Serif

A StRange quality work fix fiQ 1234567890 ITC Lubalin Graph BT Book, Oblique (Bitstream) 12pt - 1974 · Herb Lubalin

Geometric < Slab Serif

A StRange quality work fix fiQ 1234567890 News Gothic LT Regular, Italic (Linotype) 12pt - 1908 · Morris Fuller Benton A StRange quality work fix fiQ 1234567890 Univers 55 Roman, 55 Oblique (Linotype) 12pt - 1953 · Adrian Frutiger

Grotesque < Lineale a. < Sans Serif

Neo-grotesque < Lineale b. < Sans Serif

A StRange quality work fix fiQ 1234567890 ITC Avant Garde Gothic Book/Book Oblique (ITC) 12pt - 1930’s · Herb Lubalin

Geometric < Lineale c. < Sans Serif

A StRange quality work fix fiQ 1234567890 Eurostile Medium/Oblique (Nebiolo) 12pt - 1962 · Aldo Novarese

Geometric < Lineale c. < Sans Serif

A StRange quality work fix fiQ 1234567890 Optima Regular/Italic (Linotype) 12pt · c.1958 · Herman Zapf

Humanist < Lineale d. < Sans Serif

A StRange quality work fix fiQ 1234567890 Albertus MTRegular, italic (Monotype) 12pt · 1932-40 · Berthold Wolpe

Humanist < Glyphic

A StRange quality work 12345 Trajan (Adobe) 12pt · 1989 · Carol Twombly Glyphic < Serif A StRange quality work fix fiQ 1234567890 Bickham Script Pro ( Adobe) 12pt - 1773/1996 · Richard Lipton Script A StRange quality work fix fiQ 1234567890 Tenison Regular (Aviation Partners)12pt - 2005 · Nicholas Garner Script A StRange quality work fix fiQ 1234567890 Mistral ( ITC) 12pt - 1993 · Roger Excoffon Script A StRange quality work fix fiQ 1234567890 Wilhelm Klingspor Gotisch Roman (Linotype) 12pt - 1925 · Rudolf Koch Black-letter

A N G R Y

big

small

ornate

plain

love

hate

misogyny

misandry

philandry

philogyny

≈16 words per line

≈12 words per line

≈9 words per line

≈6 words per line

No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a

SIZE

≈4 words per line

≈2 words per line

No creature on earth is better at pretending than we humans. We

No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so

≈12pt/4mm(11.339pt)

≈12pt/6mm(14.173 pt)

No creature on earth is better at pretending than we humans. We

12pt/12mm(34.016 pt)

have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a firstperson form, an ‘I’. The Great Pretender sets out to show that the

LEADING

tracking +100(.001)em

tracking +0(.001)em

tracking -50(.001)em

TRACKING

no hyphenation / ragged edges

hyphenated

HYPHENATION

Its author cites Richard Dawkins’ book The Selfish Gene as a major source of inspiration. Another is the beach animal or ‘strandbeest’. Since 1990 Theo Jansen has been engaged in creating new forms of life. These forms are not made of protein but of yellow plastic tubing. Skeletons made from these tubes are able to walk.

Sabon Roman 8.5pt/4mm[11.339 pt] align left

justify left

align right

justify right

align centre

justify centre

justify all

ALIGNMENT

Sabon Roman 12pt/6mm

Univers 45 Light 12pt/6mm

Glypha 35 Thin 12pt/6mm

TYPRFACE

Tenison Regular 14pt/6mm

Avenir LT Pro 45 Book 12pt/6mm

Albertus MT Regular 12pt/6mm

Wilhelm Klingspor Gotisch Roman 12pt/6mm

No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an ‘I’. The Great Pretender sets out to show that the ‘I’ we envision is a tool in our evolution. Its author cites Richard No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an ‘I’. The Great Pretender sets out to show that the ‘I’ No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an ‘I’. The Great Pretender sets out to show that the ‘I’ No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an ‘I’. The Great Pretender sets out to show that the ‘I’ we envision is a tool in our evolution. Its author cites Richard Dawkins’ book The Selfish Gene as a major

Sentence

NO CREATURE ON EARTH IS BETTER AT PRETENDING THAN WE HUMANS. WE HAVE A TALENT FOR CREATING A FANTASY WORLD, A TALENT SO STRONG THAT WE ARE EVEN ABLE TO PRETEND THAT WE EXIST. WE SIMULATE A FIRST-PERSON FORM, AN

All Caps

Small Caps

CASE

Roman

Italic/ Oblique

STYLE

39 Thin Ultra Condensed No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an ‘I’. The Great Pretender sets out to show that the ‘I’ we envision is a tool in our evolution. Its author cites Richard Dawkins’ book The Selfish Gene as a major source of inspiration. Another is the beach animal or ‘strandbeest’. No creature on earth is better at pretending than we humans. We have a talent for creating a

49 Light Ultra Condensed No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an ‘I’. The Great Pretender sets out to show that the ‘I’ we envision is a tool in our evolution. Its author cites Richard Dawkins’ book The Selfish Gene as a major source of

59 Ultra Condensed No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an ‘I’. The Great Pretender sets out to show that the ‘I’ we envision is a tool in our evolution. Its

47 Light Condensed No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an ‘I’. The Great

57 Condensed No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person form, an

67 Bold Condensed No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-person

45 Light No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we exist. We simulate a first-

55 Roman No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to pretend that we

65 Bold No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so strong that we are even able to

WEIGHT

53 Extended No creature on earth is better at pretending than we humans. We have a talent for creating a fantasy world, a talent so

93 Extra Black Extended No creature on earth is better at pretending than we humans. We have a talent for

Trim Area 105mm x 148.5mm [A6] [actual size]

Bleed Area 111mm x 154.5mm [A6] [plus 3mm on all sides]

Type Area 89mm x 132.5mm [A6] [less 8mm on all sides]

ear

spine

link terminal curved ascender

arm stem

charracter width

cross-stroke tittle

overshoot

bowl

ascender counter

x-height capital height stem / downstroke apex upstroke

ascender line

baseline

descender line

loop

ligature

leg

body width

descender

spur aperture

tail counter body / em height

finial bar

bracket crossbar serif

Adrian Frutiger (Switzerland) · Linotype · 1954

Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfg, Aéfg, Aéfg, Aéfg 24pt · 45 Light, 45 Light Oblique, 55 Roman, 55 Oblique, 65 Bold, 65 Bold Oblique, 75 Black, 75 Black Oblique, 85 Extra Black, 85 Extra Black Oblique

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 45 Light

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 45 Light Oblique

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 65 Bold

The dot, or point (German punkt) is, scientifically speaking, an abstract concept, which indicates with precise certainty the locality of a junction, a meaning, an intersection, etc. We speak of crossing points, meeting points, and also sore points, points of friction, and so on.In graphic terms the dot or point is a materialized area, recognizable by the human eye. It is the smallest graphic unit, as it were the “atom” of every pictorial expression. A dot seldom appears as an individual element but generally takes its meaning from a relationship with another sign, such as the dot on the i, which gives the vertical line the meaning of a vowel; or the geometric dot in the middle of a circle, which thereby comes to symbolize the expression of “center”. By lining up dots to form an area we create a graphic screen (raster) or tint. The dots are no longer regarded as isolated

“atoms” but as a gray effect or the basis of the reproduction technique for halftone printing. The imaginary line – The viewer draws an imaginary line from one dot to another. In ancient times, humans drew imaginary lines between stars as they gazed at the sky and the pictures thus formed from the constellations made the signs of the zodiac. Dots arranged in a straight line at constant intervals are recognized as a line on which one is invited to write. From the examples of dice patterns we have seen that the arrangement of three dots can evoke the idea of a triangle and that the formation of a hexagon of dots produces the idea of circular movement. With a greater effort of the imagination one can also see a pair of crossed triangles, making the Jewish symbol of the six-pointed Star of David (6). From these

-10

éfigAR

100pt · 55 Roman

8.5pt / 4mm [11.338pt] · 65 Bold, 45 Light Oblique, 45 Light, 55 Roman, 55 Oblique, 65 Bold, 65 Bold Oblique

9pt · 55 Roman

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

+ Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R T Y U I O P { } A S D F G H J K L : ” | ~ Z X C V B N M < > ?

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

_ Option

§ ¡ € # ¢ § ˆ ¶ ¨ ª º – ≠ œ ˙ é ® √ ¥ ú í ó ‚ “ ‘ á ß ∂ ƒ © µ ˝ ˚ π … æ « ` ¯ ≈ ¸ ˇ ˜ ˛ ≤ ≥ ÷

- Shift Option

± ⁄ ™ ‹ › † ^ & • · ° — ± Œ ˙ É ‰ ∞ ¥ Ú Í Ó ∏ ” ’ Á ´ ∫ ∑ © ∆ ˝  ¬ ‡ Æ » ` Ω ≈ ¸ ﬁ ﬂ ˜ ˛ „ ◊ ¿

CRIMMINS · crimmins.ie

Univers

Neo-grotesque / Lineale / Sans Serif

Univers

Univers LT Std · 2002 · Linotype

Adrian Frutiger (Switzerland) · Linotype · 1954

Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1 24pt · 47 Light Condensed, 47 Light Condensed Oblique, 57 Condensed, 57 Condensed Oblique, 67 Bold Condensed, 67 Bold Condensed Oblique, 39 Thin Ultra Condensed, 49 Light Ultra Condensed, 59 Ultra Condensed

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 47 Light Condensed

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 57 Condensed Oblique

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 67 Bold Condensed

The dot, or point (German punkt) is, scientifically speaking, an abstract concept, which indicates with precise certainty the locality of a junction, a meaning, an intersection, etc. We speak of crossing points, meeting points, and also sore points, points of friction, and so on. In graphic terms the dot or point is a materialized area, recognizable by the human eye. It is the smallest graphic unit, as it were the “atom” of every pictorial expression. A dot seldom appears as an individual element but generally takes its meaning from a relationship with another sign, such as the dot on the i, which gives the vertical line the meaning of a vowel; or the geometric dot in the middle of a circle, which thereby comes to symbolize the expression of “center”. By lining up dots to form an area we create a graphic screen (raster) or tint. The dots are no longer regarded as isolated “atoms” but as a gray effect or the basis of the reproduction technique for halftone printing. The imaginary line – The viewer draws an imaginary line from one dot to another. In ancient times,

humans drew imaginary lines between stars as they gazed at the sky and the pictures thus formed from the constellations made the signs of the zodiac. Dots arranged in a straight line at constant intervals are recognized as a line on which one is invited to write. From the examples of dice patterns we have seen that the arrangement of three dots can evoke the idea of a triangle and that the formation of a hexagon of dots produces the idea of circular movement. With a greater effort of the imagination one can also see a pair of crossed triangles, making the Jewish symbol of the six-pointed Star of David (6). From these observations we conclude that the eye at first draws a line to represent the shortest distance between two points and is able to visualize crossovers only on further consideration. The line in itself - The prototype “line” is conceived from the start as a straight line. We take it that a juxtaposition of dots simulates a line, inviting completion. On

8.5pt / 4mm [11.338pt] · 67 Bold Condensed, 47 Light Condensed, 47 Light Condensed Oblique, 57 Condensed, 57 Condensed Oblique, 67 Bold Condensed, 67 Bold Condensed Oblique

-10

éfigAR

100pt · 57 Condensed

9pt · 57 Condensed

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

+ Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R T Y U I O P { } A S D F G H J K L : ” | ~ Z X C V B N M < > ?

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

_ Option

§ ¡ € # ¢ § ˆ ¶ ¨ ª º – ≠ œ ˙ é ® √ ¥ ú í ó ‚ “ ‘ á ß ∂ ƒ © µ ˝ ˚ π … æ « ` ¯ ≈ ¸ ˇ ˜ ˛ ≤ ≥ ÷

- Shift Option

± ⁄ ™ ‹ › † ^ & • · ° — ± Œ ˙ É ‰ ∞ ¥ Ú Í Ó ∏ ” ’ Á ´ ∫ ∑ © ∆ ˝  ¬ ‡ Æ » ` Ω ≈ ¸ ﬁ ﬂ ˜ ˛ „ ◊ ¿

CRIMMINS · crimmins.ie

Univers Condensed

Neo-grotesque / Lineale / Sans Serif

Univers Condensed

Univers LT Std · 2002 · Linotype

Adrian Frutiger (Switzerland) · Linotype · 1954

Aéfig1, Aéfig1, Aéfig1, Aégi, Aégi, Aégi, Aégi, Aégi 24pt · 53 Extended, 53 Extended Oblique, 63 Bold Extended, 63 Bold Extended Oblique, 73 Black Extended, 73 Black Extended Oblique, 93 Extra Black Extended, 93 Extra Black Extended Oblique

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNOPQRST 16pt · 53 Extended

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 53 Extended Oblique

Quick god jumps over the lazy frown box q123456780?&!ABCDEFGHIJKLMNO 16pt · 73 Black Extended

geometric dot in the middle of a circle, which thereby comes to symbolize the expression of “center”. By lining up dots to form an area we create a graphic screen (raster) or tint. The dots are no longer regarded as isolated “atoms” but as a gray effect or the basis of the reproduction technique for halftone printing. The imaginary line – The viewer draws an imaginary line from one dot to another. In ancient times, humans drew imaginary lines between stars as they gazed at the sky and the pictures thus formed from the constellations made the signs of the zodiac. Dots arranged in a

8.5pt / 4mm [11.338pt] · 24pt · 53 Extended, 53 Extended Oblique, 63 Bold Extended, 63 Bold Extended Oblique, 73 Black Extended, 73 Black Extended Oblique, 93 Extra Black Extended, 93 Extra Black Extended Oblique

éfigR

-10

100pt · 73 Black Extended

9pt · 53 Extended

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

+ Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R T Y U I O P { } A S D F G H J K L : ” | ~ Z X C V B N M < > ?

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

_ Option

§ ¡ € # ¢ § ˆ ¶ ¨ ª º – ≠ œ ˙ é ® √ ¥ ú í ó ‚ “ ‘ á ß ∂ ƒ © µ ˝ ˚ π … æ « ` ¯ ≈ ¸ ˇ ˜ ˛ ≤ ≥ ÷

- Shift Option

± ⁄ ™ ‹ › † ^ & • · ° — ± Œ ˙ É ‰ ∞ ¥ Ú Í Ó ∏ ” ’ Á ´ ∫ ∑ © ∆ ˝  ¬ ‡ Æ » ` Ω ≈ ¸ ﬁ ﬂ ˜ ˛ „ ◊ ¿

CRIMMINS · crimmins.ie

Univers Extended

Neo-grotesque / Lineale / Sans Serif

Univers Extended

Univers LT Std · 2002 · Linotype

William Caslon · 1722

Aéfig1, AAéfig1, Aéfig1, AAéfig1, Aéfig1, AAéfig1fi 24pt · Regular, Italic Swash, Italic, Semibold, Semibold Italic Swash, Semibold Italic, Bold, Bold Italic Swash, Bold Italic

Quick god jumps over the lazy box frqwn 1234567890 1234567890I YX ?&! ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · Regular, Expert, Regular

Quick god jumps over the lazy box frqwn 1234567890 ?&! ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · Italic

Quick god jumps over the lazy box frqwn 1234567890 ?&! ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · Bold

William Caslon I – born 1692 in Cradley, Worcestershire, England, died 1766 in Bethnal Green, England – engraver, type founder, type designer. 1706: begins a seven-year apprenticeship as an engraver with a London harness-maker. 1716: self-employed engraver. 1721: the Society for Promoting Christian Knowledge commissions Caslon to cast Arabic alphabets. 1725: sets up his own type foundry. 1734: Caslon’s first one-page specimen is produced which illustrates 47 of his typefaces. 1737: the type foundry moves to Chiswell Street in London, where it continues to operate for 200 years. William Caslon II: William Caslon II – born 1720, died 1778 – type founder, type designer. 1742: joins his father’s company. 1763: father and son issue the first English book of type specimens, which includes 56 alphabets by Caslon senior and 27 by his son, designed between 1738 and 1763. 1766: after the death of his father, Caslon junior runs the family business until 1778. William Caslon III: William Caslon III – born 1754, died 8.5pt / 4mm [11.338pt] · Semibold Italic Swash, Semibold Italic, Regular, Semibold, Bold, Bold Italic

1833 – type founder. Caslon III sold his share of the business to his mother and daugther-in-law and used the money to buy the Jackson type foundry, The type foundry remained the property of the Caslon family until 1795. William Caslon IV: William Caslon IV – born 1780, died 1869 – type founder. 1807: Caslon IV takes over the running of the type foundry until 1819, when the foundry is bought by Blake, Garnett & Co. 1837: the type foundry, still under the name of Caslon, becomes the property of the Stephenson, Blake & Co. type foundry in Sheffield. * Typography – An Encyclopedic Survey of Type Design and Techniques Throughout History by Friedrich Friedl, Nicolaus Ott (Editor), Bernard Stein, published by Könemann Verlagsgesellschaft mbH. Caslon is an Old Style serif typeface originally designed by William Caslon in 1722. Caslon was used for the Declaration of Independence. “ When in doubt, use Caslon”

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éWgAR1

100pt · 55 Regular

9pt · Regular

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

+ Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R T Y U I O P { } A S D F G H J K L : ” | ~ Z X C V B N M < > ?

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

_ Option

§ ¡ € # ¢ § ˆ ¶ ¨ ª º – ≠ œ ˙ é ® √ ¥ ú í ó ‚ “ ‘ á ß ∂ ƒ © µ ˝ ˚ π … æ « ` ¯ ≈ ¸ ˇ ˜ ˛ ≤ ≥ ÷

- Shift Option

± ⁄ ™ ‹ › † ^ & • · ° — ± Œ ˙ É ‰ ∞ ¥ Ú Í Ó ∏ ” ’ Á ´ ∫ ∑ © ∆ ˝  ¬ ‡ Æ » ` Ω ≈ ¸ ﬁ ﬂ ˜ ˛ „ ◊ ¿

CRIMMINS · crimmins.ie

Adobe Caslon

Garalde / Old Style / Serif

Adobe Caslon

Fira · 2017 · licensed under OFL (Open Font License)

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u

i o p [ ] a

s d f g h j

+ Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R T Y U I O P { } A

_ Option

§ ¡ € # ¢

- Shift Option

± ⁄ ™ ‹ › † ^ & • · ° — ± Œ ˙ É ‰ ∞ ¥ Ú Í Ó ∏ ” ’ Á ´

§ ˆ ¶ ¨ ª º –

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k l ; ’ \ ` z x c v b n m , . /

S D F G H J K L : ” | ~ Z X C V B N M < > ?

√ ¥ ú í ó ‚ “ ‘ á ß

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∫ ∑ © ∆ ˝  ¬ ‡ Æ » ` Ω ≈ ¸ ﬁ ﬂ ˜ ˛ „

◊ ¿

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

3 4

+ Shift

! @ £

_ Option

§ ¡ €

- Shift Option

± ⁄ ™ ‹ › †

# ¢

5 6 7 8 9 0 - = q w e r t y u i o p

[

{ } A S D F G H J K L : ”

^ & *

(

)

+ Q

W E R T Y U I O P

a s d f g h j

k l

; ’ \ |

z x c v b n m ,

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√ ¥ ú í ó ‚ “ ‘ á ß

∂ ƒ © µ ˝ ˚ π … æ «

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^ & • · ° — ± Œ ˙ É ‰ ∞ ¥ Ú Í Ó ∏ ” ’ Á ´

∫ ∑ © ∆ ˝  ¬ ‡ Æ »

` Ω ≈ ¸ ﬁ ﬂ ˜ ˛ „

§ ˆ ¶ ¨ ª º –

≠ œ ˙ é ®

]

≈ ¸ ˇ ˜ ˛

≤ ≥ ÷ ◊ ¿

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

§ 1 2 3 4 5

+ Shift _ Option - Shift Option

⁄

€

™

‹

›

†

•

(

)

–

—

= q w e r t y u i o p [ ] a s d f g h j k l ;

+ Q W E R

≠

√

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‰ ∞ ¥

‚

“

Ó ∏ ”

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ﬁ

ﬂ

≤ ≥ „

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§ 1 2 3 4 5 6 7 8 9 0 - = q

w e r

t y u

i o p [ ] a

+ Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R

_ Option

§ ¡ € # ¢

- Shift Option

± ⁄ ™ ‹ › † ^ & • · ° — ± Œ ˙ É ‰ ∞ ¥ Ú Í Ó ∏ ” ’ Á ´

§ ˆ ¶ ¨ ª º –

≠ œ ˙ é ®

T Y U I O P { } A

s d f g h j

k l ; ’ \ ` z x

c v b n m , . /

S D F G H J K L : ” | ~ Z X C V B N M < > ?

√ ¥ ú í ó ‚ “ ‘ á ß

≈ ¸ ˇ ˜ ˛

≤ ≥ ÷

∆ ˝  ¬ ‡ Æ » ` Ω ≈ ¸ ﬁ ﬂ ˜ ˛ „

◊ ¿

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . / + Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R T Y U I O P { } A S D F G H J K L : ” | ~ Z X C V B N M < > ?

_ Option

- Shift Option

CRIMMINS · crimmins.ie

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

Carrois Apostrophe and Erik Spiekermann · Mozilla · 2012

Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Aéfig1, Afig 24pt · Thin, ExtraLight, Light, Light Italic, Regular, Medium, SemiBold, Bold, ExtraBold, Black, Black Italic

Quick god jumps over the lazy frown box q 1234567890 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 45 Light

Quick god jumps over the lazy frown box q 1234567890 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 45 Light Oblique

Quick god jumps over the lazy frown box q 1234567890 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 65 Bold

Carrois Apostrophe focuses on language extension and the development of corporate type. The studio was founded in 1975 by Ralph Carrois. The typeface for Suzuki was one of Ralph’s early projects, and he has since designed typefaces for TYPO3, the Neue National Galerie, and the Museo de Art de Ponce, among many others. In cooperation with Erik Spiekermann, Carrois Apostrophe has realized projects for Cisco, the German television broadcaster ZDF, designed Fira for Mozilla, and FF Real which was released by Fontshop. The studio is currently working on new designs and smart plugins for the font editor Glyphs. Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced

variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see github.com/mozilla/ Fira Carrois Apostrophe focuses on language extension and the development of corporate type. The studio was founded in 1975 by Ralph Carrois. The typeface for Suzuki was one of Ralph’s early projects, and he has since designed typefaces for TYPO3, the Neue National Galerie, and the Museo de Art de Ponce, among many others. In cooperation with Erik Spiekermann, Carrois Apostrophe has realized projects for Cisco, the German television broadcaster ZDF, designed Fira for Mozilla, and FF Real which was released by Fontshop. The studio is currently working on new designs and smart plugins for the font editor Glyphs. Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and

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éfigAR1

100pt · 55 Regular

8.5pt / 4mm [11.338pt] · Thin, ExtraLight, Light, Light Italic, Regular, Medium, SemiBold, Bold, ExtraBold, Black, Black Italic

9pt · Regular

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

+ Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R T Y U I O P { } A S D F G H J K L : ” | ~ Z X C V B N M < > ?

_ Option

¡ € # ¢ § ˆ ¶ ¨ ª º – ≠ œ ˙

é ® √ ¥ ú í ó ‚

“

‘

á ß ∂ ƒ © µ ˝

- Shift Option

⁄ ™ ‹

É ‰ ∞ ¥ Ú Í Ó ∏ ”

’

Á ´

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

CRIMMINS · crimmins.ie

› † ^ & •

° — ± Œ ˙

Fira Sans

˚ π … æ « `

¯ ≈

≤ ≥ ÷

¸ ﬁ ﬂ ˜

„ ◊ ¿

Sans Serif / informal

Fira Sans

Fira · 2017 · licensed under OFL (Open Font License)

Akira Kobayashi / Adrian Frutiger · Linotype · 1988 / 2004 - 2007

Aéfig1, Aéfig1, Aég, Aég, Aég, Aég, Aég, Aég, Aég, Aég, Ag, Ag, Aéfig1 24pt · 35 Light, 35 Light Oblique, 45 Book, 45 Book Oblique, 55 Roman, 55 Oblique, 65 Medium, 65 Medium Oblique, 85 Heavy, 85 Heavy Oblique, 95 Black, 95 Black Oblique

Quick god jumps over the lazy frown box q 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 35 Light

Quick god jumps over the lazy frown box q 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 55 Oblique

Quick god jumps over the lazy frown box q 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · 65 Bold

The dot, or point (German punkt) is, scientifically speaking, an abstract concept, which indicates with precise certainty the locality of a junction, a meaning, an intersection, etc. We speak of crossing points, meeting points, and also sore points, points of friction, and so on. In graphic terms the dot or point is a materialized area, recognizable by the human eye. It is the smallest graphic unit, as it were the “atom” of every pictorial expression. A dot seldom appears as an individual element but generally takes its meaning from a relationship with another sign, such as the dot on the i, which gives the vertical line the meaning of a vowel; or the geometric dot in the middle of a circle, which thereby comes to symbolize the expression of “center”. By lining up dots to form an area we create a graphic screen (raster) or tint. The dots are no longer regarded as isolated “atoms”

but as a gray effect or the basis of the reproduction technique for halftone printing. The imaginary line – The viewer draws an imaginary line from one dot to another. In ancient times, humans drew imaginary lines between stars as they gazed at the sky and the pictures thus formed from the constellations made the signs of the zodiac. Dots arranged in a straight line at constant intervals are recognized as a line on which one is invited to write. From the examples of dice patterns we have seen that the arrangement of three dots can evoke the idea of a triangle and that the formation of a hexagon of dots produces the idea of circular movement. With a greater effort of the imagination one can also see a pair of crossed triangles, making the Jewish symbol of the six-pointed Star of David (6). From these observations we conclude that the eye at first

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éfigAR1

100pt · 55 Roman

8.5pt / 4mm [11.338pt] · 35 Light, 35 Light Oblique, 45 Book, 45 Book Oblique, 55 Roman, 55 Oblique, 65 Medium, 65 Medium Oblique, 85 Heavy, 85 Heavy Oblique, 95 Black, 95 Black Oblique

9pt · 45 Book

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

+ Shift

± ! @ £ $ % ^ & * ( ) _ + Q W E R T Y U I O P { } A S D F G H J K L : ” | ~ Z X C V B N M < > ?

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

_ Option

- Shift Option

CRIMMINS · crimmins.ie

Avenir

Geometric / Lineal / Sans Serif

Avenir

Avenir Next LT Pro · 1988 / 2004 - 2007 · Akira Kobayashi / Adrian Frutiger

Firmin Didot (1764 - 1836) France / Adrian Frutiger · Linotype · 1784 - 1811 / 1990

Aéfig1, Aéfig1, Aéfig1 24pt · Regular, Italic, Bold

Quick god jumps over the lazy frown box q 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · Regular

Quick god jumps over the lazy frown box q 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · Italic

Quick god jumps over the lazy frown box q 1234567890 ?&!ABCDEFGHIJKLMNOPQRSTUVWXYZ®™ 16pt · Bold

effect or the basis of the reproduction technique for halftone printing. The imaginary line – The viewer draws an imaginary line from one dot to another. In ancient times, humans drew imaginary lines between stars as they gazed at the sky and the pictures thus formed from the constellations made the signs of the zodiac. Dots arranged in a straight line at constant intervals are recognized as a line on which one is invited to write. From the examples of dice patterns we have seen that the arrangement of three dots can evoke the idea of a triangle and that the formation of a hexagon of dots produces the idea of circular movement. With a greater effort of the imagination one can also see a pair of crossed triangles, making the Jewish symbol of the six-pointed Star of David (6). From these observations we conclude that the eye at first draws a line to represent the shortest

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éfigAR1

100pt · 55 Regular

8.5pt / 4mm [11.338pt] · Regular, Italic, Bold

9pt · Regular

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r t y u i o p [ ] a s d f g h j k l ; ’ \ ` z x c v b n m , . /

+ Shift

± ! @ £ $ % ^ & *

(

_ Option

§ ¡ € # ¢ § ˆ ¶ ¨

º – ≠ œ ˙

- Shift Option

° — ± Œ ˙ É ‰ ∞ ¥ Ú Í Ó ∏ ”

§ 1 2 3 4 5 6 7 8 9 0 - = q w e r

CRIMMINS · crimmins.ie

⁄ ™ ‹

› † ^ & •

)

t y u i o p [

_ + Q W E R T Y U I O P { é ® √ ¥ ú í ó ‚

Didot

“

;

’

} A S D F G H J K L :

]

”

| ~ Z X C V B N M < > ?

‘

’ Á ´

˚ π … æ «

` `

z x c v b n m , ¯ ≈ ¸

` Ω ≈ ¸ ﬁ ﬂ ˜

˛ ≤ ≥ ÷ ˛

„ ◊ ¿

serif / didone

Didot

Didot · 1990 · Linotype

+ - × ÷ * / = ≠ < > ≤ ≥ ≈ ± ∑ – — − # a à á â ã ä å a æ b c ç d e è é ê ë f

1 1 2 2 3 3 4 5 6 7 8 9 0 ¼ ½ ¾ √ % ‰

fi fl g h i ì í î ï j k l m n ñ o ò ó ô õ ö ø œ ù q p q r s š t u ú û ü v w x y ý ÿ z ž . , ; : … ‘ ’ “ ” „ ‹ › « » A À Á Â Ã Ä Å Æ B C Ç D Ð E È É Ê Ë F G H I Ì Í Î Ï J K L Ł M N Ñ O Ò Ó Ô Õ Ö Ø Œ P Q R S Š T U Ù Ú Û Ü V W X Y Ý ˇ ˉ ˘ ˙ ¯ † ‡ (

˛ )

¸ [

˜ ˝ ` ] { }

´ \

¨ ⁄

30pt @ A4 / 60pt @ A2

Ÿ Z Ž ! ¡ ? ¿ ˆ ¤ € £ $ ¥ & ' "

4 5 6 7 8 9 0 ¼ ½ ¾ √ % ‰

+ - × ÷ * / = ≠ < > ≤ ≥ ≈ ± ∑ – — − # a à á â ã ä å a æ b c ç d e è é ê ë f fi fl g h i ì í î õ ö ø œ ù q p q

ï r

j s

k š

l m n ñ o ò ó ô t u ú û ü v w x

y ý ÿ z ž . , ; : … ‘ ’ “ ” „ ‹ › « A À Á Â Ã Ä Å Æ B C Ç D Ð E È É Ê Ë

» F

G H I Ì Í Î Ï J K L Ł M N Ñ O Ò Ó Ô Õ Ö Ø Œ P Q R S Š T U Ù Ú Û Ü V W X Y Ý ˆ "

ˇ ¯

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30pt @ A4 / 60pt @ A2

Ÿ Z Ž ! ¡ ? ¿ ¤ € £ $ ¥ & '

+ - × ÷ * / = ≠ < > ≤ ≥ ≈ ± ∑ – — − # a à á â ã ä å a æ b c ç d e è é ê ë f fi fl g h i ì í î ï õ ö ø œ ù q p q r

1 1 2 2 3 3 4 5 6 7 8 9 0 ¼ ½ ¾ √ % ‰

j k l m n ñ o ò ó ô s š t u ú û ü v w x

y ý ÿ z ž . , ; : … ‘ ’ “ ” „ ‹ › « » A À Á Â Ã Ä Å Æ B C Ç D Ð E È É Ê Ë F

Ÿ Z Ž ! ¡ ? ¿ ¤ € £ $ ¥ & '

ˆ "

ˇ ¯

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30pt @ A4 / 60pt @ A2

G H I Ì Í Î Ï J K L Ł M N Ñ O Ò Ó Ô Õ Ö Ø Œ P Q R S Š T U Ù Ú Û Ü V W X Y Ý