k Veronika Burian & JosĂŠ Scaglione
Karm A highly legible
mina typeface
Karmina is a text typeface developed mainly for pocket books and budget editions. It was built to withstand the worst printing conditions: low quality papers, high printing speed with web presses and variations in the ink level of the printing press.
m
m Large serifs (intended to work perfectly in small reproduction sizes)
Ink traps (large and yetgraceful in the acute connections)
Communicate Karmina combines a significantly large x-height with relatively compressed letterforms.
&
legibility readability
Legibility can be defined as the ability a human reader to read something without eort. It can depend on many things. Often, the size of font chosen restricts legibility. For our purposes though, legibility is discussed in light of typeface choice. Readability can be defined not on a letter by letter basis, but how he combination of letter are read within a larger body of text. In other words, readability is defined by the amount of eort one needs to make to read text, not single characters. The result of features like large serifs and large ink traps grants Karmina outstanding legibility and economy. Karmina features four weights and 800 characters per weight, including small caps, discretionary ligatures, fractions and a complete range of numerals for every use. It also supports over 40 languages that use the latin.
with clarity
REGULAR
It is easy to tell one letterform from another in a legible typeface. For instance, decorative typefaces have low legibility because they are primarily meant to be seen at a glance, rather than read at length. Conversely, typefaces designed for novels or newspapers have very high legibility. Combined with the basic legibility of the typeface, yields a certain level of readability. Readability is the dynamic interaction of the type style, size, tracking, leading, color and other properties all combined into one.
ITALIC
It is easy to tell one letterform from another in a legible typeface. For instance, decorative typefaces have low legibility because they are primarily meant to be seen at a glance, rather than read at length. Conversely, typefaces designed for novels or newspapers have very high legibility. Combined with the basic legibility of the typeface, yields a certain level of readability. Readability is the dynamic interaction of the type style, size, tracking, leading, color and other properties all combined into one.
BOLD
It is easy to tell one letterform from another in a legible typeface. For instance, decorative typefaces have low legibility because they are primarily meant to be seen at a glance, rather than read at length. Conversely, typefaces designed for novels or newspapers have very high legibility. Combined with the basic legibility of the typeface, yields a certain level of readability. Readability is the dynamic interaction of the type style, size, tracking, leading, color and other properties all combined into one.
BOLD ITALIC
It is easy to tell one letterform from another in a legible typeface. For instance, decorative typefaces have low legibility because they are primarily meant to be seen at a glance, rather than read at length. Conversely, typefaces designed for novels or newspapers have very high legibility. Combined with the basic legibility of the typeface, yields a certain level of readability. Readability is the dynamic interaction of the type style, size, tracking, leading, color and other properties all combined into one.
There are several dierences between regular and italic. The serifs lose the sharpness of their shape in favourof some calligraphic reminiscences.
kk gg qq
© 2014 Karmina Typeface
prague, thursday, january 30, 2014
Karmina Typeface Late Edition
$ 1.25
Today, abundant sunshine and very warm, light winds, high 89. Tonight clear, patchy fog late, low 72. Tomorrow, sultry sunshine, high 92. Weather map appears on Page 26.
DUBLIN, IRELAND — Overall subjective well-being has remained stable, but happiness and work-life balance levels have declined, and more people are having trouble making ends meet, according to a new report published by Eurofond. The report, called Quality of Life in Europe: Trends 2003–2012, explores patterns of change in the quality of life in Europe over the last decade, focusing on aspects of everyday life, economic factors, and on issues relevant to public policy, using Eurofound’s multidimensional approach. Subjective well-being has been stable over the last decade in the EU as a whole. In the Member States with the lowest scores in 2003, well-being increased, and most of the other Member States show more or less stable scores. The main exception is Greece, where the economic crisis is linked to sharp falls in both life satisfaction and happiness between 2007 and 2011. For the most part, countries with higher levels of life satisfaction
By NEWS DESK
2011. In these times of recession, the lowest levels of subjective well-being are reported by the unemployed, particularly the long-term unemployed and people unable to work. The European Quality of Life Survey (EQLS) examines the multidimensional domains of quality of life, focusing on aspects of everyday life (such as relations with family and friends) and on issues relevant to public policy (such as housing and social tensions). Economic factors – such as the ability to make ends meet, material deprivation and economic status – are also important influences on quality of life. This report explores patterns of change over the last decade in the quality of life of the EU population aged 18 and over. It pays particular attention to differences across different countries, the impact of the economic crisis, and type of welfare regime. Specific attention is also paid to the situation of people in vulnerable situations: people on low incomes, older people, single parents and the long-term unemployed. The proportion of households
quartile. Differences in subjective well-being between income quartiles are growing. People aged 50–64 years have a relatively low level of life satisfaction and happiness, and the gap between this group and other age groups is growing. Satisfaction with family and satisfaction with social life remained high and fairly stable between 2003 and 2011. In terms of work– life balance, the extent to which employees reported being too tired after work to do household tasks returned in 2011 to 2003 levels after a fall in 2007, while the proportion reporting having difficulty fulfilling family responsibilities was stable. The proportion reporting difficulty concentrating at work because of their domestic demands has increased somewhat. Satisfaction with health decreased between 2003 and 2011, particularly for people in the lowest income quartile. Satisfaction with health in the central and eastern European Member States has increased but is still far below the level of the rest of the EU. Average levels of trust in other people declined between 2003
Prague wins regional award for best meeting destination
decreasing, with the exception of the EU12, where tensions between racial and ethnic groups are perceived as having increased between 2007 and 2011, having fallen between 2003 and 2007. The perception of tension between rich and poor rose between 2007 and 2011. Change in quality of life is associated with trust in people and perceived social tension: greater trust in other people corresponds with better quality of life, while an increase in perceived social tension correlates with reduced quality of life. The European Foundation for the Improvement of Living and Working conditions (Eurofound) is a tripartite European Union Agency, whose role is to provide knowledge in the area of social and work-related policies. Eurofound was established in 1975 by Council Regulation (EEC) No. 1365/75.
Well-being has been relatively stable, but trust in others has declined
vol. clviii.. no. 54,373
“All the News That’s Fit to Print“
in Europe facing financial strain is growing, and there has been an increase in the proportion having difficulty making ends meet, especially among people in the lowest income
and 2011, and there was an even sharper fall in trust in institutions. However, reported tension between social groups in the EU (measured multi-dimensionally) seems to be
The Prague theater world is once again in turmoil. This time, however, unlike the temporary sacking of National Theatre Director Jan Burian in August, it is not because of the Culture Minister’s overzealous intrusion in the affairs of this institution, but because of sudden restructuring at the National Theatre. Starting Jan. 1, Nová scéna (New Stage) — the space that falls under the administration of the National Theatre but has since 2010 had the autonomy to organize its own alternative theater performances with acclaimed local and international troupes — will fall under the National Theatre’s drama section, headed by Michal Dočekal. It all began a little more than one year ago, with the Culture Ministry’s dismissal of the previous director of the National Theatre, Ondřej Černý. After the departure of Černý, who
By ANDRÉ CROUS
had supported the use of the New Stage by more troupes than merely those of the National Theatre throughout his tenure, the theater’s drama section seems to have found a friendly ear in Burian. The restructuring would mean the current space, which caters to performances by alternative groups as well as shows by the acclaimed Laterna magika, which performs multimedia theater productions, will be taken over and administered by the National Theatre’s drama section, mostly for its own productions. The decision came as a big surprise to the director of the New Stage, Štěpán Kubišta, who said Burian informed him of the decision shortly before it was to take effect — and a few days before he left on a two-week tour to the United States with Laterna magika. “He said to me, two days before I left for the United States, that it will change at the beginning of the new year,” Kubišta told The Prague Post. “[He didn’t tell me this] at the beginning of the season, but right at the end of the season. It’s strange.” Burian’s timing mirrors a similar situation last year, when Černý was relieved of his post at the beginning of the 2012–13 season, a fact not lost on Kubišta. “Me and all my colleagues met him [Burian] at the end of last season, in June or July [2013], and he said to everyone, ‘I will not make any changes before the reconstruction of the New Stage.’ As I saw it, the reconstruction would not be done sooner than in two years’ time, so it was like, ‘I don’t trust him, but if he is publicly declaring this...’,” Kubišta said. On Dec. 1, Burian informed him of his decision, which would take effect exactly one month later, Jan. 1, 2014. Burian told The Prague Post via e-mail that the decision was not taken abruptly. “Of course, these and other changes were discussed repeatedly with the head of the drama section, Michal Dočekal,” he wrote in answer announcement to Kubišta.
The National Theatre’s drama section gobbles up alternative hub Nová scéna (New Stage)
in 2007 reported decreased satisfaction in 2011, while those with lower levels in 2007 tended to report increases in 2011. Happiness declined in most countries between 2007 and Prague won the 2013 Meeting Star Award in the category of meeting destinations awarded by Slovenian Kongres magazine, which focuses on the region of Central and South East Europe. The editorial board of the magazine prepared an overview of convention centers, hotels and congress destinations that were assessed by hidden congress guests. In total, Prague collected 4.64 points and ranked higher than Dubrovnik and Budapest. For the third year in the row, Kongres magazine called a tender for the Meetings Star Award – an award for outstanding contributions in the field of marketing communication of destinations, congresses, events and meetings industry suppliers in South East Europe. The award is a visible recognition of creativity, knowledge and work based on team work and experience that brought clear and measurable results. The winners in five categories — Top Destination, Top Convention Center, Top City Meeting Hotel, Top Resort Meeting Hotel and Inside Award — were awarded during the welcome reception at 2014 Conventa trade show in Ljubljana, Slovenia, on Jan. 21, 2014. Prague was represented by Prague Convention Bureau, the official convention bureau of the city of Prague. “For us, this award is the sign Prague has significantly improved the level of provided congress services and ranks among the European top”.
8/10 pt Eregular & italicG
10/12 pt Eregular & italicG
12/14 pt Eregular & italicG
It is easy to tell one letterform from another in a legible typeface. For instance, decorative typefaces have low legibility because they are primarily meant to be seen at a glance, rather than read at length. Conversely, typefaces designed for novels or newspapers have very high legibility. Combined with the basic legibility of the typeface, yields a certain level of readability. Readability is the dynamic interaction of the type style, size, tracking, leading, color and other properties all combined into one overall impression. They add up to a certain typographic style which has a quantifiable degree of readability. For instance, the use of style that has an intentionally low readability that is part of the message. Or to focus on designing a high read- ability because the message is complicated, and the type style to hinder the audiences’ understanding. For instance, decorative type-faces
It is easy to tell one letterform from another in a legible typeface. For instance, decorative typefaces have low legibility because they are primarily meant to be seen at a glance, rather than read at length. Conversely, typefaces designed for novels or newspapers have very high legibility. Combined with the basic legibility of the typeface, yields a certain level of readability. Readability is the dynamic interaction of the type style, size, tracking, lead- ing, color and other properties all combined into one overall impression. They add up to a certain typographic
It is easy to tell one letterform from another in a legible typeface. For instance, decorative typefaces have low legibility because they are primarily meant to be seen at a glance, rather than read at length. Conversely, typefaces designed for novels or newspapers have very high legibility. Combined with the basic legibility of the typeface, yields a certain level of readability. Readability
14/16 pt Ebold & bold italicG
To nejalterantivnější, nejexperimentálnější a možná i nejodvážjší v českém profesionálním divadle se dnes odehrává především na jeviš- tích divadel pro děti a mládež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou rodinu se o něco podobného pokoušeli Hana Burešová s Janem Bornou v Divadle v Dlouhé. Razantně do trendu odvážného, experimentálního – tedy v zásadě alternativního – divadla pro děti 18/20 pt Ebold & bold italicG
To nejalterantivnější, nejexperimentálnější a možná i nejodvážjší v českém profesionálním divadle se dnes odehrává především na jeviš- tích divadel pro děti a mládež. Začaly to kdysi Buchty a loutky svými pohádkami pro zlobivé děti. Koncepcí divadla pro celou rodinu se o něco podobného pokoušeli Hana Burešová s Janem Bornou v Divadle v Dlouhé. Razantně do trendu odvážného, experimentálního – tedy v
BUILT TO WITHSTAND ALL CONDITIONS Praha je všeobecně považována za jedno z nejkrásnějších měst v Evropě
2012, 2013 & 2014 IBM Settles Antitrust Case With EU
Euro Zone
OPEC Opts Today to Increase Level of Output
Economy Journal Zároveň je Praha také vysoce ekonomicky vyspělým a bohatým regionem
Něwspápeř BANKS PAY OUT £306M IN SWAPS COMPENSATION
basic latin
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ Ò Ó Ô Õ Ö Ø Ù Ú Û Ü ÝÞ ß ss à á â ã ä æ ç è é ê ë ì í î ï ð ñ ò ó ô õ ö ù ú û ü extended latin
ĀĂĄĆĈĊČĎĐĒĔĖĘĚĜĞĠĢĤĦĨĪĬĮİIJĴĶĹĻĽĿŁ ŃŅŇŊŌŎŐŒŔŖŘŚŜŞŠŢŤŦŨŪŬŮŰŲŴŶŸŹŻŽ āăąćĉċčďđēĕėęěĝğġģĥħĩīĭįıijĵķĺļľŀłń ņ ň ʼn ŋ ō ŏ ő œ ŕ ŗ ř ś ŝ ş š ţ ť ŧ ũ ū ŭ ů ű ų ŵ ŷ ź ż ž ſ ligatures
³´µ¶·¸¹ij numbers
01234567890123456789 ⁰¹²³⁴⁵⁶⁷⁸⁹₀₁₂₃₄₅₆₇₈₉ rstuv¼½¾z{|}~ ⅓⅔ ⅛⅜⅝⅞‰
punctuation
!"#%&'()*,-.//:;?@[[\\]]_{}¡«·»¿ –—‘’“”„†‡•…‰‰‹›E{}-% math symbols
+<=>|~¬±×÷⁄∂∆∏∑−∕∙√∞∫≈≠≤≥ΔΩμπΩ currency & symbols
$ $ ¢ £ £ ¥ ¥ € € ^ ` ¦ § ¨ © ® ¯ ° ´ ¶ ¸ ˘ ˙ ˚ ˛˜ ˝ ™ ◊ ˜ ˚ ´ ` ¨ ¯ ˙ ¸ ˝ ˘ ˛
basic latin
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ Ò Ó Ô Õ Ö Ø Ù Ú Û Ü ÝÞ ß ss à á â ã ä æ ç è é ê ë ì í î ï ð ñ ò ó ô õ ö ù ú û ü extended latin
ĀĂĄĆĈĊČĎĐĒĔĖĘĚĜĞĠĢĤĦĨĪĬĮİIJĴĶĹĻĽĿŁ ŃŅŇŊŌŎŐŒŔŖŘŚŜŞŠŢŤŦŨŪŬŮŰŲŴŶŸŹŻŽ āăąćĉċčďđēĕėęěĝğġģĥħĩīĭįıijĵķĺļľŀłń ņ ň ʼn ŋ ō ŏ ő œ ŕ ŗ ř ś ŝ ş š ţ ť ŧ ũ ū ŭ ů ű ų ŵ ŷ ź ż ž ſ ligatures
ij numbers
01234567890123456789 ⁰¹²³⁴⁵⁶⁷⁸⁹₀₁₂₃₄₅₆₇₈₉ JKLMN¼½¾RSTUVWX⅓⅔[\]^_`⅛⅜⅝⅞‰
punctuation
!"#%&'()*,-.//:;?@[[\\]]_{}¡«·»¿ –—‘’“”„†‡•…‰‰‹›({}-% math symbols
+<=>|~¬±×÷⁄∂∆∏∑−∕∙√∞∫≈≠≤≥ΔΩμπΩ currency & symbols
$ $ ¢ £ £ ¥ ¥ € € ^ ` ¦ § ¨ © ® ¯ ° ´ ¶ ¸ ˘ ˙ ˚ ˛˜ ˝ ™ ◊ ˜ ˚ ´ ` ¨ ¯ ˙ ¸ ˝ ˘ ˛
basic latin
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ Ò Ó Ô Õ Ö Ø Ù Ú Û Ü ÝÞ ß ss à á â ã ä æ ç è é ê ë ì í î ï ð ñ ò ó ô õ ö ù ú û ü extended latin
ĀĂĄĆĈĊČĎĐĒĔĖĘĚĜĞĠĢĤĦĨĪĬĮİIJĴĶĹĻĽĿŁ ŃŅŇŊŌŎŐŒŔŖŘŚŜŞŠŢŤŦŨŪŬŮŰŲŴŶŸŹŻŽ āăąćĉċčďđēĕėęěĝğġģĥħĩīĭįıijĵķĺļľŀłń ņňʼnŋōŏőœŕŗřśŝşšţťŧũūŭůűųŵŷźżžſ ligatures
ij numbers
01234567890123456789 ⁰¹²³⁴⁵⁶⁷⁸⁹₀₁₂₃₄₅₆₇₈₉
IJKLM¼½¾QRSTUVW⅓⅔Z[\]^_⅛⅜⅝⅞‰
punctuation
!"#%&'()*,-.//:;?@[[\\]]_{}¡«·»¿ –—‘’“”„†‡•…‰‰‹›({}-% math symbols
+<=>|~¬±×÷⁄∂∆∏∑−∕∙√∞∫≈≠≤≥ΔΩμπΩ currency & symbols
$ $ ¢ £ £ ¥ ¥ € € ^ ` ¦ § ¨ © ® ¯ ° ´ ¶ ¸ ˘ ˙ ˚ ˛˜ ˝ ™ ◊ ˜ ˚ ´ ` ¨ ¯ ˙ ¸ ˝ ˘ ˛
basic latin
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z À Á Â Ã Ä Å Æ Ç È É Ê Ë Ì Í Î Ï Ð Ñ Ò Ó Ô Õ Ö Ø Ù Ú Û Ü ÝÞ ß ss à á â ã ä æ ç è é ê ë ì í î ï ð ñ ò ó ô õ ö ù ú û ü extended latin
ĀĂĄĆĈĊČĎĐĒĔĖĘĚĜĞĠĢĤĦĨĪĬĮİIJĴĶĹĻĽĿŁ ŃŅŇŊŌŎŐŒŔŖŘŚŜŞŠŢŤŦŨŪŬŮŰŲŴŶŸŹŻŽ āăąćĉċčďđēĕėęěĝğġģĥħĩīĭįıijĵķĺļľŀłń ņ ň ʼn ŋ ō ŏ ő œ ŕ ŗ ř ś ŝ ş š ţ ť ŧ ũ ū ŭ ů ű ų ŵ ŷ ź ż ž ſ ligatures
ij numbers
01234567890123456789 ⁰¹²³⁴⁵⁶⁷⁸⁹₀₁₂₃₄₅₆₇₈₉ IJKLM¼½¾QRSTUVW⅓⅔Z[\]^_⅛⅜⅝⅞‰
punctuation
!"#%&'()*,-.//:;?@[[\\]]_{}¡«·»¿ –—‘’“”„†‡•…‰‰‹›({}-% math symbols
+<=>|~¬±×÷⁄∂∆∏∑−∕∙√∞∫≈≠≤≥ΔΩμπΩ currency & symbols
$ $ ¢ £ £ ¥ ¥ € € ^ ` ¦ § ¨ © ® ¯ ° ´ ¶ ¸ ˘ ˙ ˚ ˛˜ ˝ ™ ◊ ˜ ˚ ´ ` ¨ ¯ ˙ ¸ ˝ ˘ ˛
k e assanes
Greta B