FontBooklet No. 1 by Conor Mangat

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LDBDBDB H G H G H G H G OBDBDBD choosing type can be one of the typographer’s most enjoyable endeavors. However, with the thousands of options available today, it can be also be a daunting task – thus the impulse to go online. The Web is a wonderful thing for finding fonts; it’s ideal for searching and sampling, and FontShop.com features advanced preview tools that show every single glyph of each font we sell. In the end though, and despite the ubiquity of text on the Web, most type was meant to be seen on paper. And it’s with that knowledge that we present the first in a series of printed specimens that give ample space and tribute to the best typefaces for professional typography. Unlike a throw-away catalog, FontBooklets are filled with typefaces chosen purely on their merits, not as part of any marketing scheme or in response to the latest trend. So keep your FontBooklets near your desk and put the tactile joy back into type selection. As well as ff Unit™ (used for the text and captions), this brochure contains just a few of the more than 100,000 fonts available from FontShop ▶ see more at www.fontshop.com

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This br brochur ochure ochur e is printed with vegetable based inks which ar are low VOC © 2008 fsi FontShop International. All rights reserved. All trademarks named herein remain the property of their respective owners. The contents of this publication may not be repurposed or duplicated without express prior written permission.

FontBooklet no 1

Arnhem ff CliJord Corpid FP Dancer Lisboa Sans FF Maiola itc Mendoza FF Meta Serif Pragma nd Proxima™ Nova FF Quadraat RePublic Whitman ™

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We’ve perforated the pages so you can compare typefaces as though in a flickbook – or not. Tear it or treasure it: you choose.

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Arnhem abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Blond, +15‰

Eg Ni

ff CliJord abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Eighteen, +15‰

Arnhem Blond, Bold & Italic Rooted in the French metal types of the 1700s, Arnhem was originally designed for the Dutch daily Nederlandse Staatscourant, and is therefore especially useful for large quantities of text at small sizes. Carefully drawn for digital use by Arnhem celebrated Dutch designer Fred Smeijers of OurType, Arnhem is a gorgeous serif 6 size-specific cuts (Arnhem for body copy, with Fred Smeijers ourtype, 2002 Arnhem Fine for heads), a strong colour, and a distinctly functional beauty. Smeijers is internationally known for his writing and lectures; his fonts are much sought after by

Arnhem Normal, Black & Italic Rooted in the French metal types of the 1700s, Arnhem was originally designed for the Dutch daily Nederlandse Staatscourant, and is therefore especially useful for large quantities of text at small sizes. Carefully drawn for digital use by celebrated Dutch designer Fred Smeijers of OurType, Arnhem is a gorgeous serif with size-specific cuts (Arnhem for body copy, Arnhem Fine for heads), a strong colour, and a distinctly functional beauty. Smeijers is internationally known for his writing and lectures; his fonts are much sought after by

9/12pt

Arnhem Bold & Italic

Arnhem Black & Italic

Rooted in the French metal types of the 1700s, Arnhem was originally designed for the Dutch daily Nederlandse Staatscourant, and is therefore especially useful for large quantities of text at small sizes. Carefully drawn for digital use by celebrated Dutch designer Fred Smeijers of OurType, Arnhem is a gorgeous serif with size-specific cuts (Arnhem for body copy, Arnhem Fine for heads), a strong colour, and a distinctly functional beauty. Smeijers is internationally known for his writing and lectures; his fonts are much sought after by

9/12pt

Though inspired by Wilson’s Long Primer, an 18th century metal type, ff CliJord was not intended to be a faithful reproduction, but a font designed specifically for digital use. Designer Akira Kobayashi also wanted to maintain the optically correct size variations commonly used for lead type so that the design would function in a variety of sizes. 18/25pt, ff Clifford Eighteen

So he created three versions: ff CliJord Eighteen, Nine, and Six. The former has greater broke contrast, narrower letter forms, and a tighter fit, while the latter is bolder and wider with sturdier hairlines and serifs, and looser spacing. The family also includes an extensive character complement: a wide variety of ligatures, plain and swash italics, and text and lining figures. Thoughtful consideration also means that numerals align with the small caps, as do the ampersand, monetary symbols, parentheses, brackets and some of the punctuation signs. The family is rounded out by ff CliJord Borders, a collection of 18th century borders and ornaments.

9/12pt, ff Clifford Nine

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6/8pt, ff Clifford Six My first impression of digital type was not good. I remember ff Clifford very clearly when I first used a digital version of Bembo. . . After seeing the a, and another 6 letter, I got into a slight panic. Akira Kobayashi fontfont, 1999 None of the letters looked like Bembo!. . After a while I checked the Bembo Italic and slowly began to realise that the fonts were indeed Bembo. I calmed down enough to recall that the typeface was originally designed for metal type, and most of the specimens and texts I saw were set in metal type in text size. . . I knew that a metal typeface was cut or designed separately for each size, but a film composition or digital face is a kind of compromise, having proportions designed for reduction and enlargement. . . As long as the type has one master design, this limitation is inevitable. . . The ultimate solution was optical scaling, or to design different masters for different ranges of sizes – the ordinary method of making a series of typefaces for the previous five hundred years S akira kobayashi

8/11.4pt, fp Dancer Book & Serif Black While revisiting his FF Olsen, Danish designer Morten Olsen created something entirely new in Fp Dancer, infusing a modern text typeface with both the fluidity of a script and the warmth of an obvious human touch. Very much in the realm of its Northern European counterparts, Flora and Sauna, Dancer succeeds as an individual design that is expressive yet not childish. Indeed, the serif and sans families are full-featured OpenType fonts with everything you need to set type like a grown-up: small caps, fractions, case-sensitive forms, and text and lining figures in proportional and tabular widths. Olsen collaborates with fellow Dane Ole

While revisiting his FF Olsen, Danish designer Morten Olsen created something entirely new in FP Dancer, infusing a modern text typeface with both the fluidity of a script and the warmth of an obvious human touch. Very much in the realm of its Northern European counterparts, Flora and Sauna, Dancer succeeds as an individual design that is expressive yet not childish. Indeed, the serif and sans families are full-featured 10/13pt, fp Dancer Serif Bold & Italic

While revisiting his Olsen, Danish designer Morten Olsen created something entirely new in fp Dancer, infusing a modern text typeface with both the fluidity of a script and the warmth of an obvious human touch. Very much in the realm of its Northern European counterparts, Flora and Sauna, Dancer succeeds as an individual design that is expressive yet not childish. Indeed, the serif and sans families are full-featured OpenType fonts with everything you need to set type like a grown-up: small caps, fractions, case-sensitive forms, and text and lining figures in proportional and tabular widths. Olsen collaborates with fellow Dane 8/11.4pt, fp Dancer Serif Book & Sans Black

7/9pt While revisiting his FF Olsen, Danish designer Morten Olsen created something entirely new in fp Dancer, infusing a modern text typeface with both the fluidity of a script and the warmth of an obvious human touch. Very much in the realm of its Northern European counterparts, Flora and Sauna, Dancer succeeds as an individual design that is expressive yet not childish. Indeed, the serif and sans families are full-featured OpenType fonts with everything you need to set type like a grownup: small caps, fractions, case-sensitive forms, and text and lining figures in proportional and tabular widths. Olsen collaborates with fellow Dane Ole sĂ¸ndergaard to run the virtual type design studio, fontpartners. While revisiting his FF Olsen, Danish designer Morten Olsen created something entirely new in fp Dancer, infusing a modern text typeface with both the fluidity of a script and the warmth of an

While revisiting his FF Olsen, Danish designer Morten Olsen created something entirely new in fp Dancer, infusing a modern text typeface with both the fluidity of a script and the warmth of an obvious human touch. Very much in the realm of its Northern European counterparts, Flora and Sauna, Dancer succeeds as an individual design 6 that is expressive yet not childish. Indeed, the serif and sans families are full-featured OpenType fonts with everything you need to set type like a grown-up: small caps, fractions, case-sensitive forms, and text & lining figures in proportional and tabular

18pt, fp Dancer & fp Dancer Serif

fp Dancer

Morten Olsen fontpartners, 2007

fp Dancer abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Light, +30‰

& £ x

6/7.5pt, fp Dancer Light While

revisiting his FF Olsen, Danish designer Morten Olsen created something entirely new in fp Dancer, infusing a modern text typeface with both the fluidity of a script and the warmth of an obvious human touch. Very much in the realm of its Northern European counterparts, Flora and Sauna, Dancer succeeds as

8/10pt

9/12pt

10/13pt While revisiting his FF Olsen, Danish designer Morten Olsen created something entirely new in fp Dancer, infusing a modern text typeface with both the fluidity of a script and the warmth of an obvious human touch. Very much in the realm

11/14pt

7/8.6pt, Light When the Dutch Ministry of Agriculture, Nature Management and Fishing expanded in the mid-1990s, it needed to update its communications. Faced with the expense of licensing Frutiger for all of its computers, the

Corpid

Luc(as) de Groot LucasFonts, 1997

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When the Dutch Ministry of Agriculture, Nature Management and Fishing expanded in the mid-1990s, it needed to update its communications. Faced with the expense of licensing Frutiger for all of its computers, the Ministry turned to Studio Dumbar who suggested that an 14/16pt, Light

9/12pt, Regular original font (instead of Frutiger) would help to cement the Ministry’s brand presence. Initially called Agrofont, the new face emulated the proportions of Frutiger (to avoid adversely affecting existing documents) but employed more open letterforms atop de Groot’s trademark calligraphic skeleton to improve legibility. This was a particularly important consideration for the Corpid fonts since they were to be used on Ministry screens as well as in printed documents. Optimizing the fonts for screen display took a further two years after the initial design was completed.

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Lisboa Sans abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Light, +15‰

Regular Ministry turned to Studio Dumbar, who suggested that an original font (instead of Frutiger) would help to cement the Ministry’s brand presence. Initially called Agrofont, the new face emulated the proportions of Frutiger

Bold (to avoid adversely affecting existing documents) but employed more open letterforms atop de Groot’s trademark calligraphic skeleton to improve legibility. This was a particularly important consideration

for the Corpid fonts since they were to be used on Ministry screens as well as in printed documents. Optimizing the fonts for screen display took a further two years after the initial design was completed.

Heavy

Black When the Dutch Ministry of Agriculture, Nature Management and Fishing expanded in the mid-1990s, it needed to update its communications. Faced with the expense of licensing Frutiger for all of its computers, the

Corpid abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Light, +15‰

9/12pt, Lisboa Light initially designed for the magazine Portuguese Teachers of Portugal in 2000, Ricardo Santos’ Lisboa project included dingbats influenced by signs and symbols found in the city of Lisbon, and culminated with Lisboa Sans. Reflecting the warmth of the Iberian peninsula, Lisboa features hooked stroke endings, while Lisboa Sans doesn’t. Sharing identical Lisboa Sans and proportions, structure the simpler lines of the Sans 6 improve legibility, especially Ricardo Santos atfountain, small2004 sizes. In a field already crowded by humanist and neo-humanist sans serifs, Lisboa distinguishes itself through completeness and technical sophistication. Initially designed for the magazine Portuguese Teachers of Portugal in 2000, Ricardo Santos’ Lisboa project included dingbats influenced by signs and symbols found in the city of Lisbon, and culminated with lisboa sans. Reflecting the warmth of the Iberian

Initially designed for the magazine Portuguese Teachers of Portugal in 2000, Ricardo Santos’ Lisboa project included dingbats influenced by signs and symbols found in the city of Lisbon, and culminated with Lisboa Sans. Reflecting the warmth of the Iberian peninsula, Lisboa features hooked stroke endings, while Lisboa Sans doesn’t. Sharing identical structure and proportions, the simpler lines of the Sans improve legibility, especially at small sizes. In a field already crowded by humanist and neohumanist sans serifs, Lisboa distinguishes itself through completeness and technical sophistication. Initially designed for the magazine Portuguese Teachers of Portugal in 2000, Ricardo Santos’ Lisboa project included dingbats influenced by signs and symbols found in the city of Lisbon, and culminated with Lisboa Sans. Reflecting the warmth of the Iberian peninsula, Lisboa features hooked stroke endings, while Lisboa Sans doesn’t. Sharing identical structure and proportions, the simpler lines of the Sans improve legibility, especially at small sizes. In a field already crowded by humanist and neo-humanist sans serifs, Lisboa

8/10pt, Regular

Initially designed for the magazine Portuguese Teachers of Portugal in 2000, Ricardo Santos’ Lisboa project included dingbats influenced by signs and symbols found in the city of Lisbon, and culminated with Lisboa Sans. Reflecting the warmth of the Iberian peninsula, Lisboa features hooked stroke endings, while Lisboa Sans doesn’t. Sharing identical structure and proportions, the simpler lines of the Sans improve legibility, especially at small sizes. In a field already crowded by humanist and neo-humanist sans serifs, Lisboa distinguishes itself through completeness and technical sophistication. Initially designed for the magazine Portuguese Teachers of Portugal in 2000, Ricardo Santos’ Lisboa project included dingbats influenced by signs and symbols found in the city of Lisbon, and culminated with Lisboa Sans. Reflecting the warmth of the Iberian peninsula, Lisboa features hooked stroke endings, while Lisboa Sans doesn’t. Sharing identical structure and proportions, the simpler lines of the Sans improve legibility, especially at small sizes. In a field already crowded by humanist and neo-humanist sans serifs, Lisboa distinguishes itself through completeness and technical sophistication. Initially designed for the magazine Portuguese Teachers of Portugal in 2000, Ricardo Santos’ Lisboa project included dingbats influenced by signs and symbols

7/9pt, Bold

‡ ff Maiola abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Regular, +15‰

9/12pt, itc Mendoza Book One of the many underappreciated typefaces is José Mendoza y Almeida’s eponymous book face. His goal was to maintain the ‘sensitivity of the hand’s gesture’, and while most calligraphic serifs fail as versatile text faces, this one thrives in both long texts and headlines. Strong yet graceful, a generous x-height and a marked lack of contrast between thick and thin strokes gives the face an even sturdiness and legibility uncommon in similar oldstyle designs. Prior to the creation of itc Mendoza, the designer worked with such luminaries of French typography as Maximilien Vox and Roger Excoffon, and more recently, taught in the Atelier National de Création Typographique (anct) at the Imprimerie Nationale in Paris, where his students included the likes of Franck Jalleau and Thierry Puyfoulhoux. One of the many underappreciated

8/10pt, Medium One of the many underappreciated typefaces is José Mendoza y Almeida’s eponymous book face. His goal was to maintain the ‘sensitivity of the hand’s gesture’, and while most calligraphic serifs fail as versatile text faces, this one thrives in both long texts and headlines. Strong yet graceful, a generous x-height and a marked lack of contrast between thick and thin strokes gives the face an even sturdiness and legibility uncommon in similar oldstyle designs. Prior to the creation of itc Mendoza, the designer worked with such luminaries of French typography as Maximilien Vox and Roger Excoffon, and more recently, taught in the Atelier National de Création Typographique (anct) at the Imprimerie Nationale in Paris, where his students included the likes of Franck Jalleau and Thierry Puyfoulhoux. One of the many underappreciated typefaces is José Mendoza y Almeida’s eponymous book face. His goal was to maintain the ‘sensitivity of the hand’s gesture’, and while most calligraphic serifs fail as versatile text faces, this one thrives in both long texts and headlines. Strong yet graceful,

One of the many underappreciated typefaces is José Mendoza y Almeida’s eponymous book face. His goal was to maintain the ‘sensitivity of the hand’s gesture’, and while most calligraphic serifs fail as versatile text faces, this one thrives in both long texts and headlines. Strong yet graceful, a generous x-height and a marked lack of contrast between thick and thin strokes gives the face an even sturdiness and legibility uncommon in similar oldstyle designs. Prior to the creation of ITC Mendoza, the designer worked with such luminaries of French typography as Maximilien Vox and Roger Excoffon, and more recently, taught in the Atelier National de itc Mendoza Création Typographique (ANCT) at the Imprimerie Nationale in Paris, 6 where his students included the José Mendoza Almeida likes of Franck Jalleau yand Thierry itc, 1991 Puyfoulhoux. One of the many underappreciated typefaces is José Mendoza y Almeida’s eponymous book face. His goal was to maintain the ‘sensitivity of the hand’s gesture’, and while most calligraphic serifs fail as versatile text faces, this one thrives in both long texts and headlines. Strong yet graceful, a generous x-height and a marked lack of contrast between thick and thin strokes gives the face an even sturdiness and legibility uncommon in similar oldstyle designs. Prior to the creation of ITC Mendoza, the designer worked with such luminaries of French

7/9pt, Bold

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ff Maiola

Veronika Burian FontFont, 2005

6/7pt, ff Maiola Drawing inspiration from Czech type designers Oldřich Menhart and Vojtěch Preissig—

whose works display both vigor and elegance—ff Maiola was born as part of Veronika Burian’s studies at the University of Reading. It bears its idiosyncrasies with care and imparts the concepts of irregularity and angularity in a beautifully discrete way, retaining strong links to historical models by implementing 7/9pt, Drawing inspiration from Czech type designers Oldřich Menhart and Vojtěch Preissig— whose works display both vigor and elegance—ff Maiola was born as part of Veronika Burian’s studies at the University of Reading. It bears its idiosyncrasies with care and imparts the concepts of irregularity and angularity in a beautifully discrete way, retaining strong links to historical models by implementing old-style features and calligraphic forms

Drawing inspiration from Czech type designers Oldřich Menhart and Vojtěch Preissig—whose works display both vigor and elegance—ff Maiola was born as part of Veronika Burian’s studies at the University of Reading. It bears its idiosyncrasies with care and imparts the concepts of irregularity and angularity in a beautifully discrete way, retaining strong links to historical

8/10pt,

9/12pt, Drawing inspiration from Czech type designers Oldřich Menhart and Vojtěch Preissig—whose works display both vigor and elegance— ff Maiola was born as part of Veronika Burian’s studies at the University of Reading. It bears its idiosyncrasies with care and imparts the concepts of irregularity and angularity in a beautifully

Book Italic Caps

Medium Italic Caps Bold Italic

itc Mendoza abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Book, +15‰

ff Meta Serif abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Book, +30‰

ff Meta Serif Book & Italic Throughout the ’90s, Erik Spiekermann made several attempts at designing a companion for his original ff Meta, arguably one of the most ubiquitous fonts of the past two decades. Colleagues had often asked which serif face would best fit with Meta, and after recommending a variety of suitable faces, he realized that he should just make his own serif companion. It took three years and three designers on three continents to develop the resulting ff Meta Serif; thankfully, the spirit of a typeface still cannot be generated by software alone.

ff Meta Serif Medium & Italic Throughout the ’90s, Erik Spiekermann made several attempts at designing a companion for his original ff Meta, arguably one of the most ubiquitous fonts of the past two decades. Colleagues had often asked which serif face would best fit with Meta, and after recommending a variety of suitable faces, he realized that he should just make his own serif companion. It took three years and three designers on three continents to develop the resulting ff Meta Serif; thankfully, the spirit of a typeface still cannot be generated by

9/12pt

ff Meta Serif Bold & Italic

ff Meta Serif Black & Italic

Throughout the ’90s, Erik Spiekermann made several attempts at designing a companion for his original ff Meta, arguably one of the most ubiquitous fonts of the past two decades. Colleagues had often asked which serif face would best fit with Meta, and after recommending a variety of suitable faces, he realized that he should just make his own serif companion. It took three years and three designers on three continents to develop the resulting ff Meta Serif; thankfully, the spirit of

9/12pt

@ fft ↑ • Ħ ⅞ ģ

→

6/7pt, ff Meta Serif Book Obviously, a serif Meta needed to fit in with the existing Meta sans serif

family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals ff Meta Serif to be two percent heavier and two percent more condensed than the sans.

7/9pt Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals ff Meta Serif to be two percent heavier and two percent more condensed than the sans. 8/10pt Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals ff Meta Serif to be two percent heavier and two percent more

Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals ff Meta Serif to be two

9/12pt

10/13pt Obviously, a serif Meta needed to fit in with the existing Meta sans serif family. With their combined experience, the designers created a typeface with metrics that are not mathematically identical to FF Meta, but optically the same. The final tale o’ the tape reveals

11/14pt

The OpenType version of ff Meta Serif offers Book, Medium, Bold, and Black weights, each including Italics, Small Caps, alternate numeral styles—proportional, tabular, lining, oldstyle—extra ligatures, case-sensitive punctuation, and a range of arrows and other symbols. (The Pro version also supports Eastern European languages.) While it is a typeface that can stand up on its own in a wide range of applications, 6 the extra benefit is its close relationship to the original ff Meta, its sans serif sister. The two families can be mixed in the same line, and one can be used to accentuate the other. Using both on the same page adds variety & meaning to a text.

18pt, ff Meta & ff Meta Serif

ff Meta Serif

Erik Spiekermann Christian Schwartz Kris Sowersby FontFont, 2007

Pragma nd abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Light, +30‰

ǽ 3 Proxima Nova abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Light, +15‰

Pragma nd Light & Italic Whilst reviving numerous hidden gems from their metal type archives, Neufville Digital also release completely new designs. One such face is Christopher Burke’s Pragma, which he designed as a reaction against contemporary sans serifs with a modularity and smoothness. Its letterforms derive from the trinity of elements in conventional old-face types with serifs: capital letters based on Roman inscriptional models, lowercase letters derived from humanistic writing, and a truly cursive italic. Neufville Digital is a joint venture of Fundición Tipográfica Bauer from Barcelona,

Pragma nd Regular & Italic Whilst reviving numerous hidden gems from their metal type archives, Neufville Digital also release completely new designs. One such face is Christopher Burke’s Pragma, which he designed as a reaction against contemporary sans serifs with a Pragma nd modularity and smoothness. Its letterforms derive from the trinity of elements in 6 Christopher Burke conventional old-face types with serifs: neufville digital, 2001 capital letters based on Roman inscriptional models, lowercase letters derived from humanistic writing, and a truly cursive italic. Neufville Digital is a joint venture of

9/12pt

Pragma nd Bold & Italic

Pragma nd Heavy & Italic

Whilst reviving numerous hidden gems from their metal type archives, Neufville Digital also release completely new designs. One such face is Christopher Burke’s Pragma, which he designed as a reaction against contemporary sans serifs with a modularity and smoothness. Its letterforms derive from the trinity of elements in conventional old-face types with serifs: capital letters based on Roman inscriptional models, lowercase letters derived from humanistic writing, and a truly cursive italic. Neufville Digital is a joint

9/12pt

7/8.5pt, Thin A generous x-height, thoughtfully balanced color, and expert typographic features position Proxima Nova as a prime candidate for extended text setting. Straddling the gap between geometrics (like Futura) and grotesques (Helvetica et al)

Bold A generous x-height, thoughtfully balanced color, and expert typographic features position Proxima Nova as a prime candidate for extended text setting. Straddling the gap between geometrics (like Futura) and grotesques

Light A generous x-height, thoughtfully balanced color, and expert typographic features position Proxima Nova as a prime candidate for extended text setting. Straddling the gap between geometrics (like Futura) and grotesques (Helvetica et al) and weighing in with some

Extrabold A generous x-height, thoughtfully balanced color, and expert typographic features position Proxima Nova as a prime candidate for extended text setting. Straddling the gap between geometrics (like Futura)

Regular A generous x-height, thoughtfully balanced color, and expert typographic features position Proxima Nova as a prime candidate for extended text setting. Straddling the gap between geometrics (like Futura) and grotesques

Black A generous x-height, thoughtfully balanced color, and expert typographic features position Proxima Nova as a prime candidate for extended text setting. Straddling the gap between geometrics (like Futura) and grotesques

Semibold A generous x-height, thoughtfully balanced color, and expert typographic features position Proxima Nova as a prime candidate for extended text setting. Straddling the gap between geometrics (like Futura) and grotesques

Proxima Nova

Mark Simonson mark simonson studio, 2005

9/12pt

A generous x-height, thoughtfully balanced color, and expert typographic features position Proxima Nova as a prime candidate for extended text setting. Straddling the gap between geometrics (like Futura) and grotesques (Helvetica et al ) and weighing in with some 42 fonts, it’s one of the most versatile sans serif families available. Coverage of each individual OpenType font alone is impressive, featuring small caps, lining and old style figures, fractions, dingbats, and extended language support. Also included are useful (usable) alternate glyphs that do so much to change the nature of the design, that

9/12pt, Proxima Nova Light

it’s almost as if you have several typefaces in one.

ff Quadraat abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Regular, +15‰

Serif

Sans

Sans Condensed

Headliner

Regular Italic Bold Bold Italic

Regular Italic Bold

Regular Italic Bold Bold Italic

Light Light Italic Bold Bold Italic

Small Caps

Regular Italic Bold Bold Italic

regular ff Quadraat

Fred Smeijers fontfont, 1992–2000

Cyrillic

Regular Italic Bold Bold Italic Serif Display

Sans Display

Monospaced

Italic Bold Italic

Semibold Black

Regular Italic Bold Bold Italic

Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in 16th century type. It was first release 14/17pt, ff Quadraat Italic

R at the end of 1992, but developments since then have encouraged its 20/24pt, Display

6/7pt, ff Quadraat Although originating as a digital typeface, FF Quadraat is based on hand-made

forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the Quadraat stable

7/9pt Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the Quadraat stable now includes sans, display, Cyrillic 8/10pt Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the

Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenthcentury type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands.

9/12pt

10/13pt Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family

11/14pt Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator,

Although originating as a digital typeface, FF Quadraat is based on hand-made forms, with qualities rooted in sixteenth-century type. It was first released at the end of 1992, but technical developments since then have encouraged its creator, Fred Smeijers, to expand the family to meet ever-broadening demands. Originally just a four-font serif text family, the Quadraat stable now includes sans, display, condensed, Cyrillic, and monospaced variants, each with their own characteristics but all clearly related. This is a testament to Smeijers’ original intent, since the FF Quadraat design did not come out of the blue; there were some strong starting requirements. The general character, for

9/12pt, ff Quadraat

11/13pt example, needed to be traditional—it had to be a proper text face—but at the same time it had to have a certain contemporary attitude. It also had to be as economical with space as the perennial Times Roman, though preferably less contrasty. And the new design had to be a little more flamboyant, but not at the cost of legibility. The sans serif fonts were added in 1997, Quadraat joining such esteemed company as Jan van Krimpen’s Romulus and Martin Majoor’s FF Scala, in the Dutch tradition of matching sans serif and seriffed faces.

9/12pt, ff Quadraat Sans

example, needed to be traditional— it had to be a proper text face—but at the same time it had to have a certain contemporary attitude. It also had to be as economical with space as the perennial Times Roman, though preferably less contrasty. And the new design had to be a little more flamboyant, but not at the cost of legibility. The sans serif fonts were added in 1997, Quadraat joining such esteemed company as Jan van Krimpen’s Romulus and Martin Majoor’s FF Scala, in the Dutch tradition of matching sans serif 11/13pt

7/8.5pt, RePublic Regular & SemiBold

Public was initially created in 1955, the result of a competition organized by the Czech State Department of Culture to design a newspaper typeface. Stanislav Maršo’s design met some very exacting technical requirements to be the unanimous winner amongst the judging committee, and was cast in metal by state-owned Grafotechna. Tomáš Brousil’s Prague-based Suitcase Type Foundry began digitizing the family in 2003, working from a variety of original specimens and undertaking extensive adaptations and additions. The resultant twelve-font OpenType family, RePublic, is ideal for the demanding world of newspaper and magazine typography, but equally at home as a workhorse text face.

7/9pt, Medium & Bold Public was initially created in 1955, the result of a competition organized by the Czech State Department of Culture to design a newspaper typeface. Stanislav Maršo’s design met some very exacting technical requirements to be the unanimous winner amongst the judging committee, and was cast in metal by state-owned Grafotechna. Tomáš Brousil’s Prague-based Suitcase Type Foundry began digitizing the family in 2003, working from a variety of original specimens and undertaking extensive adaptations and additions. The resultant twelve-font OpenType family, RePublic, is ideal for the demanding world of newspaper and magazine typography, but equally at home as a workhorse text face. RePublic

Tomáš Brousil suitcase type foundry, 2007

Public was initially created in 1955, the result of a competition organized by the Czech State Department of Culture to design a newspaper typeface. Stanislav Maršo’s design met some very exacting technical requirements to be the unanimous winner amongst the judging committee, and was cast in metal by stateowned Grafotechna. Tomáš Brousil’s Prague-based Suitcase Type Foundry began digitizing the family in 2003, working from a variety of original specimens and undertaking extensive adaptations and additions. The resultant twelve-font OpenType family, RePublic, is ideal for the demanding world of newspaper and magazine typography, but equally at home as a workhorse text face.

7/10pt, Bold & Medium

7/9.5pt, SemiBold & Regular

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Whitman abcdefghijklmnopqrstuvwxyz [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890/1234567890 (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} 18/24pt Roman, +15‰

Rom

Ita

Cnd

RePublic

abcdefghijklmnopqrstuvwxyz BDBK [åçèîñøüýžßﬁﬂæœ] ABCDEFGHIJKLMNOPQRSTUVWXYZ F 1234567890/1234567890 E (‘.,;:”?!¿¡‹$¢€£¥@&¶§†‡»*) {ÅÇÈÎÑØÜÝŽÆŒ} F E F E F E DBDP 18/24pt Regular, +30‰

Its clean, open design seems to have found a particular appeal amongst crafting, lifestyle, and bridal publications – but Whitman is so much more than mere nuptial plumage. Kent Lew’s stately four-font family—the classic ‘book quartet’ of Roman, Italic, Small Caps, and Bold—draws upon the work of W. A. Dwiggins, whose early 20th century text faces formed the mould for much American book typography. Dwiggers’ extra-curricular interest in marionettes had a profound impact on his type design, with all manner of wooden sculpture techniques applied to his letterforms to increase definition and crispness, yet not draw undue attention. Whitman is no puppet though, building upon this heritage to bring an even and traditional flavour to text, but unleashing its unique and distinctive details at larger sizes. Its clean, open design seems to

7/10pt, Whitman Its clean, open design seems to have found a particular appeal amongst crafting, lifestyle, and bridal publications – but Whitman is so much more than mere nuptial plumage. Kent Lew’s stately four-font family—the classic ‘book quartet’ of Roman, Italic, Small Caps, and Bold—draws upon the work of W. A. Dwiggins, whose early 20th century text faces formed the mould for much American book typography. Dwiggers’ extra-curricular interest in marionettes had a profound impact on his type design, with all manner of wooden sculpture techniques applied to his letterforms to increase definition and crispness, yet not draw undue attention. Whitman is no puppet though, building upon this heritage to bring an even and traditional flavour to text, but unleashing its unique and distinctive details at larger sizes. Its clean, open design seems to have found a particular appeal amongst crafting, lifestyle, and bridal publications – but Whitman is so much more than mere nuptial plumage. Kent Lew’s stately four-font family—the classic ‘book quartet’ of Roman, Italic, Small Caps, and Bold—draws upon the

8/11pt

Its clean, open design seems to have found a Whitman particular appeal amongst crafting, lifestyle, and 6 much bridal publications – but Whitman is so Kent Lew font bureau, more than mere nuptial plumage. Kent Lew’s 2002 stately four-font family—the classic ‘book quartet’ of Roman, Italic, Small Caps, and Bold—draws upon the work of W. A. Dwiggins, whose early 20th century text faces formed the mould for much American book typography. Dwiggers’ extra-curricular interest in marionettes had a profound impact on his type design, with all manner of wooden sculpture techniques applied to his letterforms to increase definition and crispness, yet not draw undue attention. Whitman is no puppet though, building upon this heritage to

10/13pt Its clean, open design seems to have found a particular appeal amongst crafting, lifestyle, and bridal publications – but Whitman is so much more than mere nuptial plumage. Kent Lew’s stately four-font family—the classic ‘book quartet’ of Roman, Italic, Small Caps, and Bold—draws upon the work of W. A. Dwiggins, whose early 20th century text faces formed the mould for much American book typography. Dwiggers’ extracurricular interest in marionettes had a profound impact on his type design, with all manner of wooden sculpture techniques applied to his letterforms to increase definition and

9/12pt

                                   

FontShop 149 9th Street, Suite 302 San Francisco, CA 94103 1 888 FF FONTS toll-free 1 415 252 1003 local www.fontshop.com