acorde

Acorde is a reliable workhorse for large, demanding design projects. It was designed to be perfectly suited to all different sizes, from small continuous text to large headlines and big signage. The typeface’s name is derived from ‘a’ ‘cor’porate ‘de’sign typeface, however Acorde is not only suitable for corporate design programmes but for information design and editorial design purposes as well. Acorde’s inception was in early 2005 as Stefan Willerstorfer’s final project in the Typeand Media course at the Royal Academy of Art in The Hague (NL). It is a humanist sans serif with noticeable diagonal contrast and shows clear influences of the broad nib pen, especially in the Italics. Acorde’s characterful details give it a distinctive appearance in large sizes and contribute to its high legibility in small sizes.

country of origin Austria release year 2005 classification Humanist Sans

popular pairing with acorde Open Sans Roboto Raleway Oswald Source Sans Pro

language support Western Europe, Central/Eastern Europe, Baltic, Turkish, Romanian

It comes in 14 styles – seven weights in Roman and Italic each. While the proportions of the Regular style were chosen to guarantee optimal legibility without being too space consuming, the heavier the weight gets the more suitable it is for headline purposes. The heavy weights are relatively narrower than the lighter ones, which gives them a strong appearance.

The huge character set contains 925 glyphs per font and covers a vast range of latin-based languages. Various accented letters, small caps, eleven figuresets, superscript and subscript are all included. OpenType features allow for a comfortable use of the large set.

Please note: Acorde webfonts are exclusively available at willerstorfer.com

Acorde was honored with the 2010 Joseph Binder Bronze award for type design by DesignAustria.

encoding Unicode charachter set Latind Extended format OpenType lastest version 1.000 acorde on google https://www.willerstorfer.com/ acorde.html

j b g V r z f a y L P E

∞ $ ¿ ß € ® ± £ Ω Ž ‰ ¥

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banana error AluminiumGrape jelly was leaking out the hole in the roofI am so blue I’m greener than purple I stepped on a Corn Flake, now I’m a Cereal KillerMy nose is a communist Cheese grader shaved my butt skin offBLAHBLAH House fires are cold! 0123456789

PersonalizeWhen life gives you lemons,chuck them at people you hate

TYPEFACEBitter sugar tastes like black blood 1+2-3+4-5+6+7-8+9=649I’m not a complete idiot. Some pieces are missing.

REGULARMy dentist tells me that chewing bricks is very bad for your teeth On a scale from one to ten what is your favourite colour of the alphabet?It's only funny until someone gets hurt. A Zebra licked a DVD…Then it's FREAKIN HILARIOUS! You laugh because I'm different, I laugh because I just fartedI am bored Hurry up and take your time.

in use

headline extrablack 22pt

subhead semibold 15pt

text book 9pt

footnote italic 7pt

VOLUPTUR MAGNIS

Eveliae ommodi consentem

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biľak

sources https://peterbilak.com/ https://en.wikipedia.org/wiki/Peter_Bi%C4%BEak https://www.typotheque.com/fonts/fedra_sans https://flickr.com/

Peter Biľak was born in Czechoslovakia. He started art at the Art Academy in Bratislava, then studied briefly in the United Kingdom and the United States. Later, he went to Atelier National de Création Typographique in Paris, where he obtained his Master's degree, and Jan van Eyck Academie in Maastricht, Netherlands for his postgraduate laureate.

His biggest influences were the places he has lived. In school, he found out that many things he was taught in school turned out to be mainly false, and that it was easy is to manipulate information. Those places made him question what he already knew. Travelling during that time made him more independent and allowed him to see things from multiple perspectives.

As a student in Czechoslovakia, Biľak was often frustrated by the fact that his language were not supported by most typefaces. Peter Biľak is a multidisciplinary designer based in the Netherlands. He is the founder of Typotheque, which specializes in type design, typography and branding. Whether as small as postage stamps, or as large as major exhibitions or branding projects, his work is characterised by deep engagement with the content and audience. He prefers to get involved in projects in their early, conceptual phases and many of his endeavours have challenged the status quo: he co-founded Dot Dot Dot, a seminal art and culture magazine, and also Works That Work, a magazine of unexpected creativity that not only broadened the definition of design but also introduced new models of operations for independent periodicals. He co-founded Fontstand, a new way of discovering and licensing fonts, as well as TPTQ Arabic, a company focused on the development of modern and authentic Arabic typefaces.

Web fonts, as a concept, have existed for about fifteen years. But there was a lot of resistance from type foundries, because if you put something online, users could copy fonts freely from the browser. There's also a lot of complexity behindwhat you actually see on the screen, given the different browsers, computer platforms, and versions of software. —Peter Biľak

.bratislava