Helsinki Type Studio A Type Catalogue by Niklas Ekholm

Studio

Helsinki

Type

2010

Muotoilijat: Niklas Ekholm Juho Hiilivirta Jaakko Suomalainen Jungmyung Lee Helsinki Type Studio

Helsinki type studio on nelj채n graafisen muotoilijan studio. Kirjainmuotoilu alkoi osana erilaisia projekteja joihin jokainen teki omat fontit. Luodessamme identiteettej채 ja ilmeit채 olemme pureutuneet graafiseen konseptiin yksityiskohdista k채sin muotoilemalla kirjaimet. Fontit: Blavatskaja Char F-90 Laura Mignon Mignon Sans Nils Relevant Tutankhamono Voyage

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theRe is no rEliGioN higher thaN Truth b l avat s k a j a

b l ava t s K a j a

GRiM lorem ipsum dolor a met

microwave MIR ACLES hd â&#x20AC;?videotyKKiâ&#x20AC;? laterNa maGica

COBWEB Blavatskaja on perinteinen kapiteelifontti ja joitain alternatiiveja. Leikkaaukset: Roman, Roman Alternative, Bold, Bold Alternative Muotoilu: Niklas Ekholm Helsinki Type Studio

odis Simperiam haribeaque et occatem dionsent veruM asit qui volupTis prepernam dolupta eCtiis reritio RitemQu atentis et qui Quid nulpa non preristissit faccul consedigenis ut litures explic tendiane doluptatus doloribus doloris ullecepedi dolent laboreritium est qui aut maioriae. ehenihici dolupiendae ne secto omnihil

omniscia dendios dolorem Ut expedis erum quaspidis â&#x20AC; con nimBus eClestIa quatec aut GRetanem Sic BibeRum Volupto abcdefghij klmnopqrs tuvwxyz !?.,()â&#x20AC; $#

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ABCDEFGHI JKLMNOPQ RSTUVWXYZ

Helsinki Type Studio

Headline combustion gasification Char

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GAS Mask Hot Toppen Huippista Char on suuriin pistekokoihin tehty slab serif fontti. Leikkaukset: Char semibold Muotoilu: Jaakko Suomalainen Helsinki Type Studio

Never forget the struggle, never forget the streets and donâ&#x20AC;&#x2122;t sell out Char is the solid material that remains after light gases e.g. coal gas and tar e.g. coal tar have been driven-out or released from a carbonaceous material

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F-090 --------F-125 --------f-198

Fâ&#x20AC;&#x201C;90 the second space age n u c l e a r

f u s i o n

p r o p u l s i o n

Fâ&#x20AC;&#x201C;90 on modulaarinen monospace otsikkofontti. Inspiraationa retrofuturistinen avaruustekno. Kaksi leikkausta F-90 (regular) F-125 (bold) F-198 (black) Muotoilu:Niklas Ekholm Helsinki Type Studio

“Captain Pike has an illusion and you have reality. May you find your way as pleasant.” “The more complex the mind the greater the need for the simplicity of play.” ////////////////////////// Dramatical robots for entertainment and security in warp speed. siliconbased life on the moon of saturn

––––––––––––– technobabble quota:394,76% ––––––––––––– ABCDEFGHIJKL MNOPQRSTUVWXYZ 1234567890 !#%'+,.-–/:;?‘’“”

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LAURA LOUIS

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0 1

N O

2 3

F 4 H S 5

I Y O B

6 7 8 9

Laura fontti on tehty muotijulkaisua varten.Innoituksen l채htein채 toimi vanhat aikakauslehti julkaisut modernismin alkuajoilta sek채 vanhat mainoskyltteihin piirretyt groteskit. Leikkaukset: Laura, Laura Medium, Laura Bold Muotoilu: Jaakko Suomalainen, Jungmyung Lee Helsinki Type Studio

BESPOKEN

FO R

he 1920s is the decade in which fashion entered the modern era. It was the decade in which women first liberated themselves from constricting fashions and began to wear more comfortable clothes, such as short skirts or trousers. Men likewise abandoned overly formal clothes and began to wear sport clothes for the first time. The suits men wear today are still based, for the most part, on those men wore in the late 1920s.

After World War I, America entered a prosperous era and, as a re-

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sult of its role in the war, came out onto the world stage. Social customs and morals were relaxed in the optimism brought on by the end of the war and the booming of the stock market. Women were entering the workforce in record numbers. The nationwide prohibition on alcohol was ignored by many. Clothing changed with womens changing roles in modern society, particularly with the idea of new fashion. Althought society matrons of a certain age continued to wear conservative dresses, forward-looking and younger women now made sportswear

into the greatest change in post-war fashion. The tubular dresses of the teens had evolved into a similar silhouette that now sported shorter skirts with pleats, gathers, or slits to allow motion. Undergarments began to transform after World War I to conform to the ideals of a flatter chest and more boyish figure. The corset was diminishing and the bandeau, flattening style was prevalent in the early 1920s. During the mid-twenties all-in-one lingerie became popular, leaving behind the corset and moving into the curvier brassiere era of the 1930s.

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Mignon

bezier curve wete n schap e n sch o o n he i d

Mignon “Libro de diferentes cifras de guitarra”

chancellor A NCIEN REGIME

kaleidoskopia ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ! ( ) , . - : ;' “ ” – — � � � � � � � � � � fi fl ff ffl Mignon on hollantilaisen kalligrafisen periaatteen moderni ja skandinaavisen puhdas tulkinta. Leikkaukset: Roman, Italic, Bold Muotoilu: Niklas Ekholm Helsinki Type Studio

ather, it works holistically and pragmatically. It says things like “try thinking of it this way” – or more specifically, “try to ignore the apparently futile traditional questions by substituting the following new and possibly interesting questions.” It does not pretend to have a better candidate for doing the same old things which we did when we spoke in the old way. Rather, it sug- A gests that we might want to srop doing those things and do something else. But it does not argue for this su8gestion on the

basis of antecedent criteria common to the old and the new language games. For just insofar as the new language really is new, there will be no such criteria. Conforming to my own preceprs, I am not going to offer argumenrs against the vocabulary I want to replace.

structure calligraphy contrast

Playing jazz vibe chords quickly excites my wife. Many-wived Jack laughs at probes of “Sex quiz”. Sympathizing would fix Quaker objectives. Jack amazed a few girls by dropping the antique onyx vase! The vixen jumped quickly on her foe barking with zeal. Mix Zapf with Veljovic and get quirky Beziers.

Typografisch ontwerp met de meesters van de Koninklijke Academie van Beeldende Kunsten in Den Haag.

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Mignon

wete n schap e n sch o o n he i d

bezier curve

Mignon “Libro de diferentes cifras de guitarra”

chancellor A N C I E N R E GI M E

kaleidoskopia ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 456789 !,.-: "ﬁ Mignon Sans on hollantilaisen kalligrafisen perinteen perustuva päätteetön ilmentymä. Leikkaukset: Light, Light italic Muotoilu: Niklas Ekholm Helsinki Type Studio

ather, it works holistically and pragmatically. It says things like try thinking of it this way or more specifically, try to ignore the apparently futile traditional questions by substituting the following new and possibly interesting questions. It does not pretend to have a better candidate for doing the same old things which we did when we spoke in the old way. Rather, it sug- A gests that we might want to srop doing those things and do something else. But it does not argue for this su8gestion on the basis of antecedent criteria com-

mon to the old and the new language games. For just insofar as the new language really is new, there will be no such criteria. Conforming to my own preceprs, I am not going to offer argumenrs against the vocabulary I want to replace.

structure calligraphy abstraction

Typograﬁsch ontwerp met de meesters van de Koninklijke Academie van Beeldende Kunsten in Den Haag.

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NILS

Nils Regular & Bold

CHANS SKÅNSK MODERNISM

Bergsrådet af Gyllengrens kontor

PRÄST macadamia nuts and brown sugar

consierge

Nils vetää inspiraationsa valomainosten pyöristetyistä sisäkulmista ja modernismin lupaamasta tulevaisuuden helppoudesta. Leikkaukset: Nils, Nils Bold Muotoilu: Niklas Ekholm Helsinki Type Studio

Wilhelm (henceforth we will only call the young Baron by his Christian name) walked alone through the street. The wine had heated his northern blood— besides which it never ﬂowed slowly; his youthful spirits, his jovial mood, and the gayety occasioned by the merry company he had just quitted did not permit him quietly to pass by this sleeping

Endymion. Suddenly it occurred to him to open the coach-door and leap in; which having done, he let the glass fall and called out with a loud voice, “Drive on!” The coachman started up out of his blessed sleep and asked, quite confused, “Where to?” Without reflecting about the matter, Wilhelm cried, “To the Ship in West Street.”

et var en mörk och stormig natt. Kotiin kun saapuisin illoin, takka vain loisi hehkuaan. Some years ago—never mind how many precisely—with little or no money in my purse and nothing particular to interest me on shore, I thought I would sail around a little to see the watery part of the world. That imaginative realm of tolerance was born with modern Europe, it is the very image of Europe of at least our dream of Europe.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ! ? , - . / ( )&– — “ ”„ ﬁ ﬂ ff

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THEY MAKE ME RELEVANT

RELEVANT Geometrinen optimismi

megatavu

Relevant on TAIK:in valokuvaajien “They make me...” -näyttelyä varten tehty monospace fontti. Leikkaukset: Regular, SemiBold, Display (kapiteelit) Muotoilu: Niklas Ekholm ja Jaakko Suomalainen Helsinki Type Studio

Relevance most commonly refers to topical relevance or aboutness, i.e. to what extent the topic of a result matches the topic of the query or information need. Relevance can also be interpreted more broadly, referring to generally how “good” a retrieved result is with regard to the information. Linssi johti näön parantamiseen silmälasien avulla ja kaukoputken keksimiseen, joka vei katseen ulokoavaruu-

teen ja mikroskoopppi toi katseen piiriin mikrokosmoksen. Camera obscuran käyttö lisääntyi maalaustaiteessa ja

optisesta perspektiivistä tuli naturalistisen maalaustaiteen itsestään selvä ominaisuus.

Sen tehtävä ei ollut yksinomaan kopioida todellisuutta, kuten myöhemmin on uskottu. Jonathan C rary on vahvasti sitä mieltä, että camera obscuran käyttö oli erilaista, kuin valokuvakameran, jota pidetään sen seuraajana. Piirtäminen ja kopiointi oli vain yksi camera obscuran monista käyttötavoista. Sen tuottama kuva on elävä ja värikäs toisin kuin valokuva, joka oli alun perin mustavalkoinen ja kuo llut.

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ! ? ( ) , . - : '“ & $ + @ ” – — � � � � � � �

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â&#x20AC;&#x201C; Book of The DeaD, spell 9

OyoUSoUL,greatlymajeStic, behold,IHavecometHatImay SeeyoU;IopenTheNetHerworLd THatImaySeemyFatherOSiriS anddriveawaydarkneSS,For IambeLovedoFhim.IHavecome tatImaySeemyFatherOSiriS andtHatImaycUToUTtheHearT oFSetHwhoHaSHarmedmyFatHer OSiriS.IHaveopenedUpevery patHwHicHiSintHeSkyandon earth,ForIamTHewell-beloved SonoFmyFatHerOSiriS. aBcDefGhiJklmnopqrsTuVWXyZ abcdefghijklmnopqrstuvwxyz 0123456789 Tutankhamono on monospace otsikkofontti. Inspiraationa konstruktivistinen muotokieli. Leikkaukset: Tutankhamono regular, bold ja black Muotoilu: Juho Hiilivirta Helsinki Type Studio

OpEning oF

thE tHE

tomb *Ba-SoUl

*The Ba refers To all non physical qualiTies ThaT make up The personaliTy of humans.

he place which is closed is opened, the place which is shut is sealed. That which lieth down in the closed place is opened by the Ba which is in it. By the Eye of Horus I am delivered. Ornaments are stablished on the brow of Ra. My stride is made long. I lift up my two thighs [in walking]. I have journeyed over a long road. My limbs are in a flourishing condition. I am Horus, the Avenger of his Father, and I bring the Urrt Crown [and set it on] its standard. The road of souls is opened. My twin soul seeth the Great god in the boat of Ra, on the day of souls. My soul is in the front thereof with the counter of the years. Come, the Eye of Horus has delivered for me my soul, my ornaments are stablished on the brow of Ra. Light is on the faces of those who are in the members of Osiris. Ye shall not hold captive my soul. Ye shall not keep in durance my shadow. The way is open to my soul and to my shadow. It seeth the Great god in the shrine on the day of counting souls. It repeateth the words of Osiris. Those whose seats are invisible, who fetter the members of Osiris, who fetter Heart and Spirit, who set a seal upon the dead, and who would do evil to me, shall do no evil to me. Haste on the way to me. your heart is with you. My Heart-soul and my Spirit-soul are equipped; they guide you. ďż˝

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Never surf, always dive. CONTEMPORARY ART EXHIBITION Voyage, voyage, bon voyage.

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Handsome chap & Cutifull girl 012345 6789 Voyage kirjainperhe on muotoiltu Teemu Lehmusruusulle Voyage to the Bottom of the Sea n채yttelyyn. Kirjaintyypit: Voyage Sans Semibold, Voyage regular Muotoilu: Jaakko Suomalainen Helsinki Type Studio

TEEMU LEHMUSRUUSU VOYAGE TO THE BOTTOM OF THE SEA It is a race against the clock as the Seaview speeds to reach the proper firing position, above the trench in the Marianas in the Pacific. During this time Nelson and Crane agree on tapping the Rioto-London telephone cable to try to eventually reach the President. However, an unsuccessful attempt on the Admirals life makes it clear that there is a

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saboteur on board. But the confusion over who the saboteur might be revolves around rescued scientist Miguel Alvarez, who has become a religious zealot regarding the catastrophe, and Dr. Hiller, who secretly admires Dr Zuccos plan. Other obstacles present themselves: a minefield and a near-mutiny. And Crane himself begins to doubt the Admirals tactics

and reasoning. During the telephone cable attempt, Crane and Alvarez battle a giant squid. Although the London cable connection is made, Nelson is told there is been no contact with the States for 35 hours. Also, a hostile submarine follows the Seaview deep into the Mariana Trench, but implodes before it can destroy the Seaview.

Helsinki Type Studio

Helsinki Type Studio ­ A Type Catalogue

Helsinki Type Studio A Type Catalogue