Typeface #4 Creative ZOO ZOO Sans / Slab
Introduction
ZOO is the name of Creative ZOO's own typeface. The typeface was created as a key element in the agency’s rebranding. It functions as the backbone of the new visual identity and creates synergies across media. ZOO is designed to be characteristic while still being easily legible. The typeface is based on the core values of the agency - Enthusiasm, courage and empathy. Enthusiastic in its playful application. Courageous in the letterforms’ cuts. Empathic because of its round and caring appearance. The typeface is a superfamily made up of a sans and a slab family each consisting of 5 weights with oblique. In total 20 weights and styles.
Typeface ZOO Sans / Slab Designer René Sørensen Publication 2016 Fundry Creative ZOO Format Opentype / Truetype Styles 2 families 5 weights with oblique
ZOO Sans Thin ZOO Sans Thin Oblique ZOO Sans Light ZOO Sans Light Oblique ZOO Sans Regular ZOO Sans Regular Oblique ZOO Sans Bold ZOO Sans Bold Oblique ZOO Sans Black ZOO Sans Black Oblique ZOO Slab Thin ZOO Slab Thin Oblique ZOO Slab Light ZOO Slab Light Oblique ZOO Slab Regular
ZOO Slab Regular Oblique
ZOO Slab Bold ZOO Slab Bold Oblique ZOO Slab Black ZOO Slab Black Oblique
Architecture ZOO is build with a geometric skeleton inspired by a perfect
circle, which gives the typeface a classic look. The high x-hight brings a modern touch to the classic look, and the various cuts in the letterforms gives the typeface character.
Various cuts in the letters are a part of the typefaces unique look
ZOO Sans Regular 170pt
ZOO Slab Regular 170pt
Cuts continue through the serifs
The cuts are implemented at the end of the arms Some letters have cuts inspired by inktraps
Stems of the lowercase letters extend over the cap height
The crossbars compress at an angle The counters are cut off by the stems
Acender 715pt Cap height 700pt
x-height 500pt
Baseline 0pt
Decender -275pt
Serifs compress at an angle
Acender 715pt Cap height 700pt
x-height 500pt
Baseline 0pt
Decender -275pt
KKK KKK KKK KKK
KKK KKK KKK KKK
ZOO SLAB FAMILY
The different cuts of ZOO Slab
ZOO Slab Thin 8/10 pt
ZOO Slab Thin Oblique 8/10 pt
ZOO Slab Light 8/10 pt
ZOO Slab Light Oblique 8/10 pt
ZOO Slab Regular 8/10 pt
ZOO Slab Regular Oblique 8/10 pt
ZOO Slab Bold 8/10 pt
ZOO Slab Bold Oblique 8/10 pt
ZOO Slab Black 8/10 pt
ZOO Slab Black Oblique 8/10 pt
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
From Thin to Black - ZOO Slab 12 / 15 pt
In typography, a typeface (also known as font family) is a set of one or more fonts each composed of glyphs that share common design features. Each font of a typeface has a specific weight, style, condensation, width, slant, italicization, ornamentation, and designer or foundry (and formerly size, in metal fonts). For example, “ITC Garamond Bold Condensed Italic” means the bold, condensed-width, italic version of ITC Garamond. It is a different font from “ITC Garamond Condensed Italic” and “ITC Garamond Bold Condensed,” but all are fonts within the same typeface, “ITC Garamond.” ITC Garamond is a different typeface from “Adobe Garamond” or “Monotype Garamond.” (These are all alternative updates or digitisations of the typeface Garamond, originally created in the 16th century.) There are thousands of different typefaces in existence, with new ones being developed constantly. Every typeface is a collection of glyphs, each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used for characters from different scripts, e.g. Roman uppercase A looks the same as Cyrillic uppercase and Greek uppercase alpha. There are typefaces tailored for special applications, such as map-making or astrology and mathematics. The term typeface is frequently confused with the term font. Before the advent of digital typography and desktop publishing, the two terms had more clearly understood meanings.
Light
Thin
Regular
Bold
Black
Glyphset
Uppercase
Accented Uppercase
Lowercase
Accented Lowercase
Punctuation
Numbers
Symbols
ABCDEFGHIJKLMNO PQRSTUVWXYZÆØÅ
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In typography, a typeface (also known fonts each composed of glyphs that sha of a typeface has a specific weight, st zation, ornamentation, and designer o fonts). For example, “ITC Garamond Bo condensed-width, italic version of ITC “ITC Garamond Condensed Italic” an but all are fonts within the same typef s a different typeface from “Adobe G (These are all alternative updates or mond, originally created in the 16th c ferent typefaces in existence, with ne Every typeface is a collection of glyph vidual letter, number, punctuation m may be used for characters from diffe looks the same as Cyrillic uppercase are typefaces tailored for special ap astrology and mathematics. The ter with the term font. Before the adve From thin to black - ZOO Slab 26 / 32 pt
n as font family) is a set of one or more are common design features. Each font tyle, condensation, width, slant, italicior foundry (and formerly size, in meta old Condensed Italic” means the bold C Garamond. It is a different font from nd “ITC Garamond Bold Condensed,” face, “ITC Garamond.” ITC Garamond Garamond” or “Monotype Garamond.” r digitisations of the typeface Garacentury.) There are thousands of difew ones being developed constantly hs, each of which represents an indimark, or other symbol. The same glyph erent scripts, e.g. Roman uppercase A e and Greek uppercase alpha. There pplications, such as map-making or rm typeface is frequently confused ent of digital typography and deskt
ZOO SANS FAMILY
The different cuts of ZOO Sans
ZOO Sans Thin 8/10 pt
ZOO Sans Thin Oblique 8/10 pt
ZOO Sans Light 8/10 pt
ZOO Sans Light Oblique 8/10 pt
ZOO Sans Regular 8/10 pt
ZOO Sans Regular Oblique 8/10 pt
ZOO Sans Bold 8/10 pt
ZOO Sans Bold Oblique 8/10 pt
ZOO Sans Black 8/10 pt
ZOO Sans Black Oblique 8/10 pt
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font.
From Thin to Black - ZOO Sans 12/15 pt
In typography, a typeface (also known as font family) is a set of one or more fonts each composed of glyphs that share common design features. Each font of a typeface has a specific weight, style, condensation, width, slant, italicization, ornamentation, and designer or foundry (and formerly size, in metal fonts). For example, “ITC Garamond Bold Condensed Italic” means the bold, condensed-width, italic version of ITC Garamond. It is a different font from “ITC Garamond Condensed Italic” and “ITC Garamond Bold Condensed,” but all are fonts within the same typeface, “ITC Garamond.” ITC Garamond is a different typeface from “Adobe Garamond” or “Monotype Garamond.” (These are all alternative updates or digitisations of the typeface Garamond, originally created in the 16th century.) There are thousands of different typefaces in existence, with new ones being developed constantly. Every typeface is a collection of glyphs, each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used for characters from different scripts, e.g. Roman uppercase A looks the same as Cyrillic uppercase and Greek uppercase alpha. There are typefaces tailored for special applications, such as map-making or astrology and mathematics. The term typeface is frequently confused with the term font. Before the advent of digital typography and desktop publishing, the two terms had more clearly understood meanings.
Thin
Light
Regular
Bold
Black
Glyphset
Uppercase
Accented Uppercase
Lowercase
Accented Lowercase
Punctuation
Numbers
Symbols
ABCDEFGHIJKLMNO PQRSTUVWXYZÆØÅ
ÀÁÂÃÄĀĂĄĆĊÇĐÈÉ ÊËĘĞĠĢĦĨĪĮİÌÍÎÏĶĹĻĽ ŃŅŊÑŌŐÒÓÔÕÖŒŔ ŖŚŞŦŢŨŪŮŰŲÙÚÛÜ ŴŶŸÝỸŹŻ abcdefghijklmnopqest uvwyzæø
åàāăąáâãäćċçďđē ėęèéêëğġģħĩ ī įìí î ïķĺļ ńņŋñōőòóôõöŕŗśşţť ŧũūůűųùúûüŵŷýÿźż
.,:;¦”“'`‘’_–—()[]{}/\#!¡?¿... 1234567890 123457890 12345678901234567890
$¢£¥€§’%*+-=&/=^_«»¬ ±°¯×¶©®@÷•‡†∞√≤≥≠… ∏‰|←↑→↓↔↕↖↗↘↙∑≈∞c c◊~����������
n typography, a typeface (also known fonts each composed of glyphs that font of a typeface has a specific weigh cization, ornamentation, and designer al fonts). For example, “ITC Garamond B condensed-width, italic version of ITC G Garamond Condensed Italic” and “ITC G fonts within the same typeface, “ITC G typeface from “Adobe Garamond” or “M ternative updates or digitisations of th ated in the 16th century.) There are tho ence, with new ones being developed co of glyphs, each of which represents an mark, or other symbol. The same glyph m ent scripts, e.g. Roman uppercase A loo Greek uppercase alpha. There are type such as map-making or astrology and m quently confused with the term font. B and desktop publishing, the two terms h From Thin to Black - ZOO Sans 26 / 32 pt
as font family) is a set of one or more share common design features. Each ht, style, condensation, width, slant, italor foundry (and formerly size, in metBold Condensed Italic” means the bold Garamond. It is a different font from “ITC Garamond Bold Condensed,” but all are Garamond.” ITC Garamond is a different Monotype Garamond.” (These are all alhe typeface Garamond, originally creousands of different typefaces in existonstantly. Every typeface is a collection n individual letter, number, punctuation may be used for characters from differoks the same as Cyrillic uppercase and efaces tailored for special applications mathematics. The term typeface is freBefore the advent of digital typography had more clearly understood meanings
SLAB SANS
I’M VERY MUCH Black Oblique
A WORD PERSON, Black
SO THAT’S WHY Bold Oblique
TYPOGRAPHY Bold
FOR ME IS Regular
THE OBVIOUS Regular Oblique
EXTENSION. Light
IT JUST MAKES Light Oblique
MY WORDS VISIBLE Thin
I’M VERY MUCH Black Oblique
A WORD PERSON, Black
SO THAT’S WHY Bold Oblique
TYPOGRAPHY Bold
FOR ME IS Regular
THE OBVIOUS Regular Oblique
EXTENSION. Light
IT JUST MAKES Light Oblique
MY WORDS VISIBLE Thin
DIALECTS &
NUMBERS
Dialects ZOO has a robust glyph set and covers western Europe, Central Europe, South Eastern Europe, Vietnamese and Pinyin within the latin typeset. As the typeface evolves and more glyphs
gradually are added, the typeface will cover more languages in the future.
Diacritics
Uppercase
Lowercase
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Numbers ZOO has a vast numbers system complete with modern and
old style figures, both styles with lining and tabular spacing. Furthermore ZOO is equipped with Superscript numbers, nominators, denominators and fractions.
Lining Figures
Tabular Figures
Old Style Figures
Tabular Old Style Figures
Superscript
Fractions
Math Symbols
Currency
1234567890 0123456789 0123456789 0123456789
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Aarhus → 14:53
Tokyo → 23:10 Boston → 24:00 Beijing → 16:45 Paris → 03:16 Milan → 15:26 Berlin → 00:00 Zurich → 13:49 Rome → 21:05 Basel → 22:43
M ZOO Sans U+004D
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U+0177
U-
U-
U-
U-
ŷ E
Q
Å
U+014B
ŋ
U+0155
ŕ
U+1EE7
ủ
U+00FF
U-
U-
U-
U-
ÿ F
R 0
U+00F2
ò
U+0159
ř
U+0169
ũ
U+1EF3
U-
U-
U-
U-
ỳ
G S 1
U+00F3
ó
U+015B
ś
U+016B
ū
U+1EF7
U-
U-
U-
U-
ỷ
H T 2
U+00F4
ô
U+0161
š
U+0171
ű
U+1EF9
U-
U-
U-
U-
ỹ I
U 3
U+00F5
õ
U+015F
ş
U+016F
ů
U+017A
U-
U-
U-
U-
ź
J
U+00F6
ö
U+0167
ŧ
U+0173
ų
U+017E
U-
U-
ž
K
V W 4
U-
U-
5
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We are a Danish communication- and design agency based in the heart of Aarhus. We combine our passion for beautiful engaging
design with our dedication to craftsmanship to create well crafted, beautiful and powerful typefaces.
For inquiries about fonts, typography projects, custom lettering or
typeface design contact Design Director Jesper Vorre jv@czoo.dk www.czoo.dk