Yearbook of Type III

Yearbook of Type III

Published by Slanted

slanted

Introduction, p. 5

A

Typefaces, p. 7

B

Index Typefaces, p. 343

C

Index Designers, p. 363

D

Index Foundries, p. 393

E

Index OpenType Features, p. 407

F

Essays & Tutorials, p. 413 A Brief Overview of Developments in Digital Type Design Ferdinand, P. Ulrich, p. 414 FontDrop!—What’s Inside Your Font File?

Viktor Nübel, p. 418 A Talk with Laurence Penney about Variable Fonts from a Font Engineer’s Point of View Clara Weinreich, p. 420 A Talk with David Jonathan Ross about Variable Fonts from a Type Designer’s Point of View Clara Weinreich, p. 424 Creating Fonts with Glyphs Rainer Erich Scheichelbauer, p. 427 Working as a Type Designer— Making Custom Typefaces Stefan Hattenbach, p. 430

G

Imprint, p. 439

Content

Yearbook of Type III

Introduction by Boris Kochan

A bastard falls in love with a character, the orphan meets a counterpunch, and the golden ratio dances with a majuscule letter. When embarking on a stroll through the world of typography, we encounter weights and styles, tenderly beautiful Didot-points, and, of course, the dashing “em.” It goes to show that typographers have a very intimate attachment to the content of their work. Wherever letters entwine into ligatures, stems thicken into inor outstrokes, or the x-height reaches longingly for the ever elusive cap line—that’s where the magic happens.

Who else, but the typographer, would browse through thick volumes about an inedible kind of hamburger: the “Hamburgefonts?”

To distinguish the character of a typeface quickly and precisely, they observe the displayed shapes, even scrutinising pangrams: “The quick brown fox jumps over the lazy dog.”

A territory where most people would put the fox in charge of the fox house.

For typographers, compendiums of type specimens are akin to a lookbook of future lovers: the connections that are made here are certainly passionate but nonetheless ephemeral.

What if we are travelling? The language is no longer familiar, the characters feel strange?

Recognizing quality becomes a gamble—how can we trust a feeling, without the ability to verify it with experience? In a globalized world, typographers are more and more often confronted with bi- or multilingual challenges outside the realm of the Latin alphabet.

When navigating the unknown waters of non-Latin typefaces, typographers of course have GRANSHAN as their guide. After years of building this great platform, with the help of the Typographic Society of Munich, it has become a hub for global visual identity and organizes an annual competition for non-Latin typefaces, as well as conferences, exhibitions, and publications about the topic. Supporting high-quality non-Latin typefaces, as well Yearbook of Type III

as typography, design, and communication, it helps social and political communities to retain or develop their unique contours. And it helps companies and organizations to find a balance between local, regional and global goals.

The third edition of the Yearbook of Type is also a great way to browse through new typefaces and get to know non-Latin scripts, in what seems like the only reasonable way to get a close-up view of a typeface: as ink on paper, instead of pixels on a screen. Meticulously curated by independent publishers, it offers in-depth information about a chosen number of quality typefaces by both small and wellknown foundries. And for the first time, about half of the featured typefaces support nonLatin scripts. Through this type of mutual recognition and inclusion, different cultures can come together within the community, making room for new creative paths. Inside the Yearbook of Type, these worlds already coexist, paving the way for continuously open and respectful communication.

Empathy is a core skill of any designer— but when venturing into unknown script territory, it is necessary to get a specialist’s guidance through the complexities of a particular culture and its lettershapes, to achieve excellence and readability. New roads for typographic passion must be carved out where “Hamburgefonts” reaches its limits and encounters the exciting unknown.

Boris Kochan is the president of the world-wide only project for non-Latin scripts GRANSHAN Foundation e. V., chairman of the advisory board and honorary member of Europe’s largest typographic association tgm—Typographic Society of Munich e. V., president of Deutscher Designtag e. V., the umbrella organization of professional and specialist organizations and institutions of design in Germany, spokesman for the design section of the German Cultural Council, and founder and CEO of the branding and design agency KOCHAN & PARTNER GmbH in Munich and Berlin, Germany.

Introduction

Ragged Type and Body Copy— an Excursion into the Diverse Language of Typography

5

Yearbook of Type III

Typefaces

Visit www.yearbookoftype.com, using the code, to access all typefaces online, directly linked to their foundries’ websites.

A

Typefaces

Yearbook of Type III

Styles / Weights / Widths: Regular Language Support: Latin OpenType Features: Standard Ligatures, Localized Forms, Superscript, Subscript, Ordinals, Fractions, Arrows Web Font Formats: Not available

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9

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Typographers want amazing, exquisite & clever justified text in books.

Script → p. 355, Display → p. 357

Test Version: Not available

REGULAR 14 PT

REGULAR 14,5 PT REGULAR 35 PT

Foundry: VolcanoType, Germany, volcano-type.de → p. 406

Acron

Design: 2016, Anna Cairns → p. 366

About Acron Inspired by American sign painting, Acron is a dynamic brush typeface intended for bold usage in large sizes. The shapes were developed entirely by hand using brush and ink.

The anatomical radius of the human wrist defines the letters’ angles, curves, and directions. A characteristic stroke is created by pressing the brush down firmly, so that the width of each stroke corresponds to the brush hair’s length from tip to stem. This leads to interesting details where lines meet and curve, and an overall dynamic type face.

Each glyph was digitized individually to maintain the irregularities that result in the font’s lively character. During this process, corners were sharpened to give it a more vigorous and active personality. Acron is an all caps typeface, with each glyph pair (Aa) being composed of distinguishable shapes.

Yearbook of Type III

Foundry: Schriftlabor, Austria, schriftlabor.at

→ p. 402

Styles / Weights / Widths: Light, Regular, Normal, Medium, SemiBold, Bold, Black, each with Italics Language Support: Latin

Attorney

Design: 2017, Viktor Solt-Bittner → p. 389, Lisa Schultz → p. 388, Rainer Erich Scheichelbauer → p. 386

About Attorney Originally Attorney was developed as a custom font for a law firm, hence its name. The systematic unconventional placing of the serifs (for economic attorneys perhaps too head-strong) make Attorney a striking, but nevertheless inherently consistent typeface.

OpenType Features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Small Caps, Capitals to Small Caps, Superscript, Subscript, Fractions, Numerator, Denominator, Stylistic Alternates, Stylistic Sets, Slashed Zero, Localized Forms, Mark Positioning Web Font Formats: eot, web ttf, woff, woff2

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Slab Serif → p. 353

Typographers want amazing, exquisite & clever justified text in books.

The Yearbook of Type compendium works well as a tool in vexed typography questions for polarizing jobs.

33

ex·am·ple / noun / an illustration that supports or provides more information: by showing examples the Yearbook of Type presents each font in different sizes and weights.

LIGHT & BLACK 16 PT

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NORMAL & SEMIBOLD 12 PT

MEDIUM & BOLD 9 PT

LIGHT & BLACK 34 PT

REGULAR 19 PT

Test Version: Available

Yearbook of Type III

Design: 2017, Benoît Bodhuin → p. 365 Foundry: VolcanoType, Germany, volcano-type.de → p. 406 Styles / Weights / Widths: Family of two styles: A, Contrasted. A in four weights: Light, Regular, Medium, Bold Language Support: Latin

bb-book

About bb-book bb-book A is an expressive book serif type family. With its triangular and curved shapes the typeface has a dynamic appearance. Its range between width and contrast is typical for the design. The Light weight is really narrow on the one hand side, the Bold weight is really wide on the other hand side. A kicking up weight principle. The inverted contrast of Benoît Bodhuin’s bb-book A stands in the tradition of Roger Excoffon’s Antique Olive.

OpenType Features: Standard Ligatures, Fractions, Numerator, Denominator Web Font Formats: Not available

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T ypographers want a mazing, exquisite & clever justified t ext in books ⛈

49

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Serif / Antiqua → p. 350, Display → p. 357

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A, LIGHT & MEDIUM 13 PT

A, LIGHT & MEDIUM 24 PT

CONTRASTED 8,5 PT

A, REGULAR 17 PT

Test Version: Not available

Yearbook of Type III

Foundry: Playtype, Denmark, playtype.com → p. 401 Styles / Weights / Widths: ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, each with Italics Language Support: Latin, Cyrillic, Greek OpenType Features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, All Caps, Small Caps, Capitals to Small Caps, Petite Caps, Capitals to Petite Caps, Superscript, Subscript, Ordinals, All Alternates, Contextual Alternates, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Historical Forms, Slashed Zero, Localized Forms Web Font Formats: eot, woff, woff2

abcdefghijklmnopqrstuvwxyzæfjåçéñöûß ABCDEFGHIJKLMNOPQRSTUVWXYZÆÇØ 12345678900@.,-:;!?’)]§*“”«»/–€$&⅓�✼ а бвгдеёжзийклмнопрстуфхцчшщъыьэюя АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШЩЪЫЬЭЮЯ 12345678900@.,-:;!?’)]§*“”«»/–€$&⅓�❞ cata·log / noun / a complete list of things that people can look at or buy: a catalog of typefaces (a book showing the newest fonts, to help people choose the right typeface)

53

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BOLD & MEDIUM 9 PT

EXTRALIGHT & EXTRABOLD 32 PT

MEDIUM 15,5 PT

REGULAR 15,5 PT

Test Version: Available

Berlingske Sans Display

Design: 2017, Jonas Hecksher → p. 373

Sans Serif → p. 344, Display → p. 357

About Berlingske Sans Display Selected design modifications in the Berlingske Sans have been used to create this strong sans display, which also works extremely well for body text. Some of the terminals have been slightly cut, creating a more square feel in the design. The tall x-height and the condensed design, together with the cut terminals, build a solid and steady sans that is less spiky compared to the original Berlingske Sans. The amount of alternates and stylistic sets offer a wide variation of styles, all built into one single font. For a more slender look choose a stylistic set with longer strokes on selected glyphs, or for a softer, curved expression go for the slightly bent strokes on Kk, Rr, and Qq. All alternates apply to small caps, ensuring complete consistency.

The Berlingske family was originally designed in 2010 for the Danish daily Berlingske—Denmark’s oldest newspaper.

Today Berlingske represents a wide range family with 270 different weights and styles.

Yearbook of Type III

Design: 2017, Adrien Midzic → p. 380, Swiss Typefaces → p. 403, Pascal Zoghbi → p. 392 Foundry: 29Letters / 29LT, Lebanon, 29lt.com

→ p. 394

Styles / Weights / Widths: Family of five widths: Normal, Condensed, Semi Condensed, Semi Wide, Wide, each in ten weights: Hairline, Thin, ExtraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Black, each with Slanteds Language Support: Latin, Arabic

29LT Bukra

About 29LT Bukra The 29LT Bukra type family consists of 94 styles, 47 Standard styles, and 47 Slanted styles ranging from Hairline to Black in Condensed, Semi Condensed, Normal, Semi Wide, and Wide. It is the biggest multilingual Arabic and Latin typeface to-date. Its modern simplistic form makes all of its typographic styles suitable for a wide range of design applications. Corporate identities benefit from the fonts’ clean and polished outlines; while strong headlines and slogans profit from the fonts crisp structure. When used in big sizes, it works well in display type applications, while a small size can be applied for short content text. The light weights of the type family give the notion of elegance and refinement, while the heavy weights imply strength and seriousness. Furthermore, the condensed styles are narrow and tall, while the wide styles are round and heavy. It’s a type family with endless visual representations allowing it to be applied in an infinite number of graphical applications.

OpenType Features: Tabular Lining, Proportional Lining, Standard Ligatures, Superscript, Subscript, Ordinals, Fractions, Numerator, Stylistic Sets, Required Ligatures, Mark Positioning, Terminal Form, Initial Form, Isolated Form, Medial Form Web Font Formats: eot, svg, web ttf, woff, woff2

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‫ش ششش ص صصص ض ضضض ط ططط ظ ظظظ ع ععع غ غغغ‬

Typographers want amazing, exquisite & clever justified text in books ❊

69

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SEMI WIDE, HAIRLINE & BLACK 16 PT

SEMI CONDENSED, HAIRLINE SLANTED & BOLD SLANTED 30 PT

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Sans Serif → p. 345, Display → p. 357

REGULAR 18 PT

REGULAR 18 PT

Test Version: Available

Yearbook of Type III

Foundry: TypeMates, Germany, typemates.com

→ p. 404

Styles / Weights / Widths: Thin, Light, Regular, Medium, Bold, Black Language Support: Latin, Cyrillic, Greek OpenType Features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Superscript, Subscript, Ordinals, Contextual Alternates, Fractions, Numerator, Denominator, Arrows, Stylistic Alternates, Stylistic Sets, Slashed Zero, Localized Forms, Mark Positioning, Case Sensitive Forms Web Font Formats: eot, woff, woff2

Cera Round Pro

Design: 2016, Lisa Fischbach → p. 370, Jakob Runge → p. 385

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Sans Serif → p. 345

Test Version: Available

αβγδεζηθικλμνξοπρσςτυφχψωάέήίόώϊϋΰ ΑΒΓΔΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩΆΈΉΊΌΏΪΫ 12345678900@.,-:;!?’)]§*“”«»/–€$&⅔▶☞ ar·chive / noun / a collection of documents such as letters, photographs, or other material: the Yearbook of Type is an archive of contemporary typefaces from all over the world

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BOLD & LIGHT 7 PT

THIN & BLACK 33 PT

MEDIUM 18 PT

REGULAR 18 PT

About Cera Round Pro Cera Round Pro combines warmth with elegance and its support for Cyrillic and Greek makes it a reliable and engaging companion for international communication.

Drawing on a tradition of machine-milled lettering and combining it with the technical geometry of Cera, Cera Round Pro features circular stroke endings and softly rounded corners to create cheerful feeling text.

Amongst its smooth, yet precise letterforms, the circular o takes on a new, striking quality.

While the Regular has been carefully proofed for long editorial texts, Cera Round Pro’s six weights, Thin to Black, allow for a whole range of expression in display typography. Where the light weights have all the cleanliness and precision of technical drawings, its heavy weights are playful and soft: perfect for strong headlines and packaging projects.

With this broad spectrum of expression, from technical to friendly—and always sincere—Cera Round is an excellent choice for branding and editorial design. Its large x-height also means that it is recommended for interface design.

Yearbook of Type III

Foundry: URW++ Design & Development, Germany, urwpp.com → p. 406 Styles / Weights / Widths: Family of three widths: Condensed, Semi Condensed, Normal, each in eight weights: Thin, ExtraLight, Light, Regular, Medium, Demi, Bold, Black, each with Italics Language Support: Latin OpenType Features: Proportional Oldstyle, Proportional Lining, Standard Ligatures, Discretionary Ligatures, Small Caps, Superscript, Ordinals, Fractions, Numerator, Denominator, Stylistic Alternates, Localized Forms Web Font Formats: eot, svg, web ttf, woff, woff2

Yearbook of Type III

Thin Thin Italic ExtraLight ExtraLight Italic Light Light Italic Regular Regular Italic Medium Medium Italic Demi Demi Italic Bold Bold Italic Black Black Italic

103

Thin Thin Italic ExtraLight ExtraLight Italic Light Light Italic Regular Regular Italic Medium Medium Italic Demi Demi Italic Bold Bold Italic Black Black Italic

CONDENSED, ALL WEIGHTS 6 PT

Thin Thin Italic ExtraLight ExtraLight Italic Light Light Italic Regular Regular Italic Medium Medium Italic Demi Demi Italic Bold Bold Italic Black Black Italic

SEMI CONDENSED, ALL WEIGHTS 6 PT

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Sans Serif → p. 345, Display → p. 358

Test Version: Not available

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URW DIN

Design: 2016, Volker Schnebel → p. 387

REGULAR, ALL WEIGHTS 6 PT

SEMI CONDENSED, THIN & BLACK 36 PT

CONDENSED, REGULAR 19 PT

REGULAR 19 PT

About URW DIN The digital outline fonts, DIN 1451 Fette Engschrift and Fette Mittelschrift were created by URW in 1984 and are the foundation for all DIN font families. Both typefaces were originally designed for the URW SIGNUS signmaking system and were mainly used for the production of traffic signs. These two typefaces have become so popular in other areas, that we have decided to develop a new, complete DIN font family with 48 styles in OpenType Pro: URW DIN. The new family by designer Volker Schnebel, offers not only a Condensed, but also a Semi Condensed, which is unique among the DIN fonts. This feature gives the URW DIN a broad spectrum of typographic uses. Its large x-height makes it perfect for use in e-publishing (web, apps, e-Books, etc.), and its adjusted stroke width between the regular and bold weights enhances its quality and distinguishability in print.

Foundry: LucasFonts, Germany, lucasfonts.com → p. 399 Styles / Weights / Widths: Family of two styles: Text, Display. Text in eight weights: Light, SemiLight, Regular, SemiBold, Bold, ExtraBold, Heavy, Black, each with Italics. Display in ten weights: UltraLight, ExtraLight, Light, SemiLight, Regular, SemiBold, Bold, ExtraBold, Heavy, Black, each with Italics

Koning

Design: 2017, Luc(as) de Groot → p. 372

About Koning Koning began around the year 2000 as an experiment of the renowned Corpid typeface originally designed for a Dutch ministry—with increasing contrast. Gradually it evolved to an independent type family with its own distinctive voice—and name: Koning means king in the Dutch language, and the Netherlands actually have a real king, no coincidence.

In the Koning family, a display style with crisp texture and spiky details is accompanied by a rather robust text style. The Koning Display style comes in ten weights, Koning Text has eight weights, both with expressive Italics, and a set of glamorous icons. This must be the favorite typeface of King Willem-Alexander of the Netherlands. We have donated a license for the royal family as a tribute, with a small request: Dear King, could you please ensure that Noordwijkerhout remains an independent municipality? It is such a nice village! With tulips, narcissuses, crocuses, and hyacinths in spring; and it is the birthplace of many typefaces!

Language Support: Latin OpenType Features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, All Caps, Small Caps, Capitals to Small Caps, Superscript, Subscript, Ordinals, Contextual Alternates, Fractions, Alternative Fractions, Numerator, Denominator, Ornaments, Arrows, Stylistic Alternates, Stylistic Sets, Localized Forms, Required Ligatures Web Font Formats: Not available

Yearbook of Type III

Light SemiLight Regular SemiBold Bold ExtraBold Heavy Black

191

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UltraLight ExtraLight Light SemiLight Regular SemiBold Bold ExtraBold Heavy Black

TEXT, ALL WEIGHTS 8 PT

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Sans Serif → p. 347, Display → p. 359

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DISPLAY, ALL WEIGHTS 8 PT

EXTRALIGHT & BLACK 34 PT

TEXT, REGULAR 18 PT

DISPLAY, REGULAR 18 PT

Test Version: Not available

Language Support: Latin OpenType Features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, All Caps, Small Caps, Capitals to Small Caps, Superscript, Subscript, Ordinals, Contextual Alternates, Contextual Ligatures, Fractions, Alternative Fractions, Numerator, Denominator, Ornaments, Arrows, Stylistic Alternates, Stylistic Set Web Font Formats: eot, svg, web ttf, woff, woff2 Test Version: Available

aejgGQR7 aejgGQR7

T ypographers want a mazing, exquisite & clever justified t ext in books.

The Yearbook of Type compend ium works well as a tool i n vexed typography questions for polarizing jobs.

199

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BOOK & EXTRABOLD 16 PT

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KoPius Condensed

Styles / Weights / Widths: Light, Regular, Book, SemiBold, Bold, ExtraBold, Black

SEMIBOLD 11 PT

REGULAR 19 PT LIGHT & BLACK 31 PT LIGHT & EXTRAS, LABELS 31 PT

Foundry: Kontour, USA, kontour.com → p. 398

Serif / Antiqua → p. 352

Design: 2017, Sibylle Hagmann → p. 373

About Kopius Condensed Kopius Condensed is a narrower variation of the Kopius regular style. Matching that, this space-conscious variety owns friendly features and an easy-going, yet confident personality.

With editorial use in mind the Kopius Condensed types provide an enjoyable reading experience in continuous text, as well as display sized type. The slightly curved stems and innovative bracket style imply a brushinfluenced flow and add warmth to a page in print or digital. Despite the letters’ narrow fit the counters remain open for good legibility even in small body text. The condensed font package includes two complementary non-alphabetic styles, the Kopius Extras Box Headings and Kopius Extras Labels. The inspirational source of the Kopius family remotely references an Antiqua typeface family named Liberta, designed by Herbert Thannhaeuser mid 1950s for the East German type foundry Typoart. A condensed SemiBold and ExtraBold (schmalhalbfett, schmalfett) were published in 1959 and 1960 respectively.

Yearbook of Type III

Foundry: BLKBK Inc., Canada, blkbk.ink

→ p. 395

Styles / Weights / Widths: Bold Language Support: Latin OpenType Features: Standard Ligatures, All Alternates, Stylistic Alternates Web Font Formats: eot, svg, web ttf, woff, woff2

223

BOLD 16 PT

BOLD 31 PT

BOLD 19 PT

Test Version: Available

Mega Fresh

Design: 2016, Justin Graefer → p. 372, Derek Campbell → p. 366

Script → p. 356, Display → p. 360

About Mega Fresh Inspired by street culture and urban fashion, Mega Fresh is an organic script font, which provides an unlikely contrast of structure and flare. Painted naturally by hand through the use of natural movements and although fluent, consideration in speed increases within the uppercase characters and fluctuates by decreasing in speed throughout the lowercase, which creates a unique blend of legibility in structure, flare in flourishes. Although, universal and versatile, Mega Fresh displays just enough of a graffiti-tag style to add a youthful edge within its aesthetic. Believably handcrafted with hints of dry brush strokes in just the right places achieves a slightly distressed look without overdoing.

Graphic designed by Heesang Lee.

Yearbook of Type III

Design: 2014, Lucas Sharp → p. 388 Foundry: Sharp Type Co., USA, sharptype.co → p. 403

Ogg

About Ogg Inspired by the hand-lettering of 20th century book designer and calligrapher Oscar Ogg, Ogg captures the unique mix of calligraphic and typographic form he achieved through his use of hand carved pen nibs, brushes, and white-out.

Summoning a renaissance flavor while still managing to feel fresh and contemporary, Ogg begs for employment in posters, product packaging, magazine spreads, book covers, and all kinds of editorial applications.

Styles / Weights / Widths: Roman, Italic Language Support: Latin OpenType Features: Proportional Oldstyle, Proportional Lining, Standard Ligatures, All Caps, Superscript, Subscript, Titling Alternates, Contextual Alternates, Fractions, Numerator, Denominator, Stylistic Alternates, Stylistic Sets, Localized Forms Web Font Formats: eot, woff, woff2

Typographers want amazing, exquisite & clever justified text in books.

253

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Serif / Antiqua → p. 352, Display → p. 360

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ROMAN & ITALIC 27 PT

ROMAN 18 PT

Test Version: Available

Yearbook of Type III

Foundry: Sandoll Communications Inc., South Korea, sandoll.co.kr → p. 402 Styles / Weights / Widths: Thin, UltraLight, Light, Regular, Medium, SemiBold, Bold, ExtraBold, Heavy Language Support: Latin, Korean, Greek, Cyrillic OpenType Features: Not available Web Font Formats: eot, svg, web ttf, woff, woff2

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LIGHT 12 PT

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293

THIN & HEAVY 30 PT

ULTRALIGHT 17 PT

REGULAR 17 PT

Test Version: Not available

Sandoll Gothic Neo1

Design: 2016, Dokyung Lee → p. 378, Kwon Kyungseok → p. 377

Sans Serif → p. 349

About Sandoll Gothic Neo1 Sandoll Gothic Neo1 was initially designed for professional editors and was the first Hangeul typeface that considers the optical balance between Hangeul (Korean Alphabet) and other languages. The design follows a modern style, which has a 92% letter-width, unlike the traditional Korean style that nomally has a wider width. Gothic Neo1 acquires a formal license of Guardian Sans from Commercial Type to match and customize with the Sandoll Gothic Neo1 Hangeul style.

Yearbook of Type III

Styles / Weights / Widths: Family of two styles: Normal, Display, each in four weights: Regular, Medium, Bold, Black, Normal weights each with Italics Language Support: Latin OpenType Features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Tabular Oldstyle, Standard Ligatures, Discretionary Ligatures, All Caps, Small Caps, Capitals to Small Caps, Superscript, Subscript, Ordinals, Swashes, Contextual Alternates, Contextual Ligatures, Fractions, Denominator, Arrows, Stylistic Alternates, Slashed Zero, Alternate Annotation, Optical Size Web Font Formats: eot, svg, web ttf, woff, woff2

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323

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Serif / Antiqua → p. 353, Display → p. 361

Test Version: Available

MEDIUM & BOLD 16 PT

REGULAR 19 PT DISPLAY, REGULAR 19 PT DISPLAY, REGULAR & BOLD 33 PT

Foundry: Typotheque, the Netherlands, typotheque.com → p. 405

Thesaurus

Design: 2017, Fermin Guerrero → p. 372

About Thesaurus Thesaurus is a typeface inspired by the typographic history of the city of Geneva.

In particular, this type family is inspired by the typefaces used by the French printer, editor, and publisher Henri II Estienne in his famous book Thesaurus Græcæ Linguæ, published in Geneva in 1572. These metal types were brought to Geneva by Henri’s father, Robert Estienne, who, before settling in Geneva and working as Calvin’s printer, was the printer of France’s King, François I. Thesaurus binds together special features and rare characteristics that we find in the original metal types used by Estienne, with more contemporary characteristics such as a tall x-height, narrower forms, increased modulation/contrast, etc. The result is a charismatic typeface with a unique flavor, that has one foot in the past and another in the present.

Thesaurus comes in multiple weights and two optical sizes (Thesaurus Text and Thesaurus Display) making it a great choice for practical text typography and editorial design.

Yearbook of Type III

Foundry: Black[Foundry], France, black-foundry.com → p. 395 Styles / Weights / Widths: Light, Regular, Medium, Bold, ExtraBold, Poster Language Support: Latin, Cyrillic OpenType Features: Proportional Oldstyle, Tabular Lining, Proportional Lining, Standard Ligatures, Discretionary Ligatures, All Caps, Superscript, Subscript, Ordinals, Fractions, Numerator, Denominator, Arrows, Font Variations

VesterBro

Design: 2017, Jérémie Hornus → p. 374, Alisa Nowak → p. 382, Ilya Naumoff → p. 381

About Vesterbro Vesterbro is a versatile typeface built by Black[Foundry] for global communication.

Its six weights may be used for a wide range of design projects, including branding and identity design, editorial design, and even advertising, or packaging design. The family’s heaviest style is Vesterbro Poster, whose letterforms pair organic shapes and a very generous x-height with small counterforms and short serifs. Vesterbro’s lighter weights have less contrast and more-regularized counterforms; their serifs are more pronounced, too. The family’s character set covers both, the Latin and Cyrillic scripts. Several styles of numerals and ligatures are also included as well as a full complement of arrows. Vesterbro was designed by Jérémie Hornus with support from Alisa Nowak and Ilya Naumoff.

Web Font Formats: eot, web ttf, woff, woff2

Serif / Antiqua → p. 353

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REGULAR & EXTRABOLD 13 PT

LIGHT & POSTER 30 PT

MEDIUM 15 PT

REGULAR 15 PT

Test Version: Available

Yearbook of Type III

Index Typefaces

Visit www.yearbookoftype.com, using the code, to access all typefaces online, directly linked to their foundries’ websites.

B

Index Typefaces

Yearbook of Type III

Sans Serif

Adamant Sans Pro, p. 10 / 11

Aeroport, p. 14 / 15

Affiche, p. 16 / 17

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Alio, p. 18 / 19

Americane, p. 22 / 23

Andis, p. 26 / 27

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Atlan, p. 30 / 31

AwanZaman, p. 38 / 39

Bale, p. 40 / 41

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Barna, p. 42 / 43

Basic Sans, p. 44 / 45

Baton Turbo, p. 46 / 47

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Berlingske Sans Display, p. 52 / 53

Bourton Collection, p. 60 / 61

Brando Sans, p. 62 / 63

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29LT Bukra, p. 68 / 69

Calibri Arabic, p. 76 / 77

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Cera Round Pro, p. 84 / 85

Ciutadella Rounded, p. 86 / 87

Coco Gothic, p. 92 / 93

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Comspot, p. 94 / 95

Devinyl, p. 100 / 101

URW DIN, p. 102 / 103

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Drive Thru, p. 104 / 105

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Sans Serif

agGR agGR ‫ضمشج‬ Bruta, p. 66 / 67

agGR agGR agGR Ebony, p. 106 / 107

Escalope, p. 110 / 111

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Fabriga, p. 114 / 115

Fenomen Sans, p. 116 / 117

Fino, p. 120 / 121

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Yearbook of Type III

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Display

Devinyl, p. 100 / 101

URW DIN, p. 102 / 103

Drive Thru, p. 104 / 105

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agGR

Fab Figures, p. 112 / 113

Fino, p. 120 / 121

1250 aGR 1234567890 1234567890 <N$€£;~’*>

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Fit, p. 126 / 127

Fox Grotesque Pro, p. 128 / 129

Gala, p. 134 / 135

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aefgjkmstz AEFGKMQRSZ 13570?&$@»

agGR agGR agGR Escalope, p. 110 / 111

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agR aefgjkmstz 13570?&$@»

agGR agGR

agR agGR agGR Godna Tattoo, p. 148 / 149

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Grafton Titling, p. 154 / 155

Goodlife, p. 150 / 151

Goudar HL, p. 152 / 153

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aefgjkmstzß AEFGKMQRSZ 13570?&$@»

Grumpy, p. 158 / 159

Gustan Display, p. 160 / 161

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Inbox, p. 172 / 173

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Integral, p. 174 / 175

agR

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LFT Iro Sans, p. 176 / 177

Italian Plate Family, p. 178 / 179

Jive Talk, p. 180 / 181

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Jonas Font, p. 182 / 183

Joy-D, p. 184 / 185

Koning, p. 190 / 191

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Kufam Arabic, p. 200 / 201

Kufam Latin, p. 202 / 203

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agGR aefgjkmst AEFGKMQRSZ 13570?&$@»

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Lawabo, p. 204 / 205

Limon, p. 212 / 213

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agGR

Lonne, p. 214 / 215

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359

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Display

agGR agR Halyard, p. 166 / 167

Index Designers C

Index Designers

Yearbook of Type III

Reading, UK. She has developed typefaces for various companies like Google Fonts, FontYou, and Indian Type Foundry. Joana designed Karma that was one of the first Devanagari fonts on Google Fonts. She has taught Type Design at ESAD MATOSINHOS University of Arts and Design (esad.pt) from 2011 until 2017 and has given lectures and workshops around Europe. → Artigo, p. 28 / 29

Darden, Joshua dardenstudio.com Owner, founder and chief designer of Darden Studio, Joshua Darden has been publishing typefaces since 1994 at the age of 15. → Halyard, p. 166 / 167

Delobel, Sébastien ainsifont.com Cortat, Matthieu 205.tf Matthieu Cortat, born in 1982 in Switzerland, he graduated at the ECAL / Ecole cantonale d’art de Lausanne, Switzerland, and at the Atelier National de Recherche Typographique, Nancy, France.

French naturalized, he lives in Lyon where he is advisor to the collections of the Museum of Printing and Graphic Communication. He created the French Typographical Corpus. He is the head of the Master Type Design course at ECAL: “Most of my typefaces are anchored in history.

This doesn’t make them revivals however, as I take a lot of liberties with regard to the models. Let’s say that I try, for each creation, to bring a contemporary feel to an atmosphere, a style drawn from the history of typography.

Sometimes it is a matter of revisiting a classic; other times of rediscovering a lost typeface; often it is a nod to a reference.” → Helvetius, p. 168 / 169

Since 1998, Sébastien Delobel and Xavier Meurice are cofounders and associated graphic designers at Atelier Télescopique studio. They are co-founders of the digital foundry AinsiFont, which is distributing original typefaces. They design fonts for a large variety of projects: brand identities, signage systems, etc. They teach Graphic Design and Type Design at ECV Lille school, France. → AF Playtime, p. 260 / 261

Dickinson, Chris moretype.co.uk Chris Dickinson graduated from Brighton University, UK, with a BA (Hons) in Graphic Design. Whilst working as a freelance graphic designer, he developed his interest in typography and designing fonts. After releasing fonts through T26 and MyFonts, he set up his own foundry, Moretype. → Bale, p. 40 / 41

Djurek, Nikola typotheque.com Nikola Djurek was born in Croatia and studied there, in Italy, and finally in the Netherlands at the postgraduate master course Type and Media at the Royal Academy of Art in The Hague, where he earned his PhD degree in the graphic and type design field. Nikola is a partner at Typotheque, and teaches at the Art Academy, University of Split, and at the University of Zagreb, Croatia, at the Faculty of Design. → Plotter, p. 262 / 263

von Döhren, Hannes hvdfonts.com HVD fonts is the labor of love for passionate type designer Hannes von Döhren. Since making the move from graphic design to type in 2008, he strives to create fonts of the highest quality, whilst retaining the sincerity and joy that permeates Hannes’ approach to work. Using the act of creation itself, as his driving force, HVD Fonts has produced a balanced array of playful and professional typefaces, always underpinned by expert execution.

A recipient of the Certificate of Excellence in Type Design from the Type Directors Club NY, HVD Fonts has been responsible for a wealth of acclaimed retail typefaces including Pluto, FF Mark, or Brandon Grotesque, and several custom type families for clients like Volkswagen, Rimowa, or Hyundai. → Americane, p. 22 / 23 → Goodlife, p. 150 / 151

Dupré, Xavier type-together.com Xavier Dupré was born in France in 1977. He studied Graphic Design in Paris, France, as well as Calligraphy and Typography at the Scriptorium de Toulouse with Bernard Arin and Rodolphe Giuglardo. Since 1999 he has worked as a type designer in a packaging design agency. He has also collaborated with Ladislas Mandel (known for telephone directory typography) on Renaissance experimental writings. Since 2001, after publishing his first type family through FontFont, he has lived and traveled in Asia where he designed Latin and Khmer typefaces for NGOs in Cambodia. His typefaces have been awarded on several occasions with the Certificate of Typographic Excellence

by New York’s Type Directors Club. → Garalda, p. 136 / 137 Yearbook of Type III

Fagen, Connary connary.com

Pavel Emelyanov is the founder and art director of the Comence design studio, St. Petersburg, Russia, with more than ten years of experience, specialized in branding and web design, working with clients all around the world. In the past three to four years, his activities have become more and more intertwined with typography and fonts, which has then become the basis for a cooperation with TypeType Foundry. → TT Norms Medium, p. 242 / 243

Connary Fagen is a designer based in Salt Lake City, USA. Design has been a part of Connary’s entire life, beginning with a copy of UltraPaint on the family Macintosh. After years of dabbling, he took a proper design job in 2007, eventually leading to his independent studio and foundry taking shape in 2015.

Type design is a natural fit for Connary, playing to his strengths: a focus on clear communication; working in black and white with Bézier curves; being challenged by constraints and form; producing a useful, flexible piece of work. Every typeface he designs is born from a perceived need and use, with an eye toward versatility and quality. → Addington, p. 12 / 13 → Greycliff, p. 156 / 157 → Integral, p. 174 / 175

Erakovic, Vedran behance.net/vedran_erakovic Vedran Erakovic was born on September 30th, 1980 in Split, Croatia, and lives in Belgrade, Serbia. Vedran graduated in 2004 from the Faculty of Applied Arts, University of Arts, Belgrade, where he obtained his Master’s degree in 2009. He works as an Assistant Professor of Calligraphy and Typeface Design at the Faculty of Applied Arts in Belgrade.

He worked as an art director and graphic designer in the Serbian daily newspaper Politika. His fields of work include type design, graphic design, calligraphy, and the design of newspapers and magazines. He has taken part in numerous exhibitions and projects in his country and abroad and has received a number of prizes for his typefaces. → Adamant Sans Pro, p. 10 / 11

Index Designers

Nicole Dotin is a typeface designer and partner at Process Type Foundry. Although she studied Photography in college and later worked professionally as a graphic designer, Nicole eventually found her way to the University of Reading, UK, where she earned a MA in Typeface Design. There she started her first typeface, Elena, and today it can be seen in places like the popular Instapaper app. Nicole has been a full partner at Process since 2007. → Elena, p. 108 / 109

Emelyanov, Pavel comence.ru

Filípek, Ján dizajndesign.sk Ján Filípek studied Visual Communication at the Academy of Fine Arts and Design Bratislava, Slovakia, and graduated with a Master’s degree in Typeface Design at the Type and Media course at the Royal Academy of Art in The Hague (KABK), the Netherlands. Since 2009 he has run his own typeface design studio DizajnDesign in Bratislava. So far he released eleven typeface families (Deva Ideal, Dezen, Poleno, Komu, Rukou, Anca, Preto Sans, Preto Serif, Preto Semi, Razom Script, and Kontrast Grotesk). From time to time he organizes work-

369

Dotin, Nicole processtypefoundry.com

to discover the loss of manual expression in the digital age.

His first typeface examined the influence of handedness on the image of modern typography. In 2014 he was invited to present his theory behind this typeface at the TYPO Berlin. → Nouveau Grotesque, p. 244 / 245

Thomsen, Nils typemates.com Ever since he was a child, Nils has been captivated by graffiti and this early fascination bloomed into a love of letterforms. Pursuing this interest, Nils completed his studies at Muthesius Academy of Fine Arts and Design in Kiel, Germany, and his Master’s degree in the postgraduate Type and Media course in The Hague, the Netherlands. His Master’s project, the award-winning typeface Meret, is used in several international magazines, including Fast Company Magazine. From 2011 to 2013, Nils worked at Bureau EST in Hamburg, Germany. There he participated in the redesign of the German daily Süddeutsche Zeitung, contributing to its new corporate typeface.

Nils focused on the text face and the additional headline serif face. In 2015 Jakob Runge and Nils founded TypeMates. → Comspot, p. 94 / 95 → Pensum Pro, p. 256 / 257

Tinnes, Andrea typecuts.com

Triantafyllakos, George atypical.gr

Andrea Tinnes is a type designer, typographer, and teacher living and working in Berlin, Germany. In 2004, she founded her own font label typecuts. After several years of teaching at Norway’s Bergen Academy of Art and Design she took on a professorship of Type and Typography at Burg Giebichenstein University of Art and Design Halle, Germany, in 2008. From 2010 to 2014, she was vicerector of the school and was responsible for the school’s new visual identity. Andrea has a degree in Communication Design from the University of Applied Sciences Mainz, Germany, and an MFA in Graphic Design from CalArts, USA. Her work has been featured in many national and international publications and exhibitions. She received a Red Dot Award and a Certificate of Typographic Excellence (TDC53). → Affiche, p. 16 / 17

George Triantafyllakos holds a PhD in Participatory Design from Aristotle University of Thessaloniki, Greece. He freelances as a web developer and graphic designer, while running his own commercial type foundry—Atypical. He has designed typefaces for the Greek Font Society (greek fontsociety.gr). In 2017, he participated in the team of designers that won the competition for the design of the new visual identity of the National Library of Greece (George D. Matthiopoulos, Dimitris Papazoglou, George Triantafyllakos and Axel Peemöller). In the same year he was a member of the jury committee of the Greek Graphic Design and Illustration Awards (EBGE). → Joy-D, p. 184 / 185

Toikka, Lauri schick-toikka.com Lauri Toikka holds a BA degree in Graphic Design from Lahti institute of Design, Finland, (2010) and a MA degree in Type Design from Type and Media Master’s program at The Royal Academy of Arts in The Hague, the Netherlands (2011). He is a founding partner of the Berlin, Germany, and Helsinki, Finland, based type foundry Schick Toikka. → Saol Display, p. 300 / 301

Tsunekawa, Ryoichi dharmatype.com Ryoichi Tsunekawa, type designer, born in 1978 in Nagoya, Japan, runs his own studio since 2005. After studying Architecture in graduate school, he worked as an architectural engineer for several years in Tokyo, Japan. He became obsessed with type design and decided to change jobs. Dharma Type is his type project to offer exclusive fonts to creative designers in the world. His studio has released many basic, retro, modern, and experimental fonts. → Mighty Slab, p. 226 / 227

Vassiliou, Panos parachutefonts.com Panos is a graduate of the University of Toronto, Canada, with a Major in Applied Sciences and Engineering.

During his transition years to typography, he got involved with a theater company, founded a design studio, a publishing company, and pursued a teaching career. He has designed numerous commercial fonts as well as bespoke typefaces for organizations such as Bank of America, European Commission and Yearbook of Type III

Vergara, Luciano mendozavergara.com Luciano Vergara is a graphic designer, who received his BA in Design from the Universidad Mayor, Chile, and got a diploma in Typography from the Pontifical Catholic University of Chile in 2003.

Luciano works as a designer at Mendoza & Vergara Design Studio, which he co-founded with Guisela Mendoza. He has been selling his fonts through T.26 Digital Type Foundry since 2005. Luciano is a founding partner of Latinotype and has been selling his fonts through this foundry since 2008. His work was featured in the 2004 and 2006 Latin American Typography Biennials. He took part as a jury member in the 2008 Tipos Latinos Biennial. Global groups and companies like AMC or Royal Caribbean have chosen Luciano’s typefaces for their projects. His work has appeared in several publications. → Niemeyer, p. 240 / 241 → Touch Me, p. 326 / 327

Vret, Aurélien typofonderie.com Aurélien Vret is a multidisciplinary artist as well as a typeface designer (1987).

He studied Visual Arts and learned Graphic Design in Romain-Paul Lefèvre’s studio.

Also he studied Digital Art with Etienne Cliquet and Type Design with François Cha-

Index Designers

Rostislav Vaněk was born in Prague, Czech Republic. In 1969, he graduated from the Academy of Arts, Architecture and Design in Prague (AAAD).

He has worked in all fields of graphic design devoting mostly to type design, book design, and visual communication. Rostislav Vaněk worked with the Brno Biennial and held solo and group exhibitions with Typo & group in Europe and USA (ITC Centre, New York, USA). He designed many orientation systems (Prague Metro). For 20 years he worked as the head of the Studio of Graphic Design and Visual Communication at the AAAD. In 2010 he founded Signature Type Foundry; over 260 fonts resulted from his drawing experience along with the font making expertise of Tomáš Nedoma since.

In 2017, Rostislav Vaněk entered the Czech Grand Design Hall of Fame. → Fenomen Sans, p. 116 / 117 → Fenomen Slab, p. 118 / 119

stanet. He obtained his BFA in 2010. Aurelien Vret has exhibited in various contemporary art institutions in Paris and Toulouse, France. He participated in a collective exhibition at the Musée d’Orsay in Paris in 2016, organized by the platform early-work.com dedicated to the young artists with whom he collaborates.

Thanks to the Ministry of Culture, he currently works on mix face tracking technologies and typeface interpolation software production in collaboration with the digital art center Le Cube. © Photo by Eric Coquelin → Prosaic, p. 274 / 275

Weltin, Jürgen typematters.de Jürgen Weltin runs the independent type design studio Type Matters, located in the south of Munich, Germany.

He received awards for his first typeface family Linotype Finnegan, a D&AD award for the exclusive telephone book typeface Yellow, and the GRANSHAN International Eastern Type Design Competition award for Mantika Sans.

He began creating typefaces during his studies in the mid90s, when he worked as a type designer at The Foundry in London, UK, and is now designing type independently, doing custom type work for various clients, and lecturing Typography at design schools.

Under his designs are the display typeface Balega, the Agilita sans serif typeface family, the typeface suite Mantika Sans, Mantika Informal, Mantika Book and Mantika News, and Julius Roman. → Julius Roman, p. 186 / 187

391

Vaněk, Rostislav signaturetype.cz

UEFA. He has received several distinctions and awards including a Red Dot Grand Prix. → PF Venue, p. 332 / 333

Widmer, Fabian letterwerk.ch Fabian Widmer lives and works as a graphic and type designer in Zurich, Switzerland. He studied Type Design and Typography at The Basel School of Design, Switzerland. After working two years as a typographer he launched his own type design studio in 2008, together with Dominique Boeßner. The studio is called Letterwerk. → Fab Figures, p. 112 / 113

Wiescher, Gert wiescher.de Gert Wiescher went to Paris, France, when he was very young, just for the sake of art.

That caused many sleepless nights to his beloved mother, but she accepted his decision.

Once he met Salvador Dalí, but he did not take him very seriously. To this day Gert doesn’t know why! After some years he decided to start a serious life. He got married and studied Graphic Design at the Berlin University of the Arts, Germany. Making detours, once more to Paris, then to Barcelona, Spain, where he designed the OECD pavillion for the Osaka World Expo at the office of Harnden & Bombelli, he reached South Africa. Grey and Young advertising got to know him! → Supra, p. 314 / 315

Zoghbi, Pascal 29lt.com Type designer and typographer, Pascal Zoghbi, founded 29Letters in 2006.

After he graduated from The Royal Academy of Arts in the Netherlands with a Master of Design from Type and Media, Pascal created a notable collection of contemporary Arabic and multilingual typefaces alongside corporate identities and design projects. Since 2006, he has been teaching as a design professor at design schools in Lebanon (AUB, LAU & NDU) and UAE (AUS).

He co-authored and edited the Arabic Graffiti book published in 2010. He was one of the ten finalists for the Jameel Prize 3 in 2013 / 2014.

He was awarded the Red Ribbon of TDC Typeface Design Competition in 2014, and awarded a Special Mention in GRANSHAN Type Design Competition in 2015. → 29LT Bukra, p. 68 / 69

Index Foundries D

Index Foundries

Yearbook of Type III

205TF France 205.tf

Antipixel Argentina antipixel.com.ar

Autograph The Netherlands autograph.works/typeshop

TF, two letters that signify at the same time Type Foundry and Typographie Française (French Typography). 205TF is a type foundry that brings together the work of independent typeface designers, some of them well known, others closer to the beginning of their career, all highly talented. Each of them developing characters where a certain French spirit can be felt. 205TF is a foundry on a human scale. 205TF makes a choice of quality: a small number of creators, a precise selection of characters. → Clifton, p. 90 / 91 → Helvetius, p. 168 / 169 → Maax Display, p. 216 / 217 → Minérale, p. 230 / 231

Antipixel is a graphic design studio based in Buenos Aires, Argentina, and run by Julia Martínez Diana, a graphic designer graduated from Buenos Aires University. With a collection of energetic and hand rendered typeface offerings, the designs possess a spirited quality, full of energy and casual character. Every typeface published by Antipixel is offered free for personal and non-profit use. → Austral Slab, p. 34 / 35 → Escalope, p. 110 / 111

APK Type is Autograph Peter Korsman. As an intern at Büro Destruct, Switzerland, he learned the basics of font design. Peters’s co-founder and former member of ATTAK has over twelve years of experience in font design (attak type.com). In 2017 he released four fonts under his new studio name, Autograph, forming the basis for APK Type. An uncompromized approach to font design, hence display fonts, remain very important to Peter.

Nevertheless, with APK Type he also issues more versatile fonts for editorial use. → APK Rigimono, p. 286 / 287

29Letters Lebanon 29lt.com 29Letters (29LT) is an awardwinning design studio specialized in contemporary Arabic and multilingual typography. Besides its design practice, 29LT publishes unique multilingual Arabic / Latin typefaces created by emerging, talented Arab and international type designers.

29LT frequently joins forces with internationally renowned branding, design, and advertising agencies, in order to deliver high-end design and typographic solutions, which range from corporate typefaces to logos, and lettering. → 29LT Bukra, p. 68 / 69 → 29LT Riwaya, p. 290 / 291

AinsiFont France ainsifont.com AinsiFont is a French digital type foundry which distributes original typefaces since 1998. It was formerly called La Fonderie Nordik (1998–2007). → AF Playtime, p. 260 / 261 Atypical Type Foundry Greece atypical.gr Atypical is just another (a)typical type foundry offering a small—but quite diverse—set of affordable fonts, available in a wide variety of styles, weights, and languages (including Greek, of course—the design of original Greek typefaces was the reason why the foundry was created in the first place). Atypical was initiated and is being operated by George Triantafyllakos (back packer.gr) from the city of Thessaloniki, Greece. → Joy-D, p. 184 / 185

bBox Type Germany bboxtype.com bBox Type is the foundry of Ralph du Carrois and Anja Meiners who have been working together under the label Carrois Corporate before.

Since late 2017, bBox Type provides flexible and sustainable type systems and offers a simple sales and licensing model. They keep on thinking—outside the box. → Fira Sans, p. 122 / 123 → FiraGO, p. 124 / 125 → Gintronic, p. 144 / 145 → Lonne, p. 214 / 215

BLKBK Inc. Canada blkbk.ink

BrassFonts Germany brass-fonts.de

Since 2012, René is developing custom and retail font families like Campton, Galano, Mirador, Rational, and many more ranging from display to text usage. Many of his fonts are used internationally and are listed in the Myfonts’ most successful releases of the year. → Milliard, p. 228 / 229 → Rational, p. 282 / 283

BLKBK was formed in 2013 by two Canadian designers Justin Graefer and Derek Campbell, collaborating their passions for design to ink on paper. They rely on free flowing brush strokes and hand styles to give natural shapes and textures to letters—driven to resurrect the lost art of hand-painted signs and vintage album art. Every piece of writing is comprised of sentences, comprised of words, comprised of letters. BLKBK aims to provide letters that impart meaning before they even form words. Inspired by handpainted signs, hip-hop, 70s vinyl art, and 80s VHS sleeves, each hand-crafted BLKBK type evokes meaning the second you lay eyes on it, while exuding a style that spans half a century. → Drive Thru, p. 104 / 105 → Jive Talk, p. 180 / 181 → Mega Fresh, p. 222 / 223

BrassFonts is the independent type foundry of the designer Guido Schneider. Founded in 1996, BrassFonts strives to provide aesthetically distinct, stand-alone alternatives. The spectrum ranges from experimental thematic display fonts to comprehensive and functional font families for editorial needs, and corporate design applications. In addition, Guido Schneider designs sophisticated and characterizing custom fonts for corporate clients. The aim: Typefaces that carries more than just the content. → BF Konkret Grotesk, p. 194 / 195

After some collaboration on various typeface projects, Michael Mischler and Niklaus Thoenen founded Binnenland in 2007 to publish their font developments and to distribute their own typefaces. They not only design typefaces guided by their particular interest in the sensitive dimensions of signs and their effectiveness in both the friction of graphic shapes and the manner of reading, they are also teaching type, they are talking about type, they are thinking about type with all its components. → T-Star 4.0, p. 316 / 317 Black[Foundry] France black-foundry.com Based in Paris, Black[Foundry] is a type design studio dedicated to creating, refining, and producing fonts for a connected world. → Vesterbro, p. 334 / 335

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Bold Monday The Netherlands boldmonday.com Bold Monday is an independent Dutch type foundry, established in 2008 by Paul van der Laan and Pieter van Rosmalen. Their catalog encompasses custom typeface design for high-profile, international clients, as well as state-of-the-art retail fonts for discerning designers.

Bold Monday is specialized in creating original, sometimes slightly offbeat typefaces that are always produced with great care and attention to detail. → Brando Sans, p. 62 / 63 → IBM Plex, p. 170 / 171 → Mala, p. 220 / 221 → Pilot, p. 258 / 259

Briefcase Type Foundry Czech Republic briefcasetype.com Briefcase offers original Czech productions by authors, who may not wish to set up their own type foundry, for the purpose of publishing their fonts.

It profiles itself as an independent type foundry, which is be able to offer a wide range of unique fonts, thanks to its extensive author portfolio.

Briefcase digitizes original font designs, offer original fonts by young authors, and helps to publish older, previously unreleased fonts, created by typographers and graphic designers. → BC Brief, p. 64 / 65 → BC Novatica, p. 246 / 247

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Binnenland Switzerland binnenland.ch

Index Foundries

René Bieder Germany renebieder.com

Mostardesign Type Foundry France motyfo.com

NM type Spain, Sweden kinetictypeface.com

Northern Block Ltd United Kingdom thenorthernblock.co.uk

Mostardesign Type Foundry is focused on type design and custom type design. It produces high-quality fonts and delivers font licenses for every application. → Rival, p. 288 / 289

NM type is a collaborative project of the two designers Noel Pretorius (Sweden) and María Ramos (Spain). They met in England while obtaining the MA in Typeface Design, at Reading University.

After graduation, they started to work together on what is their first typeface in the market, Kinetic. They do custom designs for international clients and retail typefaces for commercial distribution.

They are a team of two, working together at a distance with a common goal—finding new ways to shape the alphabet. → Kinetic, p. 188 / 189

Founded in 2006 by Jonathan Hill, The Northern Block type foundry is driven by the goal of designing new and original typefaces. Today, the company is recognized for producing a variety of work that appeals to many. The Northern Block’s highly skilled and enthusiastic team designs and develops typefaces in-house and collaborate with creatives around the world, providing mentoring, technical and creative support. → Boita, p. 58 / 59 → Makozin, p. 218 / 219 → Typold, p. 330 / 331

NDISCOVER Portugal ndiscover.com NDISCOVER is a digital typography studio based in Lisbon and Porto, Portugal. It all started when Joana Correia and Natanael Gama decided to join forces and create their own fonts, following their own feelings, intuitions, and perceptions about the type design world. They believe that joined forces are even greater, as it was said since long: The whole is bigger than the sum of its parts.

At this moment NDISCOVER is creating its own library, while doing commissioned work for companies around the world. → Bruta, p. 66 / 67 NEW LETTERS Germany new-letters.de NEW LETTERS is a German type foundry and design studio founded by Armin Brenner and Markus John in 2015, focusing on typography, graphic design, and art direction with the link between cultural and commercial projects. Type design plays the most important role and therefore offering contemporary retail and commissioned typefaces as well as lettering for individual purposes. → Freya, p. 130 / 131

Nootype Switzerland nootype.com Set in 2013, Nootype is a type foundry based in Switzerland.

Its main goal is to offer new and fresh typefaces for various uses. All texts typefaces offered by the foundry, have many styles and OpenType functions, which make them a great choice for complex editions works, while the displays fonts are striking enough to stand out. → Devinyl, p. 100 / 101 → Solanel, p. 312 / 313

Nova Type Foundry Portugal novatypefoundry.com.

Nova Type Foundry is an independent digital type foundry, founded by Joana Correia in 2018, based in Porto, Portugal, which takes a lot of care in designing retail typefaces.

Nova Type Foundry also provides custom typeface design services. Collaboration is the core value as of Nova Type Foundry, whether it is by collaborating with graphic designers or tutoring new type designers, helping them to create their typographic projects. Nova Type aims to bring to life new and original designs by fresh and upcoming type designers. All of their fonts are created with a lot of care and attention to detail.

They sell their retail typefaces directly on their website.

Feel free to drop them a line! → Artigo, p. 28 / 29

Parachute Greece parachutefonts.com

Playtype Denmark playtype.com

OurType is a Belgian type label established by Fred Smeijers in 2004. Over the years the OurType collection included typeface designs

by Smeijers, Peter Verheul, Arthur Schmal, Hendrik Weber, Merel Matzinger, Thomas Thiemich, Maurice Goeldner, Pierre Pané-Farré, Lara Assouad, André Simard, Peter Mohr, André Leonardt, Frederik Berlaen, Nils Thomsen, Valentin Brustaux, Wael Morcos, and Dan Milne. → Kufam Arabic, p. 200 / 201 → Kufam Latin, p. 202 / 203 → Parry Condensed, p. 254 / 255

Parachute is an acclaimed European type foundry, which was founded in 2001 by Panos Vassiliou. He was later joined by 13 other designers, all coming from diverse design fields.

Apart from its commercial line of typefaces, Parachute offers bespoke branding services for corporate typefaces and lettering. All Parachute fonts have been designed to offer multilingual support for major scripts such as Latin, Greek, and Cyrillic. Latest entries support Arabic as well. → Adamant Sans Pro, p. 10 / 11 → PF Venue, p. 332 / 333

Playtype is a type foundry counting more than 20 years of experience with crafting fonts for print and digital platforms. Playtype does bespoke typefaces for global brands and has an extensive online library of fonts available to individuals, graphic designers, and companies.

The Playtype concept store, situated in the heart of Copenhagen, brings typefaces to life in the form of playful art and design collab­orations. →B erlingske Sans Display, p. 52 / 53 → Berlingske Serif Display, p. 54 / 55 → Italian Plate Family, p. 178 / 179

P22 type foundry USA p22.com

phospho is an Austrian design studio and micro foundry started by Roland Hörmann in 2008. The label is specialized on display typefaces inspired by the typographical heritage of the city of Vienna. → Gloss Drop, p. 146 / 147 Plau Brazil plau.co Plau is a brand foundry and type identity studio. Their work is the best excuse they could find to produce and use typography and design it in a way that changes their clients’ businesses and make them feel good about it. → Tenez, p. 318 / 319

Process Type Foundry USA processtypefoundry.com Process Type Foundry is a design studio that makes and sells original typefaces. Led by type designers Eric Olson and Nicole Dotin, Process has produced contemporary retail fonts and custom work for over ten years. Motivated by a simple idea—to create useful typefaces—Process offers fonts for the web, print, and software applications. → Elena, p. 108 / 109 → Moniker, p. 238 / 239 → Scandia, p. 302 / 303

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International House of Font (IHOF) is a type boutique showcasing distinctive type designs and designers from around the world. While still technically part of P22 type foundry, with a focus on historically inspired designs, IHOF offers a wider range of styles from single fonts to mega-font families. Designs include historical revivals but also original designs from a range of contemporary type designers. → P22 Blox, p. 56 / 57 → P22 Pouty Pro, p. 270 / 271

phospho Austria phospho.at

Index Foundries

OurType Belgium ourtype.com

Yearbook of Type III

URW++ Design & Development Germany urwpp.com

Wiescher Design Germany wiescher.de

Since 1995 URW++ has established itself in the graphic design industry by continually developing and marketing innovative font and software products. Based on their technical font production skills, they are particularly successful in the area of corporate type development and production as well as a supplier of global and non-Latin fonts for OEM customers. → Classica Pro, p. 88 / 89 → URW DIN, p. 102 / 103 → URW Geometric, p. 140 / 141

Gert Wiescher is a German type designer, who spent his Youth in Swabia, Ger­many, Paris, France, and Berlin, Germany, where he studied Graphic Design at Berlin University of the Arts and where Erik Spiekermann and him became friends. He infected him with the “bacillus typographicus!” He was doomed to design typefaces all his life. Look at his com­plete type collection! Paris again, Barcelona, Spain, Johannesburg, South Africa, Holiday in Munich, Germany, he liked it and stayed. Gert worked at Herrwerth & Partner adver­tising and helped to introduce IKEA to Germany. → Supra, p. 314 / 315

VolcanoType Germany volcano-type.de VolcanoType develops a strong presence beyond its wild, experimental youth and wears a more eclectic identity between Kashmir and Bach, loving to play it loud yet also able to comfortably slip into a more quiet tonality.

In other words, VolcanoType has reached distant shores by publishing elaborate font families like Matryoshka or Telegramo, without denying its origins in explosive headliners. Since 2014 Volcano Type is part of the independent company Slanted Publishers. → Acron, p. 8 / 9 → bb-book, p. 48 / 49

Zetafonts Italy zetafonts.com Zetafonts is a type foundry based in Florence, Italy. It has took more than a decade designing and releasing typefaces that are as aesthetically inspiring as they are functional in their applications.

Founded by Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini, Zetafonts is an innovative foundry whose mission is to offer flexibility, individ­uality, and artistry to graphic designers around the world. → Anaphora, p. 24 / 25 → Beatrix Antiqua, p. 50 / 51 → Coco Gothic, p. 92 / 93

Index OpenType Features E

Index OpenType Features

Yearbook of Type III

Proportional Oldstyle

Standard Ligatures

Petite Caps

Oldstyle numerals are typeset with varying heights, based on the line of running text. This allows them to integrate more smoothly with mixed uppercase and lowercase letters and small capitals. Proportional figures have variable spacing between each letter.

A ligature replaces a sequence of characters with a single ligature glyph, where characters may overlap or could be better positioned. The most common are “f”-ligatures, where “f” is combined with its following letter to adjust spacing and reach a more pleasing appearance.

Small Caps are 30 % larger than the x-height of the font’s letters, and 70 % the height of full capital letters. To differentiate between these two character types, the x-height form is called Petite Caps, preserving the name “Small Caps” for the larger variant.

Tabular Oldstyle

Discretionary Ligatures

Capitals to Petite Caps

Oldstyle numerals are typeset with varying heights, based on the line of running text. They integrate better into mixed uppercase and lowercase letters and small capitals. Tabular figures each have the same width and are preferably used when numerals will be read in columns.

Special ligatures, oftentimes solely aesthetic combinations, which can be applied at the user’s discretion to offer variation.

Capital letters are replaced by Petite Caps.

Proportional Lining The height of lining numerals is usually based on the height of the capital letters and uniform throughout. The figures are positioned on the baseline and align with the capital height of the typeface.

Proportional lining figures have variable spacing between each letter.

Tabular Lining Tabular lining figures have the same height as capital letters. Like proportional lining figures, they are uniform in height, but all have the same width. Tabular lining figures are preferably used when numerals will be read in columns.

Historical Ligatures These are ligatures like long“s” combinations, which are obsolete in today’s writing but can be applied at the user’s discretion.

All Caps All letters of a word or text are set in capital or uppercase letters.

Small Caps Lowercase characters are replaced by glyphs that look like uppercase letters but reduced in height and weight, close to the surrounding lowercase glyphs.

Capitals to Small Caps Capital letters are replaced by small caps, which are glyphs that look like uppercase letters but reduced in height and weight, close to the surrounding lowercase glyphs.

Superscript Characters that are set above the baseline of the typeface, oftentimes to indicate a footnote or a degree, are called superscript. They are usually smaller than the lowercase letters.

Subscript Characters that are set at or below the baseline of the typeface, often seen in chemical equations or the like. Usually subscript is smaller than the lowercase letters.

Ordinals Ordinal numbers indicate a progression and are oftentimes written with numerals followed by letter suffixes.

In English, for example, you would write 1st, 2nd, 3rd, etc., with the suffix acting as an ordinal indicator.

Swashes Swashes are energetic terminals on a glyph. You can also call them tails or entry strokes. Oftentimes they can be found on the Italics of a serif font.

Contextual Swashes Contextual Swashes are swashes added to letters based on the characters around them.

A number, which is usually smaller than the lowercase letters of a typeface and meant to be used above the slash in a fraction glyph.

Denominator A number which is usually smaller than the lowercase letters of a typeface and meant to be used below the slash in a fraction glyph.

Ornaments Decorative symbols, which are sometimes included in a typeface character set and match its temper and style.

All Alternates

Arrows

Presents all alternate forms of the chosen character in a list.

Symbols showing direction, which are included in a typeface character set to match with its temper.

Contextual Alternates Applies a second substitution feature based on a match of a character pattern within a context of surrounding patterns.

Fractions A single mathematical glyph, which combines two or more numbers separated by a slash.

Alternative Fractions An alternative single mathematical glyph, which combines two or more numbers separated by a slash.

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Stylistic Alternates This OpenType feature offers various alternatives to different letters and letter combinations, giving the user more options. Some change only the appearance of a single character, others the look of a whole word or phrase.

Stylistic Sets Stylistic Sets group different sets of Stylistic Alternates together based on appearance, so that choosing between several Stylistic Alternate options becomes simpler for the user.

Historical Forms Obsolete forms of characters, which can be applied at the user’s discretion.

Slashed Zero The slashed zero is an alternative to the number “0” (zero), with a slash through it. The glyph is often used to differentiate the number "zero" ("0") from the capital letter “O.” Justification Alternates Used mainly in cursive languages like Arabic, where the justification is usually achieved not by extending the space between the characters but by extending the width of some characters.

Alternate Annotation Provides special characters like circled digits, inverse letters etc.

Index OpenType Features

Characters with special forms created for Display use, which are meant to be used in large sizes.

Numerator

Localized Forms Offers a range of distinct forms of one character appropriately adapting different script languages and their particularities.

Unicase Lowercase and uppercase letters are replaced with a set of single case glyphs like for example in the Arabic, Hebrew and Georgian alphabets. These are unicase alphabets.

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Titling Alternates

Mark Positioning

Font Variations

Fine positioning of a mark glyph like “?” to its preceding character.

Incorporates multiple font faces within a font family into a single font file. A variable font allows variation along a set design axis, changing only fixed parameters, such as weight and width.

Initial Form The Initial Form is a special form of a letter occurring at the beginning of a word.

This can be seen in Arabic script a lot.

Medial Form The Medial Form is a special form of a letter that only occurs between certain letters within a word. This can often be seen in Arabic script.

Terminal Form The Terminal Form is a special form of a letter occurring at the end of a word. This can often be seen in Arabic script.

Isolated Form The Isolated Form is the special form a letter takes, when it occurs on its own, outside of the word. This can often be seen in Arabic script.

Randomize Creates a randomness in the composition while using, for example, script typefaces, making them seem more handwritten.

Optical size Offers two or more versions of a typeface designed for use at different sizes. They are intended for viewing at a particular size and often they are named accordingly, like “Small text,” “Body text,” “Display.”

Microsoft Corporation, OpenType Layout tag registry, Registered features—definitions and implementations, www.microsoft. com/typography/otspec/features_ ae.htm, (l.o. January 10th, 2018) Friedrich Forssman, Ralf de Jong, Detailtypografie, Verlag Hermann Schmidt, fifth edition (June 15th, 2004)

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Index OpenType Features

Essays & Tutorials F

Essays & Tutorials

Yearbook of Type III

A Brief Overview of Developments in Digital Type Design Ferdinand P. Ulrich

Tools and technology have always had a strong influence on new type designs. The second half of the 20th century is particularly determined by linear and concurrent developments in an environment of constantly changing and transitioning technologies that were used to design and produce type—with manufacturers rising and disappearing as well as new tools eclipsing in and fading out again.

In a small pamphlet issued by the D. Stempel type foundry in 1953, Die künstlerische Drucktype (the artistic printing type), the author Albert Windisch raises the question: “How does a typeface come into being?” He describes a long process from early design sketches to cast metal sorts (so-called foundry type) with many obstacles to overcome: “In the oldest method matrices are produced from the embossing of a steel punch, that carries the face of the type, into a small metal block. The making of such punches is the job of the punchcutter. […]

At first the drawings [of a type designer] are photographed to match the size that is to be cut precisely mirror image on four to six centimeter long and square punches.” This was followed by several steps of tedious adjusting, until “the matrices were final in appearance, so that they could be inserted in the casting machine and used to cast type.” 1 While this process was still true for the time of Stempel’s publication, it changed entirely with the rise of phototype technology about a decade later. Heavy type cases were abandoned and negative filmstrips replaced brass matrices. With the introduction of Dr. Rudolf Hell’s typesetting machine, the Digiset 50T1 in 1965 (considered a so-called ‘third-generation phototypesetter’), letterforms were beamed by spots of light through a cathode ray tube (CRT) in the composing process. Thus, in German this technology is known as Lichtsatz (Licht means light, noun,—ironically the inventor’s name Hell also means light, the adjective).

Although letters were still exposed photographically at the end of this composing process, the ‘matrices’ of the fonts had been replaced by a numerical description and letters were decomposed to single square dots (the term ‘bitmap’ is probably appropriate). The font data itself was stored on the machine and not on a separate device: Letterforms had completely lost their physical representation and were essentially ‘dematerialized.’ This process was known as ‘digital photocomposition.’ 2 Type from other manufacturers could not be used on the Digiset, therefore Hell established their own exclusive design program. In 1976 the first four commercially available digital typefaces were Marconi and Edison by Hermann Zapf (1918–2015) as well as Demos and Praxis by Gerard Unger (*1942), recent recipient of the 2017 TDC Medal.

Designing type for the Digiset was a meticulous process; large master drawings had to be applied on a 100 × 200 unit grid (with coordinates) by hand for each glyph, before these positions could by transferred to the machine by a technician (the new punchcutter). While Unger drew every pixel by hand, black on white, it is known that Zapf used a grid of black squares and filled the ‘negative space’ with white-out. Each typeface contained four weights in the first release with about 100 glyphs each—“no joy for a type designer” Zapf later recalled. 3 It was his fellow type designer (and wife) Gudrun Zapfvon Hesse who carried out a fair share of the work.4 Unger remembered, designing Demos reflected the aim to match his own “desire for aesthetic as well as perceptual quality with the necessary restrictions of technology.” 5 For one thing, the Digiset was not portable, but its greatest drawback was perhaps its limitation in reproducible sizes: it was low at first (16 point) and improved rather slowly.

digitization’ using a digitizing tablet and a sensor to trace marks on analog drawings of letterforms, transforming them into digital vector outlines. The process of developing digital type for the production of phototype matrices cannot be underestimated, as it led to the consideration of ink-traps, spikes, and other features, in letterforms. Ikarus was presented at the 1975 ATypI conference in Warsaw.

By the early 1980s several other type design systems had been developed, partly with different approaches: e. g. Donald Knuth’s Metafont described letterforms by defining parameters for digital strokes in different widths, while the Xerox Alto Font Design System and the Camex Letter Input Processor followed the concept of digitizing an outline.

These and other systems were demonstrated at design conferences, most notably at the 1983 ATypI working seminar at Stanford.10 Around the same time John Warnock (*1940) and Charles Geschke (*1939) developed the page description language called PostScript that could also be used to describe vectorbased fonts. It received wide-spread recognition in 1985 when it was implemented in the Apple LaserWriter. While fonts were displayed as bitmaps on screens, the outline information was only present in the printer. In an environment of stand-alone solutions that could not be connected very easily, PostScript served as the language between all devices—it was essentially device-independent.

Digital Type Design

The solution that made scaling type without loss of resolution possible lay in vector formats. The earliest vector-based type designs were developed by Allen V. Hershey, funded by the US Navel Weapons Laboratory and documented in his technical report Calligraphy for Computers in 1967.6 So-called ‘Bézier’ curves were probably first discovered as an algorithm for calculations of streamline shapes by the engineers Paul de Casteljau (*1930) in 1959, while working at Citroën, and Pierre Bézier (1910–1999) in 1962, who then worked at Renault.

Beginning in 1972, Peter Karow (*1940) developed a type design system called Ikarus at the Hamburg-based firm URW. The origin of this concept can be traced back to the company Aristo and their “Coordinatograph with numerical continuous path control,” 7 a device introduced in 1959, that was used to plot and cut complex shapes on ‘Rubylith’ masking film (a trademark produced by the Ulano Corporation), particularly splines for shipbuilding.8 By 1972 the entrepreneur Walter Brendel developed the idea to use Aristo’s flatbed plotter to automatically cut master patterns for quick and precise reproductions of letterforms in phototype technology, for which he consulted the engineer Karow at URW. Karow famously compared, what seemed sufficient for the streamlined outer skin of ships would be just fine for letters.9 Inspired by the interpolation theory, he developed a working process at URW known as ‘hand-

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Lowercase letter ‘a’ of Gerard Unger’s typeface Demos, decomposed of several hundred bitmaps, to be used for typesetting on the Hell Digiset, a CRT composing machine. (Source: Visible Language, vol. 13, no. 2, Cleveland / OH 1979, p. 137, with kind permission from the collection of Gerard Unger, Bussum)

Essays & Tutorials

Metal sort in the making: Once the punchcutter has engraved the mirror image of a letter in steel, this so-called punch is used to make an imprint in a copper block. The block serves as a matrix that is inserted into a hand mould to cast metal sorts, made from lead. (Albert Windisch, Die künstlerische Drucktype, 1953, p. 6)

A Talk with Laurence Penney about Variable Fonts from a Font Engineer’s Point of View Clara Weinreich

Please tell us a bit about yourself and your work.

I’ve been a typography nut (as well as a cartography and cataloging nut) since my teens, and I love writing programs and making databases that explore the digital potential of those obsessions. During my computer science degree I sketched out a system to create fonts using typographic parameters— that experience led to my first job in font engineering, and later consultancy for font companies. I was a founder member of the MyFonts.com team and helped to build the company into the leading retail font space.

The variable font news at the ATypI con­ference in September 2016 was really inspiri­ng for me. It brought to mind the atmosphere of the early 1990s when several companies were competing with similar ideas for the future of typography. Unfortunately, the web came along and everybody got distracted for a while.

In October 2016 I launched Axis-Praxis, a website for designers to try out variable fonts in a simple typesetting interface, and for font makers to test and show off their own variable fonts. Since then I’ve been spreading the word about variable fonts in talks and workshops for font makers and web designers, and consulting for font makers.

What fascinates you about variable fonts?

Many things!

1. They reveal what’s been implicit in type design ever since there were type families.

We’ve always been able to imagine a font somewhere between Regular and Bold, a font between Condensed and Extra Condensed. variable fonts turn imaginary fonts into real ones, so that font users can conjure up the exact weights and widths they need.

2. We’re not limited to weight and width.

We can vary anything about the letter shapes that the typeface designer conceives as being

smoothly adjustable: optical size, slant angle, x-height, serif length, descender height.

3. The idea works just as well on nonalphabetic shapes: Icons often have stroke width, which can be varied along a weight axis.

For emoji icons, we can imagine custom variation axes for the shapes of eyes, ears, mouths and hairstyles, or for custom adjustments of many other symbols.

4. We can animate! Imagine that clicking the Bold button animates the transition between Regular and Bold, subtly informing the user of the many possibilities between them. For icons and emoji, variable fonts are probably the most efficient way to get them moving.

5. In a word, efficiency. A single variable font isn’t much larger than a single regular font, yet contains within it the potential for many thousands of fonts. Consequently the web, which once suppressed enthusiasm for these fonts, is now their biggest fan.

6. The technological history is absolutely fascinating. Modern variable fonts are an almost exact revival of an early 1990s Apple technology, TrueType GX Variations. Apple had the specification ready, proved it worked on devices considerably less powerful than an Apple Watch, and is cooperating with Adobe, Microsoft and Google on the revival.

7. It’s interesting how the ideas brought to the fore by variable fonts have always been in typeface designers’ minds and in their daily practice. Adobe introduced Multiple Master technology in 1991, and since then, even though the technology died away for end users, font editors have offered interpolation between design masters.

8. This time it’ll be the web that leads the way in typography, not desktop apps. UX designers and front-end developers are typography’s new vanguard. The browsers are ready or almost ready, the CSS to control them works

What has to happen or rather, what innovations are still needed to make variable fonts usable on all devices?

First, I’ll take the question to mean variable fonts in websites. At the time of writing, variable fonts work great in Safari on the latest macOS (v10.13) and iOS (v11) devices. Support in Windows is actually working, and Microsoft Edge support will be with us very soon. But the browser that runs on virtually all devices is Google Chrome. The great news is that Chrome version 62, released October 2017, includes the FreeType font rendering library, which Google and others updated for variable font support. This means that even though your old Windows 7 computer or Android phone doesn’t support variable fonts natively, Chrome takes over and everything’s fine.

To sum up the browser situation: by the end of the year all the big ones (possibly excluding Firefox) will support variable fonts. An important caveat to all this is that the web designer needs to speak native CSS—support isn’t yet built into common website management tools.

Next we should mention the Adobe Creative Cloud apps. In October 2017 Adobe updated Photoshop and Illustrator to support variable fonts—InDesign is left out of the fun, for now.

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Essays & Tutorials

What technological aspects make a font variable and useable today?

Compared with a regular font, a variable font requires a couple of extra data tables. The first is “fvar” (font variations) that sets up the abstract design space in which the font’s glyphs change shape. A design space is made up of a number of “variation axes,” each of which has a minimum, a default and a maximum setting.

Every variable font has at least one variation axis; in theory a font can have thousands of axes. The second required table is “gvar” (glyph variations) where it is defined just how a glyph’s control points shift around as axis settings change. By choosing positions on each axis, the font adjusts every glyph, causing a new virtual instance of the font to be created: not only the standard styles of Regular, Bold Extended, Light Italic … but anything in between.

To help users and apps understand what’s in these versatile fonts, “named instances” are added to the font. These are tiny records, each only a few bytes in size, that define a style (e.g.

“Extra Bold”) within a variable font. A named instance record is a set of predefined axis positions, along with a name to present to the font user. A variable font can thus present itself to users as a manageable set of fonts, like those in a traditional font family. It’s expected that simple apps will let users access only the named instances.

We create variable fonts in various ways. The “big three” font editors—Glyphs, RoboFont (with the Batch extension) and FontLab—can all export variable fonts. Font hackers tend to use the fontTools / fontmake utility, or else they write their own tools to generate the variable data.

Variable Fonts Talk

well, the front-end developers are eager to play, the bandwidth obsessives will be seduced by the small size. Desktop will play catch-up.

Imprint G

Imprint

Yearbook of Type III

Yearbook of Type III Imprint Published by Slanted Publishers, www.slanted.de Creative Direction Lars Harmsen Art Direction Julia Kahl Graphic Design and Managing Editor Clara Weinreich Graphic Design Assistant Nicole Lichtner

© 2018, Slanted Publishers, Karlsruhe, www.slanted.de, as well as the authors ISBN: 978-3-9818296-2-4 With Thanks to Thomas Appelius, Ahmed Badran, Andreas Bechem, Kolja Buscher, Stefan Hattenbach, Boris Kochan, Peter Kunz, Viktor Nübel, Laurence Penney, David Jonathan Ross, Orm-Gerrit Rudolf, Rainer Erich Scheichelbauer, Joachim Schweigert, Sebastian Tiede, Julie Tomlinson, Ferdinand P. Ulrich

With Special Thanks to our Sponsors Glyphs, www.glyphsapp.com Texts Fontdrop, www.fontdrop.viktornuebel.com Ferdinand P. Ulrich, www.ferdinandulrich.com Viktor Nübel, www.fontdrop.viktornuebel.com Laurence Penney, www.axis-praxis.org David Jonathan Ross, www.djr.com Rainer Erich Scheichelbauer, www.glyphsapp.com Stefan Hattenbach, www.macrhino.com Proofreading and Translation Isabella Krüger, Lies Wolf Fonts Berlingske Sans Display, Jonas Hecksher, Playtype, www.playtype.com, p. 52/ 53 Damien, Lukas Schneider, Revolver Type Foundry, www.revolvertype.com, p. 98/ 99 Cover Fonts Fino, p. 120/ 121 Gustan Display, p. 160/ 161 Italian Plate Family, p. 178 / 179 Pilot, p. 258 / 259 Saol Display, p. 300/ 301 Printing Stober GmbH, www.stober.de Book Binding Josef Spinner Großbuchbinderei, www.josef-spinner.de Cover Material Linen: Assuan 5008 rosa Bechem, www.bechemgroup.de Cover Cardboard: Bowston Black laminate, 4 mm James Cropper, www.jamescropper.com Paper Inside: FLY weiß 05, 115 gsm Endpaper: Primatcolor creme, 120 gsm Papier Union, www.papierunion.de