Woolworth — Type Specimen by The Northern Block

A font family of six weights

Light Book Medium

DemiBold Bold ExtraBold

Woolworth

Light Italic Italic Medium Italic

DemiBold Italic Bold Italic ExtraBold Italic

A modern sans serif font inspired by the grotesque designs of the late 19th century. Each letter has been developed with careful attention towards balance and purity of form, creating a clean, functional and optically correct typeface.

ABCDEFG OPQRST These handcrafted details create a warm personality throughout each weight making it ideally suited for a wide range of uses across both print and screen based media. Details include six weights and italics, over 600 characters with alternative lowercase a, e and g. Seven variations of numerals, true small caps with accents, ligatures, manually edited kerning and Opentype features.

abcdefgh opqrstuv

12345678

58PT

GHIJKLMN TUVWXYZ

hijklmn vwxyz

890.,:;-_‘’

ABCDEFGH OPQRSTUV

abcdefghijk opqrstuvwx

123456789

Distinguishing Features

cap height x height

baseline descender height

Ago distinguished loop

BBEEFF Woolworth / Akzidenz Grotesk

ofa vertical stress

angled spurs

FHHPP

6 carefully balanced weights

Agfoa Agfoa Agfoa Agfoa Agfoa Agfoa

LIGHT

BOOK

MEDIUM

DEMIBOLD

BOLD

EXTRABOLD

EXTRABOLD ITALIC

Agfoa

BOLD ITALIC

DEMIBOLD ITALIC

MEDIUM ITALIC

ITALIC

LIGHT ITALIC

Agfoa Agfoa Agfoa Agfoa Agfoa

CHARACTERISTIC LETTERFORMS / DEMIBOLD / 62PT

EGRagft,01234&€?! DISPLAY OF ALL WEIGHTS; 18PT

BOOK 10PT/12PT

The Bauer Type Foundry was a prominent German manufacturer of metal type. It was founded in 1837 byJohann Christian Bauer in Frankfurt am Main, Germany. The company published typefaces by several eminent designers, including Lucian Bernhard, Konrad Friedrich Bauer, Walter Braun, Heinrich Jost, Imre Reiner, Friedrich Hermann Ernst Schneidler, Emil Rudolf Weiß, and Heinrich Wienyck.

Das Vermittlungsangebot der Ausstellung öffnet Dialog über Typografie Führungen, Austrächen und einem Podium. Es bietet kreative Auderzungen in Workshops für Schulen oder für Familien und macht Lust auf Gestaltungsexperimente. Die Exponate stammen alle aus den Sammbeständen des Museums, denn der Gestalter hat dem Museum einen grossen Teil seines Archivs. Typografie Führungen, Austrächen und einem Podium. Es bietet kreative Auderzungen in Workshops für Schulen oder für Familien und macht Lust auf Gestaltungsexperimente.

BOOK 12PT/9.6PT

In 1972 the headquarters in Frankfurt closed, and the rights to the typefaces were transferred to the former subsidiary company Fundición Tipográfica Neufville in Barcelona, which now markets digital versions of many of the typefaces.

BOOK 14PT/16.8PT

By the end of the century, after a misjudgement that automation would be in typefounding, rather than typesetting, Bauer Type Foundry would have collapsed if not for the commencement of a new type design program under its new owner George Hartmann.

Das Vermittlungsangebot der Ausstellung öffnet Dialog über Typografie Führungen, Austrächen und einem Podium. Es bietet kreative Auderz in Workshops für Schulen oder für Familien und macht Lust.

CLEAN Deutsche Bank Manual Equally distributed weights

MontrĂŠal 1976 F RAN K FU RT

Over 600 glyphs

fractions

đß

additional languages

st 1918 oldstyle figures

ligatures

GLYPH CHART 23PT

128PT

7 8 9 4 5 6 1 2 3

grotesque Woolworth DemiBold â&#x20AC;&#x201D; 78pt. Size 56pt. Leading -40 Tracking sans serif

Deutschland—

Montréal—Paris— Feyenoord—Tokyo— Sydney—New York— São Paulo—London— Dublin—Amsterdam— Los Angeles—Zürich— Stockholm—Brussels

DEMIBOLD 28PT/33.6PT

Commercial — Lithography

BOOK 10PT/12.5PT

After about 1825 many firms that utilized the lithography were established for producing a variety of commercial work and for distributing popular topical, historical, and religious subjects to a wide audience. The best known of these publishers was Currier & Ives of New York City. The firm’s popular lithographs were printed in black ink and were often hand coloured by assembly lines of women, each of whom applied a tint of watercolour. Some good early work was done in colour lithography by Godefroy Englemann in 1837 and Thomas S. Boys in 1839, the method did not come into wide commercial use until 1860. It then became the most popular method of colour reproduction for the rest of the 1800’s. These commercial prints were made by preparing a separate stone by hand methods for each colour (tint) to be used and printing one colour in register over another. At times, as many as 30 stones were used for a single subject. The steam-driven lithographic press was perfected by Hughes & Kimber (England) in about 1865. It was introduced to the United States in 1866. These presses utilized automatic rollers to moisten and ink the stone, while the paper was pressed into contact by a revolving cylinder. In the offset process—by far the most popular method in use—the inked image is first printed on a rubber cylinder, which then offsets, or transfers, the image to paper or other materials. Because of the flexibility of rubber cylinders, offset lithography can be used to print on tin, cloth, leather, and rough or smooth paper. In the past, offset printing was used mainly to produce printed matter—calendars, greeting cards, booklets, books, magazines, newspapers, maps, posters, billboards, stamps, labels on cans, packaging, and other advertising matter in large quantities. By the turn of the 21st century, however, an increasing number of artists, including Eugene Feldman, Hanne Darboven, Joseph Beuys, Gerhard Richter, Dieter Roth, and Kara Walker, had used the offset process to non-commercial ends. Lithographic printing on a modern rotary offset press can produce high-quality, finely detailed impressions at high speed. It can reproduce any material that can be photographed in the platemaking process. As a result, it accounts for more than 40 percent of all printing, packaging, and publishing carried out; that percentage is more than twice the percentage produced by any printing process.

HEADING SET IN DEMIBOLD 28PT/33.6PT

COPY SET IN BOOK 10PT/12.5PT

MUSEUM FÜR GESTALTUNG frankfurt

Besuch

Ausstellungen

Kalender-Kollek

Führungen Wolfgang Weingart gilt als „enfant terrible“ der modernen Schweizer Typografie.

26—27.9.14 Das Vermittlungsangebot der Ausstellung öffnet den Dialog über Typografie Führungen, Austrächen und einem Podium. Es bietet kreative Auderzungen in Workshops für Schulen oder für Familien und macht Lust auf Gestaltungsexperimente. Die Exponate stammen alle aus den Sammbeständen des Museums, denn der Gestalter hat dem Museum einen grossen Teil seines Archivs geschenkt. Wolfgang Weingart gilt als „enfant terrible“ der modernen

Schweizer Typografie. Schon früh bric Regeln: Er befreit die Buchstaben aus unterstreicht oder verformt sie und or montiert er Rasterfilme zu Collagen un Sampling des postmodernen New Wav

Es bietet kreative Auderzungen in Wor Familien und macht Lust auf Gestaltun

ktion

Programme

Über

iPad

cht er mit ihren etablierten den Fesseln des sperrt, rdnet das Satzbild neu. Später nd nimmt damit das digitale ve vorweg.

rkshops für Schulen oder für ngsexperimente.

MF GF

MUSEUM FÜR GESTALTUNG frankfurt

Führungen 26—27.9.14

Das Vermittlungsangebot der Ausstellung öffnet den Dialog über Typografie Führungen, Austrächen und einem Podium. Es bietet kreative Auderzungen in Workshops für Schulen oder für Familien und macht Lust auf Gestaltungsexperimente. Die Exponate stammen alle aus den Sammbeständen des Museums, denn der Gestalter hat dem Museum einen grossen Teil seines Archivs geschenkt. Wolfgang Weingart gilt als „enfant terrible“ der modernen Schweizer Typografie. Schon früh bricht er mit ihren etablierten Regeln: Er befreit die Buchstaben aus den Fesseln des Gestaltungsrasters, sperrt, unterstreicht oder verformt sie und ordnet das Satzbild neu. Später montiert er Rasterfilme zu Collagen und nimmt damit das digitale Sampling des postmodernen New Wave vorweg.

Conference Schedule Day one 12.5 Morning 10:00—13:00

10:00

Sebastian Gütten Introduction

10:05

Jan Van Woorn Address

10:45

Park Lee Jung On Creativity

Purposes in identity design

™ 80PT C24 R100

M24 G100

Y24 B100

K100

™

37PT

23PT

11PT

™ 80PT C26 R127

M20 G226

Y20 B200

BOLD 70PT

™

BOLD 45PT

™

BOLD 22PT

www.thenorthernblock.co.uk info@thenorthernblock.co.uk The Northern Block retains ownership of the design of the font and the intellectual property rights.