A font family of six weights
Designed by The Northern Block Type Foundry
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.
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.
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
½
fractions
đß
additional languages
st 1918 oldstyle figures
ligatures
GLYPH CHART 23PT
GLYPH CHART 23PT
0
128PT
7 8 9 4 5 6 1 2 3
grotesque Woolworth DemiBold — 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.
Menu
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.
+
Menu
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
K0
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.