Zeitung by Underware

Zeitung micro & macro type

Zeitung comes with 8 weights. Or unlimited!

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These 8 weights, from Thin to Black, offer many different voices

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1 2 3 4 5 6 7 8

THIN

EXTRALIGHT

LIGHT

REGULAR

SEMIBOLD

BOLD

EXTRABOLD

BLACK

Zeitung weights Ztng Ztng Ztng Ztng Ztng Ztng Ztng Ztng

ZTNG ZTNG ZTNG ZTNG ZTNG ZTNG ZTNG ZTNG

Ztng Ztng Ztng Ztng Ztng Ztng Ztng Ztng

ZTNG Thin ZTNG Extralight ZTNG Light ZTNG Regular ZTNG Semibold ZTNG Bold ZTNG Extrabold ZTNG Black

Standard styles | 8 weights | Roman & Italic | Small Caps zeitung

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Zeitung is a sans serif family which also works well in small sizes on screen. First of all: Zeitung is a sans serif made according to contemporary standards: 8 weights, romans and italics, all equipped with small caps. Lots of OpenType features, like uppercase punctuation or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Did we mention the extensive Latin Plus language support already? Now we did. Zeitungâ&#x20AC;&#x2122;s typographic palette focuses on utility and legibility, but in the farthest corners youâ&#x20AC;&#x2122;ll discover a rich array of flavours: punchy black weights, fashionable thin styles, carefully hand crafted true italics, distinct small caps. But Zeitung has more to offer. Its optical sizes offer the best style for each size of your text. Next to that: the lightest weights also function as grades, because they share the same metrics. This can be very handy for selecting the optimal weight for your specific situation, especially on screens or when type is printed by a newspaper press.

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world news

Wife shows her husband what heâ&#x20AC;&#x2122;s been talking about in his sleep for the last 13 years zeitung thin

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nonsense

5 reasons doughnut walls are this yearâ&#x20AC;&#x2122;s best wedding trend zeitung black italic small caps

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lifestyle

The Best Alarm Clock Ever Brews Your Morning Coffee zeitung semibold italic

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technology

Watch Robot Builder Construct House In Two Days zeitung bold

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entertainment

Road Rage Driver & Man with Huge Head Mask Square off in Bizarre Fight zeitung black italic

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mind-blowing

100 Images That Will Restore Your Faith In Humanity zeitung regular small caps

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e Makeup New Press Question e Source Tease ock Voice Wire ellow Zeitung zeitung

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social media

If youâ&#x20AC;&#x2122;re worried about fake news in your timeline, just read a newspaper. zeitung extralight

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Published in Den Haag Helsinki & Amsterdam Distribution +31-(0)70 42 78 115 Back volumes: www.underware.nl Customer Services: info@underware.nl

Zeitung

€2,50 Number 28034

Thursday 17 November 2016

DELIVERING A GOOD TYPE OF NEWS SINCE 1999

‘Good news is everywhere’

Zzz

8 710371 005008

3 w r e d e ff e o s l a k i c s e s p S s f a or €15 ,– Zzz

Zzz

▶Grades for better control ▶Optical sizes ▶ Relax, you can Flex

Designers say that users should demand more from their typefaces.

zeitung

HELSINKI ➽ Good news! Underware

large text in print to small type on

released a new font: Zeitung. And

screens. The most demanding users,

this is good news for all kinds of

the pioneers, the ultras, the geeks,

people. Type lovers will have their

and all those others who don’t take

day made when they look at that

things for granted, will be happy to

lowercase e in the Black weight, and

meet and greet Zeitung Flex™. With

will be happy there is a new style to

its almost endless amount of

bring their message across. Design-

weights, Zeitung Flex™ takes you

ers will appreciate the versatility of

anywhere between Thin and Black.

this extensive sans serif font family

Either in case only one, but exactly

and its thorough execution, and all

that specific weight is needed, or

it’s features. If 8 weights and 5

when all weights should play a

figure styles are not enough, then

whole new game together. This

maybe optical sizes or grades will

game can be played not just some-

meet the demands. Zeitung will help

where in the future, but already

to bring your message across in

today, on everybody’s computer.

many different circumstances, from

And that’s good news for all of us!

www.underware.nl

Web typography sounds nice, but looks awful

How to recognise poor web typogra-

How about impressing your friends

phy? Why is it that micro-typogra-

in David Copperfield-style? Observe

phy on the Internet lags centuries

the way they read something on

behind? What is the connection be-

their phone or PC. It’s highly likely

tween text lines and Laurel and

that they lean forward to the screen,

Hardy? Why is web typography ac-

with furrowed brows, visibly trying

tually a misleading designation? This

to read what’s on there. Make sure

essay by typeface designer Bas

you can’t see the screen. Close your

Jacobs tells in a nutshell what de-

eyes and shake your hair, wave your

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Zeitung Flex

Zeitung Flex™

Zeitung Flex™ allows you to select any weight in between the skinny Thin and roasty Black style. Zeitung Flex™ can be applied on the web, but also in desktop environments, and comes with some smart tools to help you out.

Smoothly blending from thin to black, differences in weight of adjectent letters are hardly noticable. It’s like stealing one cookie from a full biscuit tin, nobody will notice if there is one cookie less. Only when the tin is half empty…

After settling on the point size of the letters, arranging type is what it all comes down to. Arranging type cannot be over-estimated. How many letters on one line? Readability is not a matter of fancy, eye-catching headlines. Because headlines are largely responsible for the identity, they usually receive much consideration. Still, the typeface of the body copy – microtypography – is crucial to whether a text gets read. A consistent rhythm is one of the most important aspects of a typeface. The typographer has to create a regular, balanced look. But even the most balanced fonts become unruly when nobody pays attention to microtypography. Two highly important elements in microtypography are breaks, and alignment. These two go hand in hand like Laurel and Hardy, whom we’ll come back to later. Breaks and alignment are part of the layout and spacing of text, which used to be called ‘type setting’. Type setting used to be a profession that took years of schooling. On the web it’s hardly a point of interest, with the excuse that text is a dynamic thing and therefore impossible to keep complete control over. So after five centuries of perfecting and enhancing typography, we seem to be right back where we started. For readers, visiting websites is hard work. Tiny letters, extremely long lines, typefaces that are unreadable on small screens with low resolution: considering the seemingly endless digital possibilities one would expect elegant and subtle typography, but more often than not one finds the opposite. The typographic reality on the web is in a sorry state. Usually, books are more reader-friendly than newspapers or magazines. Because most novels are set in one type of layout, their pages appear more orderly, and the absence of distraction makes absorbing their content easier. But there are a few other significant differences between books and papers (or magazines). One: line length. Count the number of characters on a newspaper line, and you probably get to around 30. In magazines, lines will be about 40 characters long. The line length in a novel, on the other hand, is twice as long; lines in books are usually 60 to 70 characters long. Most research into readability doesn’t give any new information, but one conclusion on line length always pops up: a line length of between 55 and 70 characters seems to enable the average reader read fast and with ease. With more characters per line, the concentration span starts wavering towards the end of the line. With longer lines, it’s also more complicated to find the beginning of the next line; the reader’s eye easily jumps to lines above or below. Scanning the beginnings of up to five lines, it’s trying to reattach to the right line to continue reading the text. This interrupts the reading rhythm and takes time and energy. To establish optimum readability, a text-line needs 55-70 characters. If counting characters is too much trouble for you, make sure your lines are about ten to twelve words long. There is an abundance of examples of crappy web typography. Just check out the website of your local paper. Fat chance it won’t live up to the standard set by Aldus Manutius – who printed his books 500 years ago. Typographically they are a sight for sore eyes. A local paper crams its lines with words, usually in a graphic design suggesting the programmer simply put his database online. The sky may be the technical limit in this database environment, but comfortable interaction is nowhere to be found, let alone a pleasant reading experience. And don’t even think about visiting this website on your phone. Another striking example is Wikipedia: one of the 50 busiest websites in the world zeitung

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In Boston in 1690, Benjamin Harris published Publick Occurrences Both Forreign and Domestick. T newspaper in the American colonies even though only one edition was published before the paper government. In 1704, the governor allowed The Boston News-Letter to be published and it becam published newspaper in the colonies. Soon after, weekly papers began publishing in New York and newspapers followed the British format and were usually four pages long. They mostly carried new depended on the editor’s interests. In 1783, the Pennsylvania Evening Post became the first Ameri published the Halifax Gazette, which claims to be “Canada’s first newspaper.” However, its officia is a government publication for legal notices and proclamations rather than a proper newspaper; I was first printed 21 June 1764 and remains the oldest continuously published newspaper in North Chronicle-Telegraph. It is currently published as an English-language weekly from its offices at 10 In 1808, the Gazeta do Rio de Janeiro had his first edition, printed in devices brought from Englan for the government of the United Kingdom of Portugal, Brazil and the Algarves since it was produ of the Portuguese crown. In 1821, after the ending of private newspaper circulation ban, appears t publication, Diário do Rio de Janeirothough there it was already the Correio Braziliense, published the same time of the Gazeta, but from London and with a strong political and critical ideas, aimin faults. The first newspaper in Peru was El Peruano, established in October 1825 and still published changes. By the early 19th century, many cities in Europe, as well as North and South America, pu publications though not all of them developed in the same way; content was vastly shaped by reg Advances in printing technology related to the Industrial Revolution enabled newspapers to becom circulated means of communication. In 1814, The Times (London) acquired a printing press capabl per hour. Soon, it was adapted to print on both sides of a page at once. This innovation made new available to a larger part of the population. In 1830, the first penny press newspaper came to the Boston Transcript. Penny press papers cost about one sixth the price of other newspapers and app In France, Émile de Girardin started “La Presse” in 1836, introducing cheap, advertising-supported August Zang, an Austrian who knew Girardin in Paris, returned to Vienna to introduce the same m The first newspaper in India was circulated in 1780 under the editorship of James Augustus Hickey Gazette , it mainly printed the latest gossip on the British expatriate population in India. On the s Udant Martand (The Rising Sun), the first Hindi-language newspaper published in India, started fr published every Tuesday by Pt. Jugal Kishore Shukla. Maulawi Muhammad Baqir in 1836 found an zeitung www.underware.nl page 19 first Urdu-language newspaper the Delhi Urdu Akhbar. India’s press in the 1840s was a motley col

In Boston in 1690, Benjamin Harris published Publick Occurrences Both Forreign and Domestick. T newspaper in the American colonies even though only one edition was published before the pape government. In 1704, the governor allowed The Boston News-Letter to be published and it becam published newspaper in the colonies. Soon after, weekly papers began publishing in New York an newspapers followed the British format and were usually four pages long. They mostly carried ne depended on the editor’s interests. In 1783, the Pennsylvania Evening Post became the first Amer published the Halifax Gazette, which claims to be “Canada’s first newspaper.” However, its officia is a government publication for legal notices and proclamations rather than a proper newspaper; was first printed 21 June 1764 and remains the oldest continuously published newspaper in North Chronicle-Telegraph. It is currently published as an English-language weekly from its offices at 10 In 1808, the Gazeta do Rio de Janeiro had his first edition, printed in devicews brought from Engla for the government of the United Kingdom of Portugal, Brazil and the Algarves since it was produ of the Portuguese crown. In 1821, after the ending of private newspaper circulation ban, appears t publication, Diário do Rio de Janeirothough there it was already the Correio Braziliense, published the same time of the Gazeta, but from London and with a strong political and critical ideas, aimin faults. The first newspaper in Peru was El Peruano, established in October 1825 and still published changes. By the early 19th century, many cities in Europe, as well as North and South America, pu publications though not all of them developed in the same way; content was vastly shaped by reg Advances in printing technology related to the Industrial Revolution enabled newspapers to beco circulated means of communication. In 1814, The Times (London) acquired a printing press capabl per hour. Soon, it was adapted to print on both sides of a page at once. This innovation made new available to a larger part of the population. In 1830, the first penny press newspaper came to the Boston Transcript. Penny press papers cost about one sixth the price of other newspapers and ap In France, Émile de Girardin started “La Presse” in 1836, introducing cheap, advertising-supported August Zang, an Austrian who knew Girardin in Paris, returned to Vienna to introduce the same m The first newspaper in India was circulated in 1780 under the editorship of James Augustus Hicke Gazette , it mainly printed the latest gossip on the British expatriate population in India. On the s Udant Martand (The Rising Sun), the first Hindi-language newspaper published in India, started f published every Tuesday by Pt. Jugal Kishore Shukla. Maulawi Muhammad Baqir in 1836 found an zeitung www.underware.nl page 20 first Urdu-language newspaper the Delhi Urdu Akhbar. India’s press in the 1840s was a motley co

and applying it carefully. Typefaces for long passages of digital text have to answer to largely the same demands as typefaces for books. A typeface must have low contrast to be legible. Regular spacing is important, and a letter that has a wide appearance rather than a narrow one. Also, we’re accustomed to a decent x-height, so please honour that convention. Once your typeface answers to these demands, you’re on your way. So far everything is familiar, these conditions have been applied to letters for long stretches of text for centuries. Typefaces that were appreciated four centuries ago still belong to the most legible ones. It follows that typefaces based on centuries old designs function quite well as web fonts in the 21st century. Brand new typefaces don’t automatically function any better on the screen than fonts based on very old examples. Yet some characteristics are of specific importance for web fonts. Because websites occasionally get read on low-resolution screens, fussy details must be left out. Suitable fonts have open shapes and large openings in letters like a lowercase ‘c’. If superfluous details must be left out, the font probably results from a strong pen stroke, as opposed to a flattened, narrow pen stroke, and will have sturdy connections between two strokes, for instance in a lower-case ‘n’. With all this in mind, type based on fine lines, like Bodoni or Helvetica, are less suitable for screens than type with stronger strokes, like Garamond or Gill Sans. The greyscale of a text is determined by the weight of the typeface. Comparisons of the Regular (the standard weight) of several typefaces show large differences. A text set in one typeface can look quite bold, whereas the Regular of another typeface can look light. A text set in very light type means uncomfortable reading. A reading type needs body in its general appearance, a degree of boldness. The design is not the only factor deciding on how bold letters appear on screen; other factors are the operating system or the browser, local settings on the desktop computer, and the hinting provided with the typeface. When deciding on a typeface for body copy, all of these features need to be tested in different digital surroundings and browsers because they have a huge influence on readability. Looking at a picture on the Internet (jpeg), a PDF or a printed example is not enough, it’s essential that letters for body copy get tested in their final surrounding(s) before making a definitive choice. This means building several versions of a website, each in a different typeface. Study these versions carefully in different browsers and operating systems before deciding on which font works best. One pixel is as important for sophisticated typography as the look of an entire webpage. Web typography is relatively new. During its early days, designers often used a sans serif typeface for body copy. Sans serifs contain less zeitung www.underware.nl page 21 detail than serifs, and for this reason they are more legible in low resolution. Nowadays, the quality of

and applying it carefully. Typefaces for long passages of digital text have to answer to largely the same demands as typefaces for books. A typeface must have low contrast to be legible. Regular spacing is important, and a letter that has a wide appearance rather than a narrow one. Also, we’re accustomed to a decent x-height, so please honour that convention. Once your typeface answers to these demands, you’re on your way. So far everything is familiar, these conditions have been applied to letters for long stretches of text for centuries. Typefaces that were appreciated four centuries ago still belong to the most legible ones. It follows that typefaces based on centuries old designs function quite well as web fonts in the 21st century. Brand new typefaces don’t automatically function any better on the screen than fonts based on very old examples. Yet some characteristics are of specific importance for web fonts. Because websites occasionally get read on low-resolution screens, fussy details must be left out. Suitable fonts have open shapes and large openings in letters like a lowercase ‘c’. If superfluous details must be left out, the font probably results from a strong pen stroke, as opposed to a flattened, narrow pen stroke, and will have sturdy connections between two strokes, for instance in a lower-case ‘n’. With all this in mind, type based on fine lines, like Bodoni or Helvetica, are less suitable for screens than type with stronger strokes, like Garamond or Gill Sans. The greyscale of a text is determined by the weight of the typeface. Comparisons of the Regular (the standard weight) of several typefaces show large differences. A text set in one typeface can look quite bold, whereas the Regular of another typeface can look light. A text set in very light type means uncomfortable reading. A reading type needs body in its general appearance, a degree of boldness. The design is not the only factor deciding on how bold letters appear on screen; other factors are the operating system or the browser, local settings on the desktop computer, and the hinting provided with the typeface. When deciding on a typeface for body copy, all of these features need to be tested in different digital surroundings and browsers because they have a huge influence on readability. Looking at a picture on the Internet (jpeg), a PDF or a printed example is not enough, it’s essential that letters for body copy get tested in their final surrounding(s) before making a definitive choice. This means building several versions of a website, each in a different typeface. Study these versions carefully in different browsers and operating systems before deciding on which font works best. One pixel is as important for sophisticated typography as the look of an entire webpage. Web typography is relatively new. During its early days, designers often used a sans serif typeface for body copy. Sans serifs contain less zeitung www.underware.nl page 22 detail than serifs, and for this reason they are more legible in low resolution. Nowadays, the quality of

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zeitung

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Zeitung wanna know more?

SECTIONS PLAGIARISM Standards CREDIT LINE DEADLINE QUICK READ Quick read FREE COPIES COLUMNS MAKE-UP GRAY SPACE Newsstand Home page NEWSSTAND CAPTIONS FEATURES PUBLISHERS Hard News Jump story HARD NEWS REPORTER REGISTERS REPORTERS Newsprint Storyboard NEWSPRINT EDITIONS ROLL-END LOGOTYPES Broadsheet Attribution NEW MEDIA HEADLINE MUG SHOT HEADLINES Circulation Fact checker COPYRIGHT

PUBLISHER Quarterfold LOGOTYPE Proofreader

zeitung

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HEADLINE C Standards Q COLD TYPE S Quick read P REGISTERS M Home page COVERAGE P Jump story PUBLISHER Storyboard REPORTERS Attribution B HOME PAGE Fact checker NEWSPRINT Distribution

Of course, Zeitung offers everything a contemporary sans serif demands. Eight weights, from Thin to Black. Every weight is equipped with italics; small caps; lots of OpenType features, like uppercase punctuation or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Sure, Zeitung knows the score. The extensive Latin Plus language support makes sure you are never at a loss for words. But there is more to Zeitung. page 25

Optical sizes Zeitung works well in small sizes on screen, and has been specifically designed for that purpose. Zeitung Micro makes sure your small text in interfaces and websites can still be read, while the standard family works better in larger text sizes. The Micro family offers a different design for itchy glyphs, has different proportions due to its larger x-height, and has a wider overall spacing than the standard family.

Two families | Standard | Micro zeitung

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Two families | Standard | Micro 30/40 pt zeitung

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Graphic designers or interaction designers always focus on their computer screens when they discuss web-typography. Naturally so: they are aiming for a good reading-experience. Does the body copy need to go one type size up? Does it need tighter leading? Does the sub-heading look better in a different font? They rarely pay attention to reading people’s postures, even though posture is very important to a good reading experience. With a good web design, the reader can relax while reading. Instead of making sure websites are responsive, designers should make sure websites are user-friendly. Just pay attention to the posture of people sitting at their desktop computer in offices, or people reading the news on their cell phones in the morning. If they are bending their heads downward, or holding their phones at a distance of 20 cm to their noses, the screen text is too small. It is possible to judge web typography by judging the reader’s posture. Even without seeing it, it’s quite safe to say web typography doesn’t deliver. Wherever you look: in trams, in the homes of friends, on the street, in offices, in waiting rooms and in the library – most people have to make an effort to read their computer screens. Of course, reading in itself requires an effort, more than say, watching telly. Still, there is much room for improvement. In centuries past, very small Bibles were published, with tiny type setting. Reading a Bible like this is a strenuous exercise for the eyes, even when at a close distance to your face. So the reading-experience could have been better, but it’s the result of logical reasoning: to reach the largest possible audience, these Bibles had to be produced in the cheapest possible way. To this end they kept the text small and tight, thus saving on paper. On the web, such restrictions are unnecessary. A lot of text, or very little: it makes no difference to the expense of the site. There is absolutely no excuse for using eye-damagingly small typesets.

Two families | Standard | Micro 10/15 pt zeitung

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works well in â&#x2013;ś normal sizes

â&#x2014;&#x20AC;

Standard

works better in small sizes

Micro

Optical sizes Some glyphs behave fine in bigger as well as smaller sizes. Others, the more complex glyphs, are troublemakers in small sizes. Those glyphs have been redesigned for the Micro family. The image above shows the regular ampersand on its left, while the ampersand on the right, with its opened up shapes, suits better for very small sizes.

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THIN

EXTRALIGHT

LIGHT

REGULAR

Die Die Die Die

größte größte größte größte

Zeitung Zeitung Zeitung Zeitung

der der der der

Grades All lighter weights share the same metrics. This can be very handy for selecting the optimal weight, especially on screens. The way letters are displayed on screen can vary a lot between different circumstances. Maybe the interface of your next app requires a different grade of the text than your latest website? Zeitung allows you to change the weight of your text without any further consequence for the design. Those who have been there know that during the design process this can be a welcome relief.

Grades | Lightest weights share identical metrics

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1234567890 €$£% LINING FIGURES (DEFAULT)

1234567890 €$£%

Figure styles Zeitung comes with 5 figure styles. Lining & Oldstyle figures (both proportional) and Tabular Lining & Tabular Oldstyle figures. Additionally the Small Caps have their own, proportional, figure style as well. As with all our fonts, all mathematical and monetary signs are included with every figure style.

OLDSTYLE FIGURES

1234567890 €$£% TABULAR LINING FIGURES

1234567890 €$£% TABULAR OLDSTYLE FIGURES

1234567890 €$£% SMALL CAPS FIGURES

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0123456789 €$£ 0123456789 €$£ 0123456789 €$£ 0123456789 €$£ 0123456789 €$£ 0123456789 €$£ 0123456789 €$£ zeitung

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A hidden, but nevertheless handy feature of every figure style is that they share the same metrics across all weights. This allows you to still switch from one weight to another, without any reflow of your chart. Of course all tabular figures share the same width from Thin to Black, but also each non-proportional style shares the same width across all weights.

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zeitung

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☞ There is much more to discover ☞ Arrows ↑ in all ↙ directions → ☞ And some icons to ♥ that text ☞ Don’t forget to ✍ on the blog ☞ Give ★★★★★ in your review ☞ Reactions in the � of course ☞ Manicules in the right weight ☞ or ☛ or another arrow ➽? zeitung

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A B C D E F G H I a b c d e f g h i j J K L M N O P Q R k l m n o p q r s S T U V W X Y Z & t u v w x y z zeitung

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Supported languages All our fonts support over 200 Latin languages. 200? Yep, 219 to be precise. We call that the Underware Latin Plus character set. Those 219 supported languages allow you to reach an estimated 2.103.569.421 speakers worldwide. More info on: www.underware.nl/latin_plus Abenaki Afaan Oromo Afar Afrikaans Albanian Alsatian Amis Anuta Aragonese Aranese Aromanian Arrernte Arvanitic (Latin) Asturian Atayal Aymara Azerbaijani Bashkir (Latin) Basque Belarusian (Latin) Bemba Bikol Bislama Bosnian Breton Cape Verdean Creole Catalan Cebuano Chamorro Chavacano Chichewa Chickasaw Cimbrian Cofán Cornish Corsican Creek

zeitung

Crimean Tatar (Latin) Croatian Czech Danish Dawan Delaware Dholuo Drehu Dutch English Esperanto Estonian Faroese Fijian Filipino Finnish Folkspraak French Frisian Friulian Gagauz (Latin) Galician Ganda Genoese German Gikuyu Gooniyandi Greenlandic (Kalaallisut) Guadeloupean Creole Gwich’in Haitian Creole Hän Hawaiian Hiligaynon Hopi Hotcąk (Latin) Hungarian

Icelandic Ido Igbo Ilocano Indonesian Interglossa Interlingua Irish Istro-Romanian Italian Jamaican Javanese (Latin) Jèrriais Kaingang Kala Lagaw Ya Kapampangan (Latin) Kaqchikel Karakalpak (Latin) Karelian (Latin) Kashubian Kikongo Kinyarwanda Kiribati Kirundi Klingon Kurdish (Latin) Ladin Latin Latino sine Flexione Latvian Lithuanian Lojban Lombard Low Saxon Luxembourgish Maasai Makhuwa

Malay Maltese Manx Māori Marquesan Megleno-Romanian Meriam Mir Mirandese Mohawk Moldovan Montagnais Montenegrin Murrinh-Patha Nagamese Creole Nahuatl Ndebele Neapolitan Ngiyambaa Niuean Noongar Norwegian Novial Occidental Occitan Old Icelandic Old Norse Onĕipŏt Oshiwambo Ossetian (Latin) Palauan Papiamento Piedmontese Polish Portuguese Potawatomi Q’eqchi’ Quechua

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Rarotongan Romanian Romansh Rotokas Sami (Inari Sami) Sami (Lule Sami) Sami (Northern Sami) Sami (Southern Sami) Samoan Sango Saramaccan Sardinian Scottish Gaelic Serbian (Latin) Seri Seychellois Creole Shawnee Shona Sicilian Silesian Slovak Slovenian Slovio (Latin) Somali Sorbian (Lower Sorbian) Sorbian (Upper Sorbian) Sotho (Northern) Sotho (Southern) Spanish Sranan Sundanese (Latin) Swahili Swazi Swedish Tagalog Tahitian Tetum

Tok Pisin Tokelauan Tongan Tshiluba Tsonga Tswana Tumbuka Turkish Turkmen (Latin) Tuvaluan Tzotzil Uzbek (Latin) Venetian Vepsian Volapük Võro Wallisian Walloon Waray-Waray Warlpiri Wayuu Welsh Wik-Mungkan Wiradjuri Wolof Xavante Xhosa Yapese Yindjibarndi Zapotec Zarma Zazaki Zulu Zuni

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All Zeitung styles

Contact

Zeitung Pro family Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung

Pro-Thin Pro-Extralight Pro-Light Pro-Regular Pro-Semibold Pro-Bold Pro-Extrabold Pro-Black

Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung

Pro-Thin Italic Pro-Extralight Italic Pro-Light Italic Pro-Regular Italic Pro-Semibold Italic Pro-Bold Italic Pro-Extrabold Italic Pro-Black Italic

Zeitung Micro Pro family Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung

Micro Micro Micro Micro Micro Micro Micro Micro

Pro-Thin Pro-Extralight Pro-Light Pro-Regular Pro-Semibold Pro-Bold Pro-Extrabold Pro-Black

Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung Zeitung

Micro Micro Micro Micro Micro Micro Micro Micro

Pro-Thin Italic Pro-Extralight Italic Pro-Light Italic Pro-Regular Italic Pro-Semibold Italic Pro-Bold Italic Pro-Extrabold Italic Pro-Black Italic

Underware Groenewegje 137 2515 LR Den Haag The Netherlands phone: +31 (0)70 42 78 117 fax: +31 (0)70 42 78 116 email: info@underware.nl

Copyright Underware™ and Zeitung™ are trademarks of Underware; 1999-2016. This document is for evaluation purposes only. This file has been downloaded from www.underware.nl ¶

About Underware Zealotry wouldn’t be an inappropriate collective noun for Underware. They not only design typefaces, they live type –they educate about type, they publish about type, they talk about type, they want (and organise) others to talk about type. There is an inherent honesty to their enthusiasm that betrays no snobbery–they simply think that type is very interesting and that everyone, given the chance, might think so too. Their work is among the most popular of independent type foundries – happy-go-lucky, high-quality, text-friendly typefaces for both display use and comprehensive typesetting. Underware’s typefaces stand out thanks to unique aesthetics, finished quality, and a considered collective presence. Underware is a refreshing and intelligent collective who, while taking what they do seriously, manage to not take themselves too seriously. – Is Not magazine

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wanna know more about zeitung? opentype features?

language support?

character set?

→ → → → → → → → → → → → → → →

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write your own text? zeitung

price info? www.underware.nl

real life examples?

page 38

Fine fonts since 1999

the typeface zeitung is designed by underware