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Warnock Pro
Warnock Pro is a non-classifiable, highly versatile, contemporary OpenType Font family that was designed by
Robert Slimbach. It features some typical characteristics of various type classes, such as razor-sharp Latine triangular serifs, Old Style classical letter proportions and Transitional round shapes and stress that are neither geometrical, nor calligraphic. Combined with a modern, 21st-century look, Warnock Pro lends elements from what history has taught us and combines it into a contemporary, sophisticated
state-of-the-art font.
72
Italic
stem width in upm
60
stem width in upm
Display
Subhead
Regular
Caption
Roman
wwww wwww 70
58
65
55
62
53
Roman
Light
128
Italic
stem width in upm
stem width in upm
w w ww wwww
105
Semibold
122
99
114
93
109
90
87
Italic
Display
Subhead
Regular
Caption
Roman
w w ww w w ww
72
84
70
82
68
77
64
stem width in upm
stem width in upm
Roman
Regular
wwww w w ww
Italic
144
118
Bold
138
110
128
104
123
100
stem width in upm
stem width in upm
The quick brown fox jumps over a lazy dog.
Pchnąć w tę łódź jeża lub osiem skrzyń fig. Żywioł, jaźń, Świerk.
Cap height 659upm
Baseline 0upm
0%
66%
HxĂž
Ascender max 735upm
x-height 440upm
30%
44%
Descender max -265upm
26%
ABCDEFGHIJKLMNOPQRSTUVWXY&Z 1234567890 abcdefghijklmnopqrstuvwxy&z z ÆOEÐÞKQRThæoeëìstßþðĸkvwy fiflffffifflYZſijadeghlmnortu (¼½¾⅛⅜⅝⅞⅓⅔ ⁄ °) [№] {₣₧₡₤¤} ⁿ¹²³⁴⁵⁶⁷⁸⁹⁰⁽⁾₁₂₃₄₅₆₇₈₉₀₍₎ !?¡¿ℓ℮∂ΔΩΠΣμπ√∞∫^=÷×+¬±<>~≈≠≤≥◊§†‡¶* •·«»‹›-−—‒_\/|¦@©®™.,:;’‘”“‚„…‥․ �������������������������������������� ΑΒΓΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΦ αβγδεζηθικλνξοπρστυφχψωςϐϰϑ ΆΈΉΊΪΌΎΫΏάέήίϊόύϋώΐΰ АБВГҐДЕЖЗИЙКЛМНОПРСТУФХЦЧШЩЪ ЫЬЭЮЯЁЂЃЄЅІЇЈЉЊЋЌЎЏѢѲѴ абвгґдежзийклмнопрстуфхцчшщ ъыьэюяёђѓєѕіїјљњћќўџѣѳѵә ááââääààååããăăāāąąaéçćčĉċďđđďééĕĕěěêêëëėėèèēēęęŋ ğğĝĝģģġġħĥĥħíĭîïìīįĩĵãʼnñóóŏŏôôööòòőőōōõõøøǿǿķĺĺľľļļŀłł ńńňňņņñŕŕřřŗŗśšŝşșťťţţŧŧúúŭŭûûüüùùűűūūųųůůũũ ẃẃŵŵẅẅẁẁýýÿÿŷŷỳỳźžż `´ˆˇ˜¯˘˙¨˚˝ Ķ ŔŘŖ ÁĂÂÄÀ ĄÅÃAÉĆÇČĈĊĎÉĔĚÊËĖÈĒĘŊĐĞĜĢĠĤÍĬÎÏİÌĪĮĨIJĴ ĶĶĹĽĻĿŁŃŇŅÑŎŐŌÓÔÖÒÕØǾŔŔŘŘŖŖŚŠŞŜȘŦŤŢëì ÚŬÛÜÙŰŪŲŮŨẂŴẄẀÝŶỲŹŽŻ
В чащах юга жил был цитрус...— да, но фальшивый экземпляр!
Árvíztűrő tükörfúrógép
Sonnet 18
S
S
hall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May And summer’s lease hath all too short a date Sometime too hot the eye of heaven shines And often is his gold complexion dimmed And every fair from fair sometime declines By chance, or nature’s changing course, untrimmed. But thy eternal summer shall not fade Nor lose possession of that fair thou ow’st Nor shall death brag thou wand’rest in his shade When in eternal lines to time thou grow’st. So long as men can breathe or eyes can see So long lives this, and this gives life to thee.
S
Real Small Capitals
End Swashes Ligatures
Discretionary Ligatures
Flygande bäckasiner söka strax hwila på mjuka tuvor.
βρεγμένοι ξυλουργοί πίνουν ψηφιακό ζύθο χωρίς δισταγμό
T Sharp and distinct serifs at Display sizes.
Heavier, wedge-shaped serifs for readability at Small sizes.
“I set out to make a family that embodies both John [Warnock]’s character and that of Adobe by giving the letterforms a progressive and slightly technical feel, but with warmth and humanity. I wanted to make a type family that looks to the past as well as to the future.” -Robert Slimbach, designer of Warnock Pro.
Die Verwandlung by Franz Kafka lllllllllllllllllllllllllllllllllllllllllllllllllllllllll One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections. The bedding was hardly able to cover it and seemed ready to slide off any moment. His many legs, pitifully thin compared with the size of the rest of him, waved about helplessly as he looked. “What's happened to me?” he thought. It wasn't a dream. His room, a proper human room although a little too small, lay peacefully between its four familiar walls. A collection of textile samples lay spread out on the table - Samsa was a travelling salesman - and above it there hung a picture that he had recently cut out of an illustrated magazine and housed in a nice, gilded frame. It showed a lady fitted out with a fur hat and fur boa who sat upright, raising a heavy fur muff that covered the whole of her lower arm towards the viewer. Gregor then turned to look out the window at the dull weather. Drops of rain could be heard hitting the pane, which made him feel quite sad. “How about if I sleep a little bit longer and forget all this nonsense”, he thought, but that was something he was unable to do because he was used to sleeping on his right, and in his present state couldn't get into that position. However hard he threw himself onto his right, he always rolled back to where he was. He must have tried it a hundred times, shut his eyes so that he wouldn't have to look at the floundering legs, and only stopped when he began to feel a mild, dull pain there that he had never felt before. “Oh, God”, he thought, “what a strenuous career it is that I've chosen! Travelling day in and day out. Doing business like this takes much more effort than doing your own business at home, and on top of that there's the curse of travelling, worries about making train connections, bad and irregular food, contact with different people all the time so that you can never get to know anyone or become friendly with them. It can all go to Hell!”
q
№
293 Typo graph mega zine
In this issue: The issue of having issues with an issue In this issue we will discuss the good, the bad and the evil. The merits of typography, the whereabouts of leprechauns and various other random stuff that nobody really gives a flying ducksauce about. It is also very important to fill this boring whitespace with a little specimen of what this wonderful Warnock actually can do. As you can see, it is more than just a typeface. It has all the glyphs you need for creating beautiful running text, as well as interesting headlines.
Sitting in your empire An interview with Robert Slimbach, the designer of Adobe Warnock
Typograph megazine is published weekly by Warnock™ Publishing Inc. Cover Photography Copyright © Clix (Brazil) 2010
fin
Deze letterproef was de eindopdracht voor het vak Typografie van dr. Wouter Soudan aan de Media & Design Academie te Genk. Ze heeft in juni 2010 vorm gekregen door Xavier Bertels, 2e bachelor Grafisch Ontwerp.