mvb Embarcadero
®
mvb Embarcadero®
2 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too.
mvb Embarcadero® Available for special licensing 2005 Published for general licensing 2010 Mark van Bronkhorst, designer Linnea Lundquist, production
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© 2010 mvb fonts
mvb Embarcadero® | Bold
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Market St Embarcad PresidioA Clement S Sansome m
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© 2010 mvb fonts
mvb Embarcadero®
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Embarcadero Regular Embarcadero Small Caps Embarcadero Italic Embarcadero Italic Small Caps Embarcadero Medium Embarcadero Medium Small Caps Embarcadero Medium Italic Embarcadero Medium Italic Small Caps Embarcadero Bold Embarcadero Bold Small Caps Embarcadero Bold Italic Embarcadero Bold Italic Small Caps Embarcadero Extra Bold Embarcadero Extra Bold Small Caps Embarcadero Extra Bold Italic Embarcadero Extra Bold Italic Small Caps Embarcadero Black Embarcadero Black Small Caps Embarcadero Black Italic Embarcadero Black Italic Small Caps
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© 2010 mvb fonts
mvb Embarcadero® Condensed
5 of 40
Embarcadero Condensed Embarcadero Condensed Small Caps Embarcadero Condensed Italic Embarcadero Condensed Italic Small Caps Embarcadero Medium Condensed Embarcadero Medium Condensed Small Caps Embarcadero Medium Condensed Italic Embarcadero Medium Condensed Italic Small Caps Embarcadero Bold Condensed Embarcadero Bold Condensed Small Caps Embarcadero Bold Condensed Italic Embarcadero Bold Condensed Italic Small Caps Embarcadero Extra Bold Condensed Embarcadero Extra Bold Condensed Small Caps Embarcadero Extra Bold Condensed Italic Embarcadero Extra Bold Cond Italic Small Caps Embarcadero Black Condensed Embarcadero Black Condensed Small Caps Embarcadero Black Condensed Italic Embarcadero Black Cond Italic Small Caps
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© 2010 mvb fonts
mvb Embarcadero® | Extra Bold
6 of 40
mvb Embarcadero®
typography Then&now
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© 2010 mvb fonts
mvb Embarcadero® Regular
60 pt
Numbering Distinguished Bohemian girl higher rank corporate Record maker Strange odors fancy house
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regular
small caps
italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® Medium
60 pt
GET BEHIND Embarcadero Shirt displays orchestral snake bite Fancy houses Questionable horse show
8 of 40
medium
small caps
medium italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® Bold
60 pt
BUNGALOW Breakfast tea Methodology burnishing handsome Vintage shoe Incarceration tenderloin
9 of 40
bold
small caps
bold italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® Extra Bold
60 pt
Extension Broken heart Art exhibited numbering materials Extinguisher Highest rank permanent
10 of 40
extra bold
small caps
extra bold italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® Black
60 pt
practical New railroad Straight line near home Fireplace Rippling abs Team leader equipment
11 of 40
black
small caps
black italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® | Medium, Bold, and Regular Small Caps
h i- fi st
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er eo
e l’editric l’e dit ric e
|e m ba rc ad er oa up rin te m ps
temps n i r p ro au e d a c r emba m
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© 2010 mvb fonts
mvb Embarcadero® Condensed
60 pt
toxic vapors Prodigious child Quaint kingdom birthday party domain name Mansion burned Peculiar artwork handsome dog
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condensed
small caps
condensed italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® Medium Condensed
60 pt
noted actor Motherly advice Single numbers embarcadero entertained Desired method Wear protection roman empire
14 of 40
medium condensed
small caps
medium condensed italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® Bold Condensed
60 pt
celebration Rental property Daring explorer encyclopedia oceanfront Romance novel Soap for babies organization
15 of 40
bold condensed
small caps
bold condensed italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® Extra Bold Condensed
60 pt
fascinating Domain names Mystery solved graphic arts violins play Heroic soldiers Lemon custard clean shirts
16 of 40
extra bold condensed
small caps
extra bold condensed italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® Black Condensed
60 pt
religiously Florid perfume Entertainment rich banker fine papers Work of fiction Tacky souvenir team player
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black condensed
small caps
black condensed italic
small caps
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© 2010 mvb fonts
mvb Embarcadero® | Extra Bold
18 of 40
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© 2010 mvb fonts
mvb Embarcadero® Pro Regular & Pro Italic
14/22 pt
19 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans
9/14 pt
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too. 6/9 pt
requirements of a text sans serif, yet maintaining the subtle
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© 2010 mvb fonts
mvb Embarcadero® Pro Medium & Pro Medium Italic
14/22 pt
20 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a gridbased outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability
9/14 pt
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s antistyle, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latinbased languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too. 6/9 pt
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© 2010 mvb fonts
mvb Embarcadero® Pro Bold & Pro Bold Italic
14/22 pt
21 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete
9/14 pt
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s antistyle, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too. 6/9 pt
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© 2010 mvb fonts
mvb Embarcadero® Pro Extra Bold & Pro Extra Bold Italic
14/22 pt
22 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it be-
9/14 pt
mvb Embarcadero lies in a space between gro-
to curves that echoed the rigid skeleton of the original.
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too.
Eventually it became a complete family with all the
6/9 pt
tesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline
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© 2010 mvb fonts
mvb Embarcadero® Pro Black & Pro Black Italic
14/22 pt
23 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of
9/14 pt
mvb Embarcadero lies in a space between gro-
time passed, it evolved from a grid-based outline to
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for
curves that echoed the rigid skeleton of the original.
6/9 pt
tesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more
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© 2010 mvb fonts
mvb Embarcadero® | Bold and Extra Bold
24 of 40
mvb Embarcadero®
Oral Hygiene Floss Brush Rinse
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© 2010 mvb fonts
mvb Embarcadero® Pro Condensed & Pro Condensed Italic
14/22 pt
25 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType
9/14 pt
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too. 6/9 pt
readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of
m mvbfonts.com
© 2010 mvb fonts
mvb Embarcadero® Pro Medium Condensed & Pro Medium Condensed Italic
14/22 pt
26 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design.
9/14 pt
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet main-
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too. 6/9 pt
taining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType
m mvbfonts.com
© 2010 mvb fonts
mvb Embarcadero® Pro Bold Condensed & Pro Bold Condensed Italic
14/22 pt
27 of 40
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the
9/14 pt
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability require-
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too. 6/9 pt
ments of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is
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mvb Embarcadero® Pro Extra Bold Condensed & Pro Extra Bold Condensed Italic 28 of 40
14/22 pt
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s antistyle, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Func-
9/14 pt
mvb Embarcadero lies in a space between grotesque sans
outline to curves that echoed the rigid skeleton of the original.
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form— it’s ideal for type on screen too.
Eventually it became a complete family with all the readability
6/9 pt
serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based
requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero
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mvb Embarcadero® Pro Black Condensed & Pro Black Condensed Italic
14/22 pt
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mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle ec-
9/14 pt
mvb Embarcadero lies in a space between grotesque
evolved from a grid-based outline to curves that echoed
mvb Embarcadero lies in a space between grotesque sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it evolved from a grid-based outline to curves that echoed the rigid skeleton of the original. Eventually it became a complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of its inspiration. Functionally, the Embarcadero family is as adaptable as its design. The OpenType Pro set of 20 fonts contains two widths and five weights, each with italics, small caps, a full set of figures, bullets and arrows, and support for most Latin-based languages. In all, Embarcadero is suitable for headlines or text. And—thanks to its simple, square form—it’s ideal for type on screen too.
the rigid skeleton of the original. Eventually it became a
6/9 pt
sans serifs and the vernacular signage lettering drawn by engineers. It’s a style that happens to convey credibility and forthrightness without pretense—it’s anti-style, actually. All of this makes for the most versatile of typefaces, capable of delivering any kind of message while staying out of the way. As is often the case with a type design that develops over several years, Embarcadero isn’t the realization of a specific concept. In the ’90s Mark van Bronkhorst began digitizing a blocky slab serif from the Victorian era, which was then set aside for many years. He later revisited the design, paring it down to its bare essentials, and as more time passed, it
complete family with all the readability requirements of a text sans serif, yet maintaining the subtle eccentricities of
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mvb Embarcadero® | Pro Bold Condensed & Black Condensed
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mvb Embarcadero® | Pro Character Set
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uppercase
ABCDEFGHIJKLMNOPQRSTUVWXY&Z
small caps
ABCDEFGHIJKLMNOPQRSTUVWXY&Z
lowercase
abcdefghijklmnopqrstuvwxyz
figure sets
0123456789 0123456789 0123456789 0123456789 01�23456789
figure-related symbols
$¢€£¥ƒ₡₣₤₱₧§#%‰¤°
tabular symbols
$¢€£¥ƒ
punctuation, etc.
.,:;!?¡¿’ ” ‘ ’ “ ” ‚ „ ‹ › « » - – — _…()[]{}\/*•@©℗™℠®¶†‡ℓ℮
ligatures
extended uppercase
ß��ffffifflftffttt ÁÀÂÄÃÅĂĀĄǺÆǼÇĆČĈĊĎĐÐÉÈÊËĔĚĖĒĘĞĜĢĠĦĤÍÌÎÏĬİĪĮĨIJ ĴĶĹĽĻĿŁÑŃŇŅŊÓÒÔÖÕŎŐŌØǾŒŔŘŖŠŚŞŜȘÞŦŤŢȚÚÙÛÜŬŰ ŪŲŮŨẂŴẄẀÝŸŶỲŽŹŻƏ
uppercase variants
¡¿‹›«»-–—()[]{}•@$¢€£¥�₡₣₤₱₧§#%‰
extended lowercase
áàâäãåăāąǻæǽçćčĉċďđéèêëĕěėēęğĝģġħĥíìîïĭīįĩijıĵȷķĸĺľ ļŀłñńňņ ŋʼnóòôöõŏőōøǿœŕřŗšśşŝșŧťţțúùûüŭűūųůũẃŵẅẁýÿŷỳžźżðþə
extended small caps
ÁÀÂÄÃÅĂĀĄǺÇĆĈČĊĎĐÉÈÊËĔĚĖĒĘĞĢĠĜĦĤÍÌÎÏĬİĪĮĨIJĴĶĹĽĿĻŁÑŃŇŅŊÓÒ ÔÖÕŎŐŌØǾŔŘŖŠŚŞŜȘŦŤŢȚÚÛÜŬŰŪŲŮŨẂŴẄẀÝŸŶỲŽŹŻÐÞÆǼŒƏ
small cap variants
floating accents
super- and subscript
fractions
superscript minuscules
math
bullets & arrows
note
languages supported
!?¡¿$¢€£¥ƒ₡₣₤₱₧ ´`ˆ¨˜˚˘ˇ˙˝¯�¸˛ ´`ˆ¨˜˚˘ˇ˙˝¯�¸˛ ´`ˆ¨˜˚˘ˇ˙˝¯�¸˛ ⁽$¢€£¥#%.,-⁾ ⁰¹²³⁴⁵⁶⁷⁸⁹₀₁₂₃₄₅₆₇₈₉ ½ ¼ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞ 0123456789⁄0123456789 abdehilmⁿorst + − × ÷ = ≈ ≠ ± < > ≤ ≥ ¬ · ~ ^ ¦|µπ∆Ω∏∑∫∂∞◊√ ▪◼■•••●•▶◀▲▼□○••→←↑↓↖↗↙↘ access to some characters subject to application support of opentype features
Albanian, Basque, Catalan, Cornish, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, French, Galician, German, Hungarian, Icelandic, Indonesian, Irish, Italian, Kalaallisut, Latvian, Lithuanian, Malay, Maltese, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Polish, Portuguese, Romanian, Slovak, Slovenian, Somali, Spanish, Swahili, Swedish, Turkish, and Welsh
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mvb Embarcadero® | Pro Features
all caps
all caps
small caps
all small caps
all small caps
ligatures
oldstyle figures (default)
tabular oldstyle figures
lining figures
tabular lining figures
all cap figures
fractions
superscript / superior
subscript / inferior
note
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ABCDEFGHIJKabcdefghijk → ABCDEFGHIJKabcdefghijk ¿(ABC)?def123GH@ijk$€38 → ¿(ABC)?def123gh@ijk€38 ABCDEFGHIJK&abcdefghijkl → ABCDEFGHIJK&abcdefghijkl ABCDEFGHIJKabcdefghijklm → ABCDEFGHIJKabcdefghijklm ¿Abc? def & 123 GHijk $12 €38 → ¿Abc? def & 123 GHijk $12 €38 Offer Muffin Battle After → Offer Muffin Battle After ABCDEabcde 01234567890 → ABCDEabcde 01234567890 ABCDEabcde 01234567890 → ABCDEabcde 01234567890 ABCDEabcde 01234567890 → ABCDEabcde 01234567890 ABCDEabcde 01234567890 → ABCDEabcde 01234567890 ABCDEabcde 01234567890 → ABCDEabcde 01234567890 1/2 23/87 8/5 239/348 → 1/2 23/87 8/5 239/348 1o 1a 1st 2nd $8.95 footnote.18 → 1o 1a 1st 2nd $8.95 footnote.18 H2O Polo Tournament → H2O Polo Tournament availability of opentype features subject to application support
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© 2010 mvb fonts
mvb Embarcadero® | Standard Character Set
uppercase
ABCDEFGHIJKLMNOPQRSTUVWXY&Z
lowercase
abcdefghijklmnopqrstuvwxyz
figures
figure-related symbols
punctuation, etc.
ligatures
0123456789 $¢€£¥ƒ§#%‰¤° .,:;!?¡¿’ ” ‘ ’ “ ” ‚ „ ‹ › « » - – — _…()[]{}\/*•@©℗™®¶†‡ℓ℮ ßfiflffffiffl
extended uppercase
ÁÀÂÄÃÅÇÉÈÊËÍÌÎÏŁÑØÓÒÔÖÕŠÚÙÛÜÝŸŽÐÞÆŒ
extended lowercase
áàâäãåçéèêëíìîïłñóòôöõøšúùûüýÿžðþæœ
floating accents
super- and subscript
fractions
superscript minuscules
´`ˆ¨˜˚˘ˇ˙˝¯¸˛ ⁽$¢€£¥#%.,-⁾ ⁰¹²³⁴⁵⁶⁷⁸⁹₀₁₂₃₄₅₆₇₈₉ ½ ¼ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞ 0123456789⁄0123456789 abdehilmⁿorst
math
+ − × ÷ = ≈ ≠ ± < > ≤ ≥ ¬ · ~ ^ ¦|µπ∆Ω∏∑∫∂∞◊√
note
standard fonts are available with oldstyle or tabular lining figures only
languages supported
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Albanian, Basque, Catalan, Cornish, Danish, Dutch, English, Estonian, Faroese, Finnish, French, Galician, German, Icelandic, Indonesian, Irish, Italian, Malay, Manx, Norwegian Bokmål, Norwegian Nynorsk, Oromo, Portuguese, Somali, Spanish, Swahili, and Swedish
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mvb Embarcadero® | Basic Characters | Regular & Condensed
regular
italic
condensed
condensed italic
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ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥
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mvb Embarcadero® | Basic Characters | Medium & Medium Condensed
medium
medium italic
medium condensed
medium condensed italic
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ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥
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mvb Embarcadero® | Basic Characters | Bold & Bold Condensed
bold
bold italic
bold condensed
bold condensed italic
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ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥
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© 2010 mvb fonts
mvb Embarcadero® | Basic Characters | Extra Bold & Extra Bold Condensed
extra bold
extra bold italic
extra bold condensed
extra bold condensed italic
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ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥
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© 2010 mvb fonts
mvb Embarcadero® | Basic Characters | Black & Black Condensed
black
black italic
black condensed
black condensed italic
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ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥ ABCDEFGHIJKLMNOPQRSTUVWXY&Z abcdefghijklmnopqrstuvwxy&z abcdefghijklmnopqrstuvwxyz {([])}%“” 0123456789 0123456789 @?!$¢€£¥
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© 2010 mvb fonts
mvb Embarcadero®
Thanks
Linnea Lundquist Type editor with a most discriminating eye, incredible patience, and sense of humor Justin Flood Designer and photographer (laser-cut acrylic letters, page 6; package concept and photography, page 12; walking man photo, page 18; shoe illustrations and photography, page 30) Stephen Coles Consultant and word-wrangler
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Copyright © 2010 Markanna Studios Inc. dba MVB Fonts This PDF document is provided to you for evaluation puposes only. You may reproduce this document on a personal printer, and you may distribute this PDF document to others, provided that you do not alter the document and that the copyright and trademark notices remain intact. MVB and Embarcadero are either registered trademarks or trademarks of Markanna Studios Inc. dba MVB Fonts in the United States and/or other countries. OpenType is either a registered trademark or a trademark of Microsoft Corporation in the United States and/or other countries. Other trademarks are the property of their respective owners. MVB Fonts assumes no liability for unintended inaccuracies or typographical errors that might be found in this document. Product characteristics and product availability are subject to change without notice.
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