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TYPETOGETHER Eskapade

Creating new common ground between a nimble oldstyle serif and an experimental Fraktur

Alisa Nowak 2012 ESKAPADE & ESKAPADE FRAKTUR ABOUT

The Eskapade font family is the result of Alisa Nowak’s unique script practiced in Germany in the vanishingly research into Roman and German blackletter forms, short period between 1915 and 1941. The new mainly Fraktur letters. The idea was to adapt these ornaments are also hybrid Sütterlin forms to fit with broken forms into a contemporary family instead the smooth roman styles. of creating a faithful revival of a historical typeface. Although there are many Fraktur-style typefaces On one hand, the ten normal Eskapade styles are available today, they usually lack italics, and their conceived for continuous text in books and magazines italics are usually slanted uprights rather than proper with good legibility in smaller sizes. On the other italics. This motivated extensive experimentation with hand, the six angled Eskapade Fraktur styles capture the italic Fraktur shapes and resulted in Eskapade the reader’s attention in headlines with its mixture Fraktur’s unusual and interesting solutions. In of round and straight forms as seen in ‘e’, ‘g’, and addition to standard capitals, it offers a second set ‘o’. Eskapade works exceptionally well for branding, of more decorative capitals with double-stroke lines logotypes, and visual identities, for editorials like to intensify creative application and encourage magazines, fanzines, and posters, and for packaging. experimental use. Eskapade roman adopts a humanist structure, but The Thin and Black Fraktur styles are meant for is more condensed than other oldstyle serifs. The display sizes (headlines, posters, branding, and reason behind this stems from the goal of closely signage). A typeface with this much tension needs to resembling the Fraktur style to create harmony in keep a good harmony between strokes and counters, mixed text settings. Legibility is enhanced by its so Eskapade Black has amplified inktraps and a more low contrast between thick and thin strokes and dynamic structure seen in the contrast between its tall x-height. Eskapade offers an airy and light straight and round forms. These qualities make the typographic colour with its smooth design. Eskapade family bolder and more enticing, especially with the italic is based on the Cancellaresca script and shows included uppercase alternates. The Fraktur’s black some particularities in its condensed and round weights are strident, refusing to let the white of the forms. This structure also provided the base for paper win the tug-of-war. It also won’t give away its Eskapade Fraktur italic. secrets: is it modern or historic, edgy or amicable, Eskapade Fraktur is more contrasted and slightly beguiling ornamentation or brutish presentation? bolder than the usual darkness of a regular weight. That all depends on how the radically expanded The innovative Eskapade Fraktur italic, equally based Eskapade family is used, but its 16 fonts certainly on the Cancellaresca script previously mentioned, is aren’t tame. secondarily influenced by the Sütterlin forms — an

STYLES Regular Fraktur Thin Regular Italic Fraktur Thin Italic Book Fraktur Regular Book Italic Fraktur Regular Italic Medium Fraktur Black Medium Italic Fraktur Black Italic Bold Bold Italic Extrabold Extrabold Italic

TYPETOGETHER WWW.TYPE-TOGETHER.COM © 2019 ALL RIGHTS RESERVED ESKAPADE & ESKAPADE FRAKTUR SPECIMEN Gefäßsporenpflanzen Jargon & Resümee savoir vivre mit ’nem rendezvous Miláčku!? „Aber woher weißt du das?“ WOLFSMILCHGEWÄCHSE kkkkkkkkkk ₺2368 bonus a redução da tarifa 83 N 7th St Williamsburg, Brooklyn, NY 11211 mnmnmnmnmnmnmnmnmnmnmnmnmnm

EXTRABOLD 55PT Rhythm & Reaction

EXTRABOLD 50PT Rhythm & Reaction

EXTRABOLD 45PT Rhythm & Reaction

EXTRABOLD 35PT Rhythm & Reaction

EXTRABOLD 30/36PT ‘Rhythm & Reaction’ gets under the skin of a British love affair with American jazz. Jazz first came to Britain as a visual and cultural style — rather than as a musical form, writes John L. Walters.

REGULAR 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

BOOK 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

MEDIUM 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

BOLD 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

EXTRABOLD 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

REGULAR 18/22PT Whenever Henry Wilt took the dog for a walk, or, to be more accurate, when the dog took him, or, to be exact, when Mrs Wilt told them both to go and take themselves out of the house so that she could do her yoga exercises, he always took the same route. In fact

BOOK 18/22PT Whenever Henry Wilt took the dog for a walk, or, to be more accurate, when the dog took him, or, to be exact, when Mrs Wilt told them both to go and take themselves out of the house so that she could do her yoga exercises, he always took the same route.

MEDIUM 18/22PT Whenever Henry Wilt took the dog for a walk, or, to be more accurate, when the dog took him, or, to be exact, when Mrs Wilt told them both to go and take themselves out of the house so that she could do her yoga exercises, he always took the same route.

BOLD 18/22PT Whenever Henry Wilt took the dog for a walk, or, to be more accurate, when the dog took him, or, to be exact, when Mrs Wilt told them both to go and take themselves out of the house so that she could do her yoga exercises, he always took the same route.

EXTRABOLD 18/22PT Whenever Henry Wilt took the dog for a walk, or, to be more accurate, when the dog took him, or, to be exact, when Mrs Wilt told them both to go and take themselves out of the house so that she could do her yoga exercises, he always took the same

REGULAR 10/12PT REGULAR 12/14PT As might have been foreseen, Franconia proved to be an As might have been foreseen, Franconia proved excellent place in which to study the difficult family of to be an excellent place in which to study the flycatchers. All our common eastern Massachusetts spe- difficult family of flycatchers. All our common cies were present — the kingbird, the phoebe, the wood pewee, and the least flycatcher — and with them the crested eastern Massachusetts species were present flycatcher (not common), the olive-sided, the traill, and the — the kingbird, the phoebe, the wood pewee, and yellow-bellied. The phoebe-like cry of the traill was to be the least flycatcher — and with them the crested heard constantly from the hotel piazza. The yellow-bellied flycatcher (not common), the olive-sided, the traill, seemed to be confined to deep and rather swampy woods and the yellow-bellied. The phoebe-like cry of the in the valley, and to the mountain-side forests; being traill was to be heard constantly from the hotel most numerous on Mount Lafayette, where it ran well up toward the limit of trees. In his notes, the yellow-belly may piazza. The yellow-bellied seemed to be confined

BOOK 10/12PT BOOK 12/14PT As might have been foreseen, Franconia proved to be an As might have been foreseen, Franconia proved excellent place in which to study the difficult family of to be an excellent place in which to study the flycatchers. All our common eastern Massachusetts spe- difficult family of flycatchers. All our common cies were present — the kingbird, the phoebe, the wood pewee, and the least flycatcher — and with them the crested eastern Massachusetts species were present — flycatcher (not common), the olive-sided, the traill, and the the kingbird, the phoebe, the wood pewee, and yellow-bellied. The phoebe-like cry of the traill was to be the least flycatcher — and with them the crested heard constantly from the hotel piazza. The yellow-bellied flycatcher (not common), the olive-sided, the seemed to be confined to deep and rather swampy woods traill, and the yellow-bellied. The phoebe-like in the valley, and to the mountain-side forests; being cry of the traill was to be heard constantly from most numerous on Mount Lafayette, where it ran well up toward the limit of trees. In his notes, the yellow-belly the hotel piazza. The yellow-bellied seemed to be

MEDIUM 10/12PT MEDIUM 12/14PT As might have been foreseen, Franconia proved to be As might have been foreseen, Franconia proved an excellent place in which to study the difficult family to be an excellent place in which to study the of flycatchers. All our common eastern Massachusetts difficult family of flycatchers. All our common species were present — the kingbird, the phoebe, the wood pewee, and the least flycatcher— and with them eastern Massachusetts species were present — the crested flycatcher (not common), the olive-sided, the kingbird, the phoebe, the wood pewee, and the traill, and the yellow-bellied. The phoebe-like cry of the least flycatcher — and with them the crest- the traill was to be heard constantly from the hotel ed flycatcher (not common), the olive-sided, the piazza. The yellow-bellied seemed to be confined to deep traill, and the yellow-bellied. The phoebe-like cry and rather swampy woods in the valley, and to the of the traill was to be heard constantly from mountain-side forests; being most numerous on Mount Lafayette, where it ran well up toward the limit of the hotel piazza. The yellow-bellied seemed

BOLD 10/12PT BOLD 12/14PT As might have been foreseen, Franconia proved to be As might have been foreseen, Franconia an excellent place in which to study the difficult family proved to be an excellent place in which to of flycatchers. All our common eastern Massachusetts study the difficult family of flycatchers. All our species were present — the kingbird, the phoebe, the wood pewee, and the least flycatcher — and with them common eastern Massachusetts species were the crested flycatcher (not common), the olive-sided, present — the kingbird, the phoebe, the wood the traill, and the yellow-bellied. The phoebe-like cry pewee, and the least flycatcher — and with of the traill was to be heard constantly from the hotel them the crested flycatcher (not common), the piazza. The yellow-bellied seemed to be confined to deep olive-sided, the traill, and the yellow-bellied. and rather swampy woods in the valley, and to the The phoebe-like cry of the traill was to be mountain-side forests; being most numerous on Mount Lafayette, where it ran well up toward the limit of heard constantly from the hotel piazza. The

EXTRABOLD 10/12PT EXTRABOLD 12/14PT As might have been foreseen, Franconia proved to be As might have been foreseen, Franconia an excellent place in which to study the difficult fam- proved to be an excellent place in which to ily of flycatchers. All our common eastern Massachu- study the difficult family of flycatchers. All setts species were present — the kingbird, the phoebe, the wood pewee, and the least flycatcher — and with our common eastern Massachusetts species them the crested flycatcher (not common), the olive- were present — the kingbird, the phoebe, sided, the traill, and the yellow-bellied. The phoebe-like the wood pewee, and the least flycatcher — cry of the traill was to be heard constantly from the and with them the crested flycatcher (not hotel piazza. The yellow-bellied seemed to be confined common), the olive-sided, the traill, and the to deep and rather swampy woods in the valley, and to yellow-bellied. The phoebe-like cry of the the mountain-side forests; being most numerous on Mount Lafayette, where it ran well up toward the limit traill was to be heard constantly from the

GERMAN 11/13PT FRENCH 11/13PT CZECH 11/13PT Im speziellen Sinn bezeichnet Les gestes sont la méthode de Vědecký obor zabývající se zkou- das Wort Sprache eine bestimm- communication la plus connue, máním jazyka se nazývá lingvis- te Einzelsprache wie Deutsch, utilisée par diverses espèces dont tika. Otázky týkající se filosofie Japanisch oder Swahili etc. Die l’ensemble des primates. C’est jazyka byly pokládány již ve sta- gesprochenen Sprachen der également le cas des abeilles et rověkém Řecku, byly zde otázky Menschheit werden gemäß ihrer leurs danses : lorsqu’une abeille typu zda mohou slova reprezento- genetischen Verwandtschaft in exploratrice revient vers sa ruche vat zkušenost nebo motivovanost Sprachfamilien gegliedert. Jede après avoir trouvé une source de obsahu slov, konkrétními památ- einzelne Sprache wird dabei an- nectar, elle peut effectuer une kami jsou například Platónovy hand der sogenannten Language danse en rond indiquant que dialogy Gorgias a Faidros. Ještě Codes nach den ISO-639-Teilnor- cette source se situe à moins časnějším dokladem uvažování o

PORTUGUESE 11/13PT NORWEGIAN 11/13PT ITALIAN 11/13PT Linguagem pode se referir tanto Et språk er et dynamisk sett av Il linguaggio, in linguistica, è il à capacidade especificamente synlige, hørbare eller følbare complesso definito di suoni, gesti humana para aquisição e uti- symboler for kommunikasjon e movimenti attraverso il quale si lização de sistemas complexos og elementer som brukes for å attiva un processo di comunica- de comunicação, quanto a uma manipulere dem. Språk kan også zione. La facoltà di rappresentare instância específica de um sistema henvise til bruken av slike sys- mentalmente un significato è pre- de comunicação complexo. O temer som et generelt fenomen. sente in molte specie di animali, estudo científico da linguagem, Eksempler på språk er naturlig tra le quali l’essere umano. La ca- em qualquer um de seus sentidos, språk (menneskelige enkeltspråk, pacità di elaborare e produrre un é chamado linguística.Atualmen- for eksempel norsk), kunstige linguaggio verbale, nell’uomo, si è te, entre 3000 e 6000 línguas são språk (for eksempel esperanto) og sviluppata a seguito di mutamenti

TURKISH 11/13PT SWEDISH 11/13PT POLISH 11/13PT İnsanlar arasındaki anlaşmayı Språk eller tungomål är en del Język służy do przedstawiania rze- sağlayan bir araç olarak tanımla- av olika system för kommunika- czywistości dotyczącej przedmio- nabilir. Bu bağlamda dil, kelime- tion, som används av människor tów, czynności czy abstrakcyjnych lerden oluşan, yani vücut dili gibi och som vi börjar tillägna stora pojęć za pomocą znaków. Zbiór sözlü olmayan iletişim biçimleri- bitar av redan under våra första znaków w języku jest otwarty. nin yanı sıra insanların en etkili levnadsår.Barn lär sig använda Wynika to z faktu, że znakiem iletişim şekli olan sözlü iletişimi språk lika naturligt, som de lär językowym jest każdy tekst, tanımlar. Dil, ses dalgaları aracılı- sig att gå. Språket kommunice- każda sformułowana wypowiedź, ğıyla akustik olarak ve kelimeler ras exempelvis via talat språk, posiadająca znaczenie. Jednostka aracılığıyla veya işaret dilinde teckenspråk, kognitioner och posługująca się językiem może olduğu gibi işaretler aracılığıyla skrift, som är bärare av språk i en więc za pomocą jego systemu two-

ICELANDIC 11/13PT SPANISH 11/13PT FINNISH 11/13PT Mál er kerfi merkja, tákna, Un lenguaje (del provenzal Kieli on järjestelmä, jossa ihminen hljóða og orða sem notuð eru lenguatge y del latín lingua) es ilmaisee ajatuksensa kielellisillä saman til þess að lýsa hugtökum, un sistema de comunicación merkeillä, abstraktioilla. Näitä hugmyndum, merkingum og estructurado para el que existe merkkejä nimitetään kielellisiksi hugsunum. Málfræðingar eru un contexto de uso y ciertos ilmauksiksi. Puhutuissa kielissä þeir sem að rannsaka mál, en principios combinatorios for- kuuluvia (auditiivisia) merkkejä í nútímanum var málfræði males. Existen contextos tanto tuotetaan puhe-elimillä. Kirjoite- fyrst kynnt sem vísindagrein naturales como artificiales. Desde tussa kielessä kielelliset ilmaukset af Ferdinand de Saussure. Þeir un punto de vista más amplio, el on tehty silmin nähtäviksi eli sem að tala mál, eða nota það á lenguaje indica una característica luettaviksi. Viitotuissa kielissä annan hátt, eru taldir með sem común a los humanos y a otros kielelliset ilmaukset ovat visuaa-

SMALL CAPS ¿Para texto? ¿Para texto? 1708 A–b [Ende] H@i 1708 A–b [Ende] H@i

ALL SMALL CAPS ¿Para texto? ¿Para texto? 1708 A–b [Ende] H@i 1708 A–b [Ende] H@i

ALL CAPS ¿Para texto? ¿PARA TEXTO? 1708 A–b [Ende] H@i 1708 A–B [ENDE] H@I

LIGATURES The, affiliate, físico, fjord, bottle The, affiliate, físico, fjord, bottle

DISCRETIONARY LIGATURES Hackeln, contact, estaño Hackeln, contact, estaño

PROPORTIONAL OLDSTYLE FIGURES (DEF.)

0123456789$€¢£¥ƒ₺ No. %‰ 0123456789$€¢£¥ƒ₺ No. %‰

PROPORTIONAL LINING FIGURES

0123456789$€¢£¥ƒ₺ No. %‰ 0123456789$€¢£¥ƒ₺ No. %‰

TABULAR OLDSTYLE & SLASHED ZERO

00123456789$€¢£¥ƒ₺ No. %‰ 00123456789$€¢£¥ƒ₺ No. %‰

TABULAR LINING & SLASHED ZERO

00123456789$€¢£¥ƒ₺ No. %‰ 00123456789$€¢£¥ƒ₺ No. %‰

NUMERATOR/DENOMINATOR

345/678, 89/120 345/678, 89/120

FRACTIONS

1/2 3/4 1/46 5/7 217/98 1/2 3/4 1/46 5/7 297/98

SUPERIOR/INFERIOR

H2O xb8 y3+5 aIndex H2O xb8 y3+5 aIndex

ORDINALS

1st 2nd 3rd Mlle 2e 85th Ma No. 1st 2nd 3rd Mlle 2e 85th Ma No.

HISTORICAL FORMS

That is the question That iſ the queſtion

STYLISTIC SET O2 (ARROWS & GEOMETRIC) A B C D E F G H I J K L M N A B C D E F G H I J K L M N a b c d e f g h i j k l m n a b c d e f g h i j k l m n o p q r s t u v w x y z o p q r s t u v w x y z

STYLISTIC SET O3 (ICONS & SYMBOLS) a b c d e f g i j a b c d e f g i j k l m n o p r s t k l m n o p r s t

TURKISH/AZERI/CRIMEAN TATAR

Kırtasiye, kırtasiye, KIRTASIYE Kırtasiye, kırtasiye, KIRTASIYE

ROMANIAN/MOLDAVIAN Timiş, bucureşti, MULŢUMESC Timiş, bucureşti, MULŢUMESC

CATALAN Il·lusió, col·labora, CAL·LIGRAFIA Il·lusió, col·labora, CAL·LIGRAFIA

DUTCH

Bíjna, víjf, BÍJNA Bíjna, víjf, BÍJNA

UPPERCASE PROPORTIONAL OLDSTYLE FIGURES (DEFAULT)

� � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ÍJ � � � � � L· � � � � � � PROPORTIONAL LINING FIGURES � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰ � � � � � � � � � � � � � TABULAR OLDSTYLE FIGURES LOWERCASE 0 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � TABULAR LINING FIGURES � � � � � � � � íj � � � � � l· � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. � �

FIGURES (SMALL CAPS) SMALL CAPS 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ % ‰ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � SUPERSCRIPTS � � � � � � � � � � � íj � � � � � l· � � � � � � � � � � � � � � � � H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � H a b c d e f g h i j k l m n o p q r s t u v w x y z

LIGATURES SUBSCRIPTS

Th � fi � � � � � fj � ffi � � � � � fí tt H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . H a b c d e f g h i j k l m n o p q r s t u v w x y z DISCRETIONARY LIGATURES

ch ck ct st sp NUMERATOR/DENOMINATOR 0 1 2 3 4 5 6 7 8 9 / 0 1 2 3 4 5 6 7 8 9 HISTORICAL FORMS

ſ FRACTIONS 1/2 � � 1/4 3/4 � � � � PUNCTUATION

‘ “ “ ‘ ’‚ “ ” „ - , . : ; ¿? ! ¡ [ ] ( ) { } \ / _ « » ‹ › • … · – — - ORDINALS H � � No. a b c d e f g h i j k l m n o p q r s t u v w x y z PUNCTUATION (SMALL CAPS)

‘ “ “ ‘ ’‚ “ ” ¿? ! ¡ [ ] ( ) { } \ / – — - ORDINALS (SMALL CAPS)

SYMBOLS № ª º

¦ | § ¶ © ® ™ ◊ # & @ * † ‡ ^ ° ~ ○ ¤ MATHEMATICAL OPERATORS

SYMBOLS (SMALL CAPS) ⁄ − ∕ ∙ ≈ ≠ ≤ ≥ < = > ¬ + ± ÷ × ∂ ∆ ∏ ∑ √ ∞ ∫ Ω μ π

© & @ * DIACRITICAL MARKS � � � � � � � � � � � � � � � � � � � � � � � � � � ARROWS & GEOMETRIC SHAPES (SS02) � � � � � � � � � � � � � � � � � � � A B C D E F G H I J K L M N a b c d e f g h i j k l m n o p q r s t u v w x y z

ORNAMENTS (SS03) � � � � � � � � � � � � � � � � � � � �

UPPERCASE PROPORTIONAL OLDSTYLE FIGURES (DEFAULT)

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ № % ‰ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � PROPORTIONAL LINING FIGURES � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰ � � � � � � � � � TABULAR OLDSTYLE FIGURES LOWERCASE 0 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ № � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � TABULAR LINING FIGURES � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ № � �

FIGURES (SMALL CAPS) SMALL CAPS 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ % ‰ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � SUPERSCRIPTS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . � � � � � � � � � � � � � � � � � � � � � � � � � � H a b c d e f g h i j k l m n o p q r s t u v w x y z

LIGATURES SUBSCRIPTS

Th � � fl � � � � � � � � � � � � � H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . H a b c d e f g h i j k l m n o p q r s t u v w x y z DISCRETIONARY LIGATURES

st sp ct ch ck NUMERATOR/DENOMINATOR 0 1 2 3 4 5 6 7 8 9 / 0 1 2 3 4 5 6 7 8 9 HISTORICAL FORMS

ſ FRACTIONS � � � � � � � � � PUNCTUATION

‘ “ “ ‘ ’‚ “ ” ¿? ! ¡ [ ] ( ) { } \ / – — - ORDINALS (SMALL CAPS)

SYMBOLS № ª º

¦ | § ¶ © ® ™ ◊ # & @ * † ‡ ^ ° ~ ○ ¤ MATHEMATICAL OPERATORS

SYMBOLS (SMALL CAPS) ⁄ − ∕ ∙ ≈ ≠ ≤ ≥ < = > ¬ + ± ÷ × ∂ ∆ ∏ ∑ √ ∞ ∫ Ω μ π

© & @ * DIACRITICAL MARKS � � � � � � � � � � � � � � � � � � � � � � � � � � ARROWS & GEOMETRIC SHAPES (SS02) � � � � � � � � � � � � � � � � � � A B C D E F G H I J K L M N a b c d e f g h i j k l m n o p q r s t u v w x y z

ORNAMENTS (SS03) � � � � � � � � � � � � � � � � � � � �

BLACK + SSO1 55PT Rhythm & Reaction

BLACK + SSO1 50PT Rhythm & Reaction

BLACK + SSO1 45PT Rhythm & Reaction

BLACK + SSO1 35PT Rhythm & Reaction

BLACK 30/36PT ‘Rhythm & Reaction’ gets under the skin of a British love affair with American jazz. Jazz first came to Britain as a visual and cultural style — rather than as a musical form, writes John L. Walters.

THIN + SSO1 55PT Rhythm & Reaction

THIN + SSO1 50PT Rhythm & Reaction

THIN + SSO1 45PT Rhythm & Reaction

THIN + SSO1 35PT Rhythm & Reaction

THIN 30/36PT ‘Rhythm & Reaction’ gets under the skin of a British love affair with American jazz. Jazz first came to Britain as a visual and cultural style — rather than as a musical form, writes John L. Walters.

THIN 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

REGULAR 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

BLACK 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

THIN 18/22PT Whenever Henry Wilt took the dog for a walk, or, to be more accurate, when the dog took him, or, to be exact, when Mrs Wilt told them both to go and take themselves out of the house so that she could do her yoga exercises, he always took the same route. In fact the dog followed the route and Wilt fol-

BLACK 18/22PT Whenever Henry Wilt took the dog for a walk, or, to be more accurate, when the dog took him, or, to be exact, when Mrs Wilt told them both to go and take themselves out of the house so that she could do her yoga exercises, he always took the same route.

REGULAR 10/13PT REGULAR 12/15PT As might have been foreseen, Franconia proved to be an excel- As might have been foreseen, Franconia proved to lent place in which to study the difficult family of flycatchers. be an excellent place in which to study the difficult All our common eastern Massachusetts species were present family of flycatchers. All our common eastern Mas- — the kingbird, the phoebe, the wood pewee, and the least flycatcher — and with them the crested flycatcher (not common), sachusetts species were present — the kingbird, the the olive-sided, the traill, and the yellow-bellied. The phoebe- phoebe, the wood pewee, and the least flycatcher — like cry of the traill was to be heard constantly from the hotel and with them the crested flycatcher (not common), piazza. The yellow-bellied seemed to be confined to deep and the olive-sided, the traill, and the yellow-bellied. rather swampy woods in the valley, and to the mountain-side The phoebe-like cry of the traill was to be heard forests; being most numerous on Mount Lafayette, where it constantly from the hotel piazza. The yellow-bellied ran well up toward the limit of trees. In his notes, the yellow- seemed to be confined to deep and rather swampy

GERMAN 12/14PT FRENCH 12/14PT CZECH 12/14PT Im speziellen Sinn bezeichnet Les gestes sont la méthode de Vědecký obor zabývající se das Wort Sprache eine bestimm- communication la plus connue, zkoumáním jazyka se nazývá te Einzelsprache wie Deutsch, utilisée par diverses espèces dont lingvistika. Otázky týkající se Japanisch oder Swahili etc. Die l’ensemble des primates. C’est filosofie jazyka byly pokládány gesprochenen Sprachen der également le cas des abeilles et již ve starověkém Řecku, byly zde Menschheit werden gemäß ihrer leurs danses : lorsqu’une abeille otázky typu zda mohou slova genetischen Verwandtschaft in exploratrice revient vers sa ruche reprezentovat zkušenost nebo Sprachfamilien gegliedert. Jede après avoir trouvé une source motivovanost obsahu slov, kon- einzelne Sprache wird dabei an- de nectar, elle peut effectuer une krétními památkami jsou napří- hand der sogenannten Language danse en rond indiquant que klad Platónovy dialogy Gorgias

PORTUGUESE 12/14PT NORWEGIAN 12/14PT ITALIAN 12/14PT Linguagem pode se referir tanto Et språk er et dynamisk sett av Il linguaggio, in linguistica, è il à capacidade especificamente hu- synlige, hørbare eller følbare complesso definito di suoni, gesti mana para aquisição e utilização symboler for kommunikasjon e movimenti attraverso il quale de sistemas complexos de comu- og elementer som brukes for å si attiva un processo di comuni- nicação, quanto a uma instância manipulere dem. Språk kan også cazione. La facoltà di rappresen- específica de um sistema de henvise til bruken av slike sys- tare mentalmente un significato comunicação complexo. O estudo temer som et generelt fenomen. è presente in molte specie di científico da linguagem, em Eksempler på språk er naturlig animali, tra le quali l’essere qualquer um de seus sentidos, é språk (menneskelige enkeltspråk, umano. La capacità di elaborare chamado linguística.Atualmente, for eksempel norsk), kunstige e produrre un linguaggio verba-

TURKISH 12/14PT SWEDISH 12/14PT POLISH 12/14PT İnsanlar arasındaki anlaşmayı Språk eller tungomål är en del Język służy do przedstawia- sağlayan bir araç olarak ta- av olika system för kommunika- nia rzeczywistości dotyczącej nımlanabilir. Bu bağlamda dil, tion, som används av människor przedmiotów, czynności czy kelimelerden oluşan, yani vücut och som vi börjar tillägna stora abstrakcyjnych pojęć za pomocą dili gibi sözlü olmayan iletişim bitar av redan under våra första znaków. Zbiór znaków w języku biçimlerinin yanı sıra insanla- levnadsår.Barn lär sig använda jest otwarty. Wynika to z fak- rın en etkili iletişim şekli olan språk lika naturligt, som de lär tu, że znakiem językowym jest sözlü iletişimi tanımlar. Dil, ses sig att gå. Språket kommunice- każdy tekst, każda sformułowana dalgaları aracılığıyla akustik ras exempelvis via talat språk, wypowiedź, posiadająca znacze- olarak ve kelimeler aracılığıy- teckenspråk, kognitioner och nie. Jednostka posługująca się

ICELANDIC 12/14PT SPANISH 12/14PT FINNISH 12/14PT Mál er kerfi merkja, tákna, Un lenguaje (del provenzal Kieli on järjestelmä, jossa ihmi- hljóða og orða sem notuð eru lenguatge y del latín lingua) nen ilmaisee ajatuksensa kielel- saman til þess að lýsa hugtökum, es un sistema de comunicación lisillä merkeillä, abstraktioilla. hugmyndum, merkingum og estructurado para el que existe Näitä merkkejä nimitetään kie- hugsunum. Málfræðingar eru un contexto de uso y ciertos prin- lellisiksi ilmauksiksi. Puhutuissa þeir sem að rannsaka mál, en cipios combinatorios formales. kielissä kuuluvia (auditiivisia) í nútímanum var málfræði Existen contextos tanto naturales merkkejä tuotetaan puhe-eli- fyrst kynnt sem vísindagrein como artificiales. Desde un punto millä. Kirjoitetussa kielessä af Ferdinand de Saussure. Þeir de vista más amplio, el lenguaje kielelliset ilmaukset on tehty sem að tala mál, eða nota það á indica una característica común silmin nähtäviksi eli luettaviksi.

ALL CAPS

¿Para texto? ¿PARA TEXTO? 1708 A–b [Ende] H@i 1708 A–B [ENDE] H@I

LIGATURES

The, affiliate, físico, fjord, offkey, bottle The, affiliate, físico, fjord, offkey, bottle

DISCRETIONARY LIGATURES

Expert, Hackeln, contact, estaño Expert, Hackeln, contact, estaño

PROPORTIONAL OLDSTYLE FIGURES (DEFAULT)

0123456789$€¢£¥ƒ₺ No. %‰ 0123456789$€¢£¥ƒ₺ No. %‰

PROPORTIONAL LINING FIGURES

0123456789$€¢£¥ƒ₺ No. %‰ 0123456789$€¢£¥ƒ₺ No. %‰

TABULAR OLDSTYLE & SLASHED ZERO

00123456789$€¢£¥ƒ₺ No. %‰ 00123456789$€¢£¥ƒ₺ No. %‰

TABULAR LINING & SLASHED ZERO

00123456789$€¢£¥ƒ₺ No. %‰ 00123456789$€¢£¥ƒ₺ No. %‰

NUMERATOR/DENOMINATOR

345/678, 89/120 345/678, 89/120

FRACTIONS

1/2 3/4 1/46 5/7 2/98 1/2 3/4 1/46 5/7 217/98

SUPERIOR/INFERIOR

H2O xb8 y3+5 aIndex H2O xb8 y3+5 aIndex

ORDINALS

1st 2nd 3rd Mlle 2e 85th Ma No. 1st 2nd 3rd Mlle 2e 85th Ma No.

HISTORICAL FORMS

That is the question That iſ the queſtion

STYLISTIC SET O1 (ALTERNATES)

A B C D E F G H I J K L M � � � � � � � � � � � � � � � � � � � � N O P Q R S T U V W � � � � � � … � � � � � � � � � � � � …

STYLISTIC SET O2 (ICONS & SYMBOLS)

A B C D E F G H I J K L M N A B C D E F G H I J K L M N a b c d e f g h i j k l m n a b c d e f g h i j k l m n o p q r s t u v w x y z o p q r s t u v w x y z

STYLISTIC SET O2 (ICONS & SYMBOLS)

a b c d e f g i j k l m n a b c d e f g i j k l m n o p r s t o p r s t

TURKISH/AZERI/CRIMEAN TATAR

Kırtasiye, KIRTASIYE Kırtasiye, KIRTASIYE

ROMANIAN/MOLDAVIAN

Timiş, MULŢUMESC Timiş MULŢUMESC

CATALAN

Il·lusió, CAL·LIGRAFIA Il·lusió, CAL·LIGRAFIA

DUTCH

Bíjna, BÍJNA Bíjna, BÍJNA

CONTEXTUAL ALTERNATES (SS01 +ITALICS)

Af Kf Lf Rf Ag Kg Lg Rg Aj Kj Lj Rj Ap Kp Af Kf Lf Rf Ag Kg Lg Rg Aj Kj Lj Rj Ap Kp Lp Rp Ay Ky Ly Ry Aß Kß Lß Rß … Lp Rp Ay Ky Ly Ry Aß Kß Lß Rß …

UPPERCASE PROPORTIONAL OLDSTYLE FIGURES(DEFAULT)

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ÍJ � � � � � L· � � � � � � � � � � � � � � � � PROPORTIONAL LINING FIGURES (DEFAULT) � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰

LOWERCASE TABULAR OLDSTYLE FIGURES

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � íj � � � � � l· � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � TABULAR LINING FIGURES � � � � � � � � � � � � � � � � � 0 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰

ALTERNATES (SS01) SUPERSCRIPTS

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � H a b c d e f g h i j k l m n o p q r s t u v w x y z � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � SUBSCRIPTS � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . LIGATURES H a b c d e f g h i j k l m n o p q r s t u v w x y z

Th � � � � � � � fj � ffi � ffk � � � fí tt NUMERATOR/DENOMINATOR

DISCRETIONARY LIGATURES 0 1 2 3 4 5 6 7 8 9 / 0 1 2 3 4 5 6 7 8 9 st � ct � ck Th Ex FRACTIONS

HISTORICAL FORMS 1/2 � � 1/4 3/4 � � � � ſ ORDINALS

PUNCTUATION H � � No. a b c d e f g h i j k l m n o p q r s t u v w x y z ‘ “ “ ‘ ’‚ “ ” „ - , . : ; ¿? ! ¡ [ ] ( ) { } \ / _ « » ‹ › • … · – — - MATHEMATICAL OPERATORS

SYMBOLS ⁄ − ∕ ∙ ≈ ≠ ≤ ≥ < = > ¬ + ± ÷ × ∂ ∆ ∏ ∑ √ ∞ ∫ Ω μ π ¦ | § ¶ © ® ™ ◊ # & @ * † ‡ ^ ° ~ ○ ¤ DIACRITICAL MARKS � � � � � � � � � � � � � � � � � � � � � � � � � � ( ) ARROWS & GEOMETRIC SHAPES SS01 � � � � � � � � � � � � � � � � � � � A B C D E F G H I J K L M N a b c d e f g h i j k l m n o p q r s t u v w x y z

ICONS & SYMBOLS (SS02)

� � � � � � � � � � � � � � � � � � � �

UPPERCASE PROPORTIONAL OLDSTYLE FIGURES(DEFAULT)

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � PROPORTIONAL LINING FIGURES (DEFAULT) � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰

LOWERCASE TABULAR OLDSTYLE FIGURES � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � TABULAR LINING FIGURES � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 0 1 2 3 4 5 6 7 8 9 $ € ¢ £ ¥ ƒ ₺ No. % ‰

ALTERNATES (SS01) SUPERSCRIPTS � � � � � � � � � � � � � � � � � � � � � � � � � � � H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . � � � � � � � � � � � � � � � � � � � � � � � � � � � H a b c d e f g h i j k l m n o p q r s t u v w x y z

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � SUBSCRIPTS � � � � � � � � � � � � � � � � � � � � � � � � � � � H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . � � � � � � � � � � � � � � � � � H a b c d e f g h i j k l m n o p q r s t u v w x y z

LIGATURES NUMERATOR/DENOMINATOR � � � � � � � � � � � � � � � � � tt 0 1 2 3 4 5 6 7 8 9 / 0 1 2 3 4 5 6 7 8 9 DISCRETIONARY LIGATURES FRACTIONS � � � � � � � � � � � � � � � HISTORICAL FORMS ORDINALS ſ H � � No. a b c d e f g h i j k l m n o p q r s t u v w x y z PUNCTUATION MATHEMATICAL OPERATORS ‘ “ “ ‘ ’‚ “ ” „ - , . : ; ¿? ! ¡ [ ] ( ) { } \ / _ « » ‹ › • … · – — - ⁄ − ∕ ∙ ≈ ≠ ≤ ≥ < = > ¬ + ± ÷ × ∂ ∆ ∏ ∑ √ ∞ ∫ Ω μ π SYMBOLS DIACRITICAL MARKS ¦ | § ¶ © ® ™ ◊ # & @ * † ‡ ^ ° ~ ○ ¤ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ARROWS & GEOMETRIC SHAPES (SS01)

A B C D E F G H I J K L M N a b c d e f g h i j k l m n o p q r s t u v w x y z

ORNAMENTS (SS02)

� � � � � � � � � � � � � � � � � � � �

ALTERNATES FOR CONTEXTUAL ALTERNATES

� � � � � � � � � � � � � � � � � � �

SUPPORTED LATIN LANGUAGES EXTENDED TYPOGRAPHIC FEATURES:

Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, All caps, basic ligatures, case-sensitive forms, lass Alsatian, Amis, Anuta, Aragonese, Aranese, kerning contextual alternates, discretionary ligatures, Aromanian, Arrernte, Arvanitic (Latin), Asturian, denominators & numerators, fractions, alternative Atayal, Aymara, Bashkir (Latin), Basque, Belarusian fractions, historical forms, 5 sets of figures (old style (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, numerals, lining figures, proportional figures, tabular Cape Verdean Creole, Catalan, Cebuano, Chamorro, figures, and small caps), localised forms, ordinals, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, ornaments & arrows, small capitals, small capitals Corsican, Creek, Crimean Tatar (Latin), Croatian, from capitals, stylistic sets (SS01 , SS02, SS03), Czech, Danish, Dawan, Delaware, Dholuo, Drehu, superiors & inferiors, slashed zero … 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, 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, Kurdish (Latin), Ladin, Latin, 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, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, , Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami , Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian , Sotho , 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, Zulu, Zuni, …

THE DESIGNERS AWARDS

Alisa Nowak is a native german type designer based –Typographica’s Best Typefaces of 2012 in France. During her studies of graphic design in –Bronze, 2013 European Design Awards Düsseldorf, she spent one year in Besançon, where –2013 Communication Arts Typography Annual she focused her interest on type design. Afterwards she specialised in designing typefaces in the context of formation Post-Diplôme Typographie & Langage at CREDITS École Supérieure d’Art et de Design d’Amiens where Lead design and concept she developed her first type family Eskapade. Alisa Nowak For three years she worked with Fontyou where she designed a few fonts with her legendary rigor, Engineering but also gently helped and encouraged various ideas Joancarles Casasín of co-creators. After two years as a type designer Sonja Stange at BlackFoundry in Paris, Alisa now works as an independent type and graphic designer. She also Quality assurance focussed on teaching typography for graphic design Azza Alameddine students, actually at ÉSAD d’Amiens and at EnsAD in Paris. Graphic design Alisa Nowak Elena Veguillas Rabab Charafeddine

Copywriting Joshua Farmer

FAMILY UPGRADES ESKAPADE

Buy a single weight (or more) now and get reimbursed Design: Alisa Nowak if you buy the entire font bundle at a later time. www.type-together.com/eskapade-font This is a great way to explore a new typeface without © TypeTogether 2012 full commitment. To take advantage of the upgrade, Eskapade is a registered trademark of TypeTogether. please email [email protected]. All rights reserved.

CUSTOM WORK TEXT CREDITS

We offer custom font solutions tailored to your needs. As I walked out one midsummer morning, This includes developing new typefaces from scratch, by Laurie Lee (London, 1969). modifying existing typefaces, extending language Wilt, by Tom Sharpe (1976). support, and creating logotypes. Please contact us Foot-path way, by Bradford Torrey (Boston, 1892). for details at [email protected]. ‘Rhythm & Reaction’ gets under the skin of a British love affair with American jazz, in Eye Magazine blog. LICENSING

Our complete font catalogue, along with the ABOUT THIS SPECIMEN presented type family here, are available for print, This specimen has been set using Ebony Light and self-hosted web applications, and app embedding Ebony Bold. If you print this specimen, please be kind from TypeTogether’s online store. For other types to the environment and consider printing only the of licences and more information, please contact us pages you need. at [email protected].

TESTING OUR FONTS

TypeTogether actively seeks ongoing dialogue with all type users and therefore offers free temporary licences to test any of our typefaces. The test fonts are fully functional and include the entire character set and OpenType features. To request test fonts, please contact us at [email protected].

EDUCATIONAL & CHARITY DISCOUNT

TypeTogether offers a 25% discount on all typeface purchases for students and those in education (schools, departments, etc.). This discount also extends to NGOs and charities in general. Please contact us for details at [email protected].

For further information, samples, and ordering, please visit www.type-together.com.