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FontShop 149 9th Street, Suite 302 San Francisco, ca 94103 1 888 ff fonts toll-free 1 415 252 1003 local www.fontshop.com font 006 thInK GLoBaLLY, DEsIGn LocaLLY

Font is published by FontShop The not-so-old adage is pretty simple: “Think globally. Act locally.” 149 9th Street, Suite 302, San Francisco, ca 94103 We started using it a few decades ago as an environmental call to 1 888 ff fonts toll-free · 1 415 252 1003 local · www.fontshop.com action. But in today’s networked global community, where pollution drifts and fl ows across countries and continents, can acting locally 04 editors really be enough? Yes and no. Doing the right thing in our own Amos Klausner communities is an important step to save and sustain our wild places Stephen Coles and designed spaces. But we also need to gain a wider perspective design and art direction Conor Mangat / www.typographicproblemsolving.com and focus on the big picture fl ickering just beyond our fundamentally narrow view. creative consultant 09 Punchcut / www.punchcut.com Unfortunately, Font won’t give you any tips on sorting recyclables, proJect manager but it will suggest another interesting idea: “Think globally. Design Michael Pieracci h locally.” Most of us are pretty good at the latter, but maybe don’t contributing editor Tamye Riggs / www.typelife.com have the time or inclination to go global and seek out smaller, more intimate pockets of design diversity. The problem we run into image credits 13 covers: International flight density (diagrammed in 1968), overlaying as we all reach for success is that increasingly internationalized f Stop 048.015 and 414.016; © their creators / www.fstopimages.com commercial communication is distilling messages down to a page 3: Tony de Marco by Egly Dejulio; Pepe Menéndez by Laura Llópiz common denominator. And as certain logos and images (and the pages 10 –12: © their creators / www.fstopimages.com pages 20 –23: © Tony de Marco copycats they spawn) multiply across the world, fi nding inspiration pages 33 –35: © Pepe Menéndez in our own backyards – or someone else’s – is getting harder. sources 16 www.factiva.com, www.placenames.com, www.timeanddate.com, www.wikipedia.org In this issue, we hope to bring back some of the wonder that comes printing with design exploration. We’re featuring the work, the images, and Dome Printing, Sacramento / www.domeprinting.com the concerns of graphic designers in places overlooked in the face of ∞ clients, kids, and too many deadlines of every kind. Our travels take us to South Africa, where a dedicated community is designing their way toward an end to illiteracy. Nina Knežević shows us the new 20 Sarajevo, while in Brazil, Tony de Marco clears away the clutter to reveal São Paulo’s ban on advertising. In Iran, Reza Abedini shares the ancient beauty of Farsi calligraphy before we make our fi nal stop in Havana, Cuba, where Pepe Menéndez dusts off his city’s typographic details. 24 In sharing these stories with you, we hope that you’ll gain an appreciation for the wide variety of contributions made to our design community each and every day. We also encourage you to think about preserving the diversity of our design culture and even integrating these kinds of cultural nuances back into your 29 own practice. So sit back and strap on that extra pair of solar panels C you’ve got laying around the studio. Font is taking you for a ride.

aMos Klausner Editor 33 36; © 2007 Fsi FontShop International. All rights reserved. All trademarks named herein remain the property of their respective owners. The views expressed herein are solely the opinions of their respective contributors, and do not necessarily represent the viewpoint of Fsi. The contents of this publication may not be repurposed or duplicated without express prior written permission. fonts used ff celeste® ff clan™ (titles and statistics throughout) ff milo™ (caPtions throughout) ff oxide™ fontshop.com 3 The number 26 doesn’t mean much to most people. But in South Africa—where there are 11 official languages, the HIV infection rate is approaching 20 percent, and the nation ranks 2nd in per capita assaults and murders—numbers have taken on new meaning. That’s where 26 comes in. It’s the number a group of dedicated South African graphic designers and writers are using to bring attention to violent crime and one of its notable precursors, illiteracy.

fontshop.com 5 beloW: If you can’t read, you he 26 Letters project is built on the idea that, without a sound can’t succeed when M is for foundation in language arts, South Africans could have a more Monopoly, by Terri Santos and T Christopher Radcliffe. diffi cult time connecting to the world around them. They might left: A is for ayeye, by Jonathan have trouble creating a sense of belonging, could become bored Edwards and Neo Makongoza. opposite, left: V is for violence and frustrated, and, without words, might ultimately express by Greg Naude and Minky Venter.

themselves with violence. In teams that pair a graphic designer opposite, right: Followed by the letter ‘N’, the letter ‘K’ silently with a copywriter, more than fi fty professionals from across the signs for peace in a poster by country have designed almost seventy posters in support of this Francois Smit and Debbie Smit. previous page: A is for amandla, literacy campaign. In some cases, that means depicting a single by Tiffany Turkington-Palmer. letter, but more often teams have included related words or phrases that explore, subvert, or celebrate the colloquial nature of language in multicultural South Africa.

Creative director and copywriter Desiree Brown, spearhead of the 26 Letters project, has been spelling out its benefi ts. “We call it literacy against crime. We believe that if people harness the power of the alphabet and regain a love of reading and writing, we can work through our problems more constructively and end up with a less violent society.” An exhibition of the 26 Letters project was launched at this year’s Design Indaba conference in Cape Town. REpUBLIc of The show is expected to travel throughout South Africa, Southern soUth afRIca Africa, and possibly as far as Nigeria. Motto Unity in diversity “Perhaps someone with a book in his hand Acknowledged Through these collaborations, themes converge and the prospect 1488

Major cities of impending danger is palpable. In their poster for the letter ‘V’, Bloemfontein (judicial capital) Greg Naude and Minky Venter portray violence as it’s perpetrated may not have a gun in it instead”—Desiree Brown Cape Town (legislative capital) Johannesburg (largest city) Pretoria (executive capital) by vermin on their victims. The team of Gaby de Abreu, Sulet Time zone Schulze, and Brown entwined the letter ‘X’ with hate and barbed GMT +2

national population (2005) wire. Jonathan Edwards and Neo Makongoza extended the letter 47,432,000 (or 101/sq. mi.) ‘A’ into ayeye, a Zulu warning cry and an anarchist’s vision of Johannesburg population (2001) 3,225,812 (or 5,082/sq. mi.) American imperialism.

6 font 006 fonts used ff letter gothic text® ff soul™ fontshop.com 7 Wordplay is also popular. To describe just about anything cool in Afrikaans is to call it lekker. That includes Margie Backhouse and Harry Kalmer’s poster for the letter ‘L’. The Xhosa language gets a turn in another poster for the letter ‘A’, this time in Tiffany Turkington-Palmer’s African call for amandla, or power. Goalposts help form eish or the letter ‘H’ because Emma Douglas and Claire Harrison remember exclaiming Eish! (which translates into something like “oh man”) when South Africa won the 1995 Rugby World Cup and blacks and whites were united both on and off the field.

With their creativity in check, the designers and writers of the 26 Letters project recognize that solving South Africa’s problems will take more than their goodwill. But as communication professionals, they also know that they need to play a role, however large or small, in helping South Africa and the African continent confront violence. Brown puts it succinctly when she says, “Perhaps someone with a book in his hand may not have a gun in it instead.” That makes the goal of returning literacy to its place as a pillar of education a worthy cause indeed. pp

top left: L is for lekker, by Margie Backhouse and Harry Kalmer. top right: H is for eish, by Emma Douglas and Claire Harrison. above: I hate the X, by Gaby de Abreu, Desiree Brown, and Sulet Schulze.

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Pabst™ Oldstyle lanston type co. · fstop 264.032 Relato™ emtype · fstop 297.039    that carry meaning to the world. Sarajevo, recently rocked by civil war, has been characterized by a chain of historic events that conjures strong emotions in its people and the global community. Alternating between hostility and fear, courage and hope, it feels like Sarajevo has always been “above the fold.” Now, with just over a decade of peace under its belt, Sarajevo is trying to move beyond the headlines and reclaim its place among the cultural and creative capitals of Europe. To chart this new course, a generation of young artists, architects, and designers are pushing past those shadowy reminders toward a reappraisal of the city. One rising star is Nina Knežević. Born and raised in Sarajevo, Knežević held refugee status during the civil war, studying graphic design at the Academy saRaJEvo, bOSNIa-HERZEGOVINa of Arts in neighboring Montenegro. Although physically

nickname removed from the fi ghting, her family and many of Seher her friends stayed behind. Nina did her best to focus established on her work but the reality of war was never far away, 1400s

Coordinates especially when close friends were lost to the fi ghting. 43° 52' 0" N, 18° 25' 0" E When peace fi nally returned to Sarajevo, so did Knežević. Time zone Back home, the newly minted graphic designer GMT +1 recognized that gaining a fresh perspective on an old city City population (2006) 602,500 (or 11,035/sq. mi.) had its challenges. “The city and its people have huge

ABCDE3FGHIJKLMNO2PQSOME OTHER CITY m S TUVWXZacbdefghijkl ALEKSANDRA NINA KNEŽEVIRY7Ć npqrstouvwxyz BOSNIA-HERZEGOVINA146890

fontshop.com 13 creative potential, but there just isn’t enough opportunity for implementation,” she says. In this respect, Knežević has been lucky, stringing together several years of successful work for a nice mix of corporate and cultural clients. This past winter, she was given a chance to articulate a more personal point of view by participating in Sarajevo Winter, an annual festival showcasing a wide range of performances and exhibitions. The theme, “some other city,” asked artists to consider the concept of identity, both theirs and the city’s. For her exhibition, Knežević skipped the highly charged symbols of the city’s past, instead photographing her Sarajevo – the ordinary and the overlooked. In doing so, the designer captured icons that she hopes will eventually represent a more harmonious set of everyday experiences. Knežević turned these images of buildings, bridges, street furniture, public transportation, and everyday objects into stylized vector files. “I’ve been collecting dingbat fonts for years,” Knežević noted. “I knew I wanted to design one of my own and this project seemed right.” Characters from the designer’s completed dingbat font were printed and hung throughout the exhibition space, inviting visitors to experience her city or reconsider their own. “Today the city is being rebuilt, it’s recovering, and it’s open to anyone who wants to live here,” Knežević is quick to remind people. “We’ve always been this page: With over seventy subjects, Nina Knežević’s first dingbat a multicultural community and we’ve always relied font is a unique view of Sarajevo on the past. Now we’re excited about the future. That’s that’s been crafted through the eyes of a young designer who is more than the real Sarajevo.” pp ready to forget the past.

above: To create a compelling exhibition for Sarajevo’s Winter Festival, Knežević reproduced her dingbats in several formats and paired them with a selection of historic postcards and artefacts from the city.

14 font 006 fonts used ff eureka® mono ff good™ fontshop.com 15 ars DesCenDIaan™ L’une des plus prestigieuses The details of this book serif were inspired by architectural curves and écoles d’art à travers le monde angles rather than classical typographic shapes. ars descendiaan™ a fontshop eXclusive This strong foundation gives ARS Descendiaan an atypical appeal while keeping the typeface extremely functional. stargate broken A38 Droitwich ars MaQuette™ ars maQuette™ a fontshop eXclusive A clean, reliable neo- grotesque in the spirit of Helvetica and basic Also, at your convenience, architectural lettering. ars trIo™ please read through Trio’s forms range from 1040basic to radical, giving it the power to emulate the enclosed contract either the lights of a TokeN stadium scoreboard or agreement, fee guide, ars trio™ a fontshop eXclusive the control panel of an extraterrestrial spacecraft. and other important ars DeVIata™ materials for more Restrained embellishment, rounded edges, and striking ligatures make ARS Deviata detailed information worthy of announcing a grand occasion or labeling about your new account. a unique wine.

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It is said that The payment; we appreciate your business. Nonethe- Netherlands holds more type designers per capita than any Pedagogy other country. Living in Amsterdam, Angus R. Shamal is surrounded by design less, DVR service may be subject to credit verifi ca- ars tegel™ a fontshop eXclusive tradition, but he also picks up the values of his city’s street art: “In graffi ti you make tion and a hefty deposit. your own forms and images in order to communicate, to express individuality. I guess I could place myself somewhere When polishinG silveR forks in between these two, the classic toP of and the intuitive.” use pipe cleaners to get in between the prongs

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16 font 006 fontshop.com 17 arMCHaIr MoDern™ Withering eights “Growing up in Iceland, I was exposed to Scandinavian H modernism from an early MaxIwee age. My parents had Arne Jacobsen furniture around FOR GUYS WHO CAN’T hold on “We are PSY/OPS. the house,” says designer Our shimmering mid-mod armchair modern™ a fontshop eXclusive Stefán Kjartansson. salon overlooks downtown Market Street and all its vistas: retro streetcars, aQuaMarIne™ meandering clusters of tourists and day trippers, salary folk dodging panhandlers and This set of titling serifs, their corrugated solicitations. Protests and decorated caps, and parades now and again. Walk three blocks ornaments is one of Gábor HEATHCLIFF in any direction and take in San Francisco’s Kóthay’s more ambitious blue-ribbon eclecticism: a distilled blend of journeys into historical u J v influences that makes it difficult not to type design. Swash It’s me, your Kathy I’ve come home feel inspired. Jets of Pacific air funnel alternates and graceful aQuamarine™ a fontshop eXclusive between buildings and bring ideas ligatures abound. into crisp focus.”— Rodrigo Xavier Cavazos anGlIa sCrIPt™ Kóthay’s elegant script It doesn’t play games, family is an intense exploration of traditional calligraphy. Two versions of the typeface (Standard take pictures, or give and Concise) come in a regular and an antiqued

or pen drawn (Olde) fi nish. and Everything you@ weather updates oXtaIl™ Oxtail has its roots in the Egyptian type style which became popular in the beginning of the How should you organize? nineteenth century. Stefan Beaucoupanglia script™ a fontshop eXclusive de Ponce Hattenbach personalized the traditional forms with What should you charge? What unexpected letter shapes and fl owing tails. marketing techniques yield the soPHIsto™ Arthur Spendlove’s A collaboration between best returns? How do you know Hattenbach and PSY/OPS Partially Nude Aerial Ballet

founder Rodrigo X. Cavazos, oXtail™ a fontshop eXclusive Sophisto grew into an when it’s time to expand? extensive family of twenty- one fonts. Corresponding buttons, images, and What are the most effective patterns make a complete type system.

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18 font 006 fontshop.com 19 f P Life, Q e sÃo paULo, bRaZIL

Motto Non ducor, duco (I am not led, I lead)

established 1500s

Coordinates 23° 32' 36" S, 46° 37' 59" W

Time zone GMT −3

City population (2006) são 11,016,703 (or 18,733/sq. mi.) paulo no logo With a population closing in on twelve million, skyscrapers stacked as far as the eye can see, and some of the worst traffi c jams in South America, it’s no wonder that São Paulo is home to one the world’s largest fl eets of private helicopters. Hopping from one helipad to the next, the view from above is nothing but blue sky. Back on the ground, there’s a movement afoot to turn a new leaf in the urban jungle.

20 font 006 fontshop.com 21 Earlier this year, São Paulo mayor Gilberto Kassab proposed new “clean city” legislation that would outlaw all forms of outdoor advertising. He likened his city’s visual pollution to that of noise, air, and water pollution, even carefully dropping Al Gore’s name during a press conference. After much debate and a few legal challenges, Brazil’s economic capital went ad-free. Over 13,000 billboards, many of them installed illegally, were repainted or removed. The city’s 17,000 buses were stripped of commercial banners, and even advertising blimps were outlawed — although courts eventually determined that São Paulo’s airspace came under federal jurisdiction.

Naturally, the ad community responded. They insisted on the public’s right to information and lamented what they said would be an inevitable loss of jobs. Surprisingly for a shift of this magnitude, public opinion strongly supported the ban; so did Tony de Marco. The São Paulo-based typographer and fine artist has always been fiercely dedicated to the city he loves, having paid homage with several fonts derived from the city’s active urban graffiti scene. As the outdoor ads have come down, de Marco has documented the process, as well as the metal skeletons left behind, with a series of arresting photographs.

De Marco credits the mayor for the city’s visual transformation and is impressed with the results. “São Paulo was covered in horrible images and there were no laws to regulate them. Anyone could rent out their garden or their building to a company that would insert another gigantic panel into the fabric of the city. It was total chaos and much of it was pure garbage,” he says. In his opinion, “The landscape is not media. It can’t be sold. To see the sun, the stars, the mountains, and the horizon, that’s the right of every citizen.”

Removing billboards revealed more than the forgotten details of São Paulo’s art deco buildings. Ironically, it also exposed the favelas (shanty towns) and sweatshops that had been conveniently hidden behind them. Another set of unexpected, if less dramatic, social concerns were revealed when Paulistanos realized that billboards also represented the visual reference points they used to pick their way through a congested and confusing city. When they disappeared, so did the core elements of their navigational language. Residents now find themselves redefining the city with a new language that accounts for these changes and still makes sense of the sprawling metropolis.

While de Marco believes the city is better off, he knows that it’s still too early for a proper evaluation of the results. “The playing field has been levelled for legal and illegal advertising, and we have the chance to start fresh. It’s time to carefully consider how we should reintroduce this part of our culture back into the city.” And already there are signs that a conversation is underway as the mayor, city council members, and São Paulo’s business community begin hammering out the details that will eventually bring virtue and vice back to Brazil’s capitalist heart. pp

see more of tony de marco’s photos at www.fontmag.com

fonts used ff Oxide™ ff sari™ tEhRan, IRaN

nickname The city of 72 nations

established 6000 bC

Coordinates 25° 41' 46" N, 51° 25' 23" E

Time zone GMT +3:30

City population (2006) I 7,797,520 (or 25,899/sq. mi.) opposite: IRANI, one of a series of posters announcing the Iranian Cultural Poster Exhibition (2004). beloW: Logo for the Second International Typography Festival of the Islamic World (2000). Reza Abedini Life in modern Iran is a careful balancing act where timeless N traditions compete against the inevitable advance of a global economy, all played out against the backdrop of geopolitics in the cradle of civilization. No one is more aware of this dichotomy than Iranian graphic designer Reza Abedini. As a student, Abedini studied archaelogy in Isfahan, the ancient city famous for its Islamic architecture. It was a formative experience, helping him visualize Iranian culture, internalize the evolution of Persian art, and experiment with painting and printmaking before choosing a career in graphic design.

fontshop.com 25 Along the way, Abedini’s curiosity was piqued by the bittersweet artistic and cultural shifts that coincided with Persia’s Qajar dynasty of the nineteenth and early twentieth centuries. In 1779, the feuding tribes of Persia were unifi ed under the rule of Agha Mohammed Khan’s Qajar tribe. Political stability led to patronage, creativity, and technological progress. It was also a time of cultural vulnerability as Persia opened itself to the West and European infl uence impacted artistic practice. A heritage of poetry surrendered to novels, the painting of miniatures was sacrifi ced to the lure of large canvases, opulence was abandoned in favor of naturalism, and new technologies like photography and lithography gained favor. Abedini recognizes that the dynasty’s adoption of lithography and its acceptance of a Western writing system was a bitter pill to swallow for a culture that had always been dedicated to calligraphy and the word. Abedini shared his regret. “Missionaries needed to have Persian script printed as separate letters. That destroyed the language because Persian is written, with all the letters connected. It was no longer possible to have this liaison for good composition. Print was a disaster for Persian script.” Conversely, Abedini appreciated the ways in which Qajar artists were able to harness the printing press, photography, and (eventually) fi lm to their advantage in creating highly inventive work that continues to inform today’s visual artists. Following his graduation at the age of nineteen, Abedini landed his fi rst professional job – designing a monthly magazine for a local fi lm foundation. above: Birth of Typography out of the Spirit of Calligraphy. This poster was Although it was printed on a photocopier, Abedini’s obvious skill attracted developed for Abedini’s lecture and new clients. Many were also in the fi lm industry and just about all of them workshop in Isfahan (2006). were surprised by his youth. “I was too young to look trustworthy,” he beloW: Graphic, a logotype for the 2004 graphic design biennial in Tehran. recalls. “I remember once I dropped off a project with a client who asked

above left: Wordless, a poster for an exhibition of Abedini’s work (2007). above right: Photo + Graphic, a poster for an exhibition of the work of Abedini and photographer Mehran Mohajer (2004). right: Two thousand sketches, a poster for an exhibition of drawings by Farhad Gavzan (2000).

26 font 006 font used ff cellini™ fontshop.com 27 above Left: One thousand flying me why Mr. Abedini never came to deliver his work in person, adding that wings, one thousand book titles – Abedini’s poster for a book he would really like to meet him some day.” exhibition (2000). Youth may have been an asset when computers arrived in Iran just after above right: Dreams of Dust, a film poster designed by Abedini the revolution and Farsi script was digitized. Like his Qajar forefathers, in 2003. Abedini embraced technology, using new tools and the flexibility they offered to both restore and reinterpret calligraphy in the printed piece. By manipulating individual letters, finessing letter patterns, and breaking up the baseline, he revived the visual, poetic, and adaptable qualities of the written language. With the addition of Qajar-inspired photography in his work, Abedini wove letters and images into intricate patterns that would rise and fall like the folds of a hijab (veil or covering). But he is not without his critics, especially in the calligraphic community. Some lettering artists worry that, by taking too many liberties and pushing the envelope too far, the graphic designer is further degrading the historic charms of their art. Abedini understands their concerns, but recognizes that experimentation and change are a necessary part of evolution. “I get so excited,” the designer says, referring to his work between the sacred space of word and image (or word as image). Given the Western criticism of Iran’s government, many question why Abedini doesn’t include more overt political commentary in his work. He says, “I view it to be my role to preserve our culture, not overthrow governments.” Of greater concern to Abedini is a Euro-centric definition of typography that, in his estimate, bases its evaluation of writing systems on Latin examples. Always working toward a reevaluation, this pioneer will continue to share his traditions and proffer new reasons to embrace non- Latin letterforms. pp

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font used ff meta® C “for design to play an active and positive role in the life of a community you need more than wishes and good intentions” —pepe Menéndez U B A Old and new live side by side in Cuba. It’s a complicated relationship, tangled up in years of Spanish and AmericaN influence, now punctuated by Castro’s revolution.

If the decaying façades of neoclassical disheartening, but Menéndez is pragmatic apartment buildings and the rumble about the situation. “I realize that in order of Detroit’s mid-century roadmasters for design to play an active and positive role represent a certain status quo, then Pepe in the life of a community you need more Menéndez typifies Cuba’s future. One of than wishes and good intentions,” he says. the first graphic design students to gradu- As a nation, Cuba continues to look ate from the country’s only design school, for outside investment and it’s capitalizing el Instituto Superior de Diseño Industrial on a celebrated culture by taking steps (ISDI), in 1989, he and his fellow gradu- to preserve Havana’s historic quarters and ates were excited and optimistic about the architectural treasures. The hope is that future. “We started the eruption, in the tourism will get the economic engine back early 1990s, of a new generation on track. As the design director for one of Cuban graphic designers that of Cuba’s most active cultural centers, came together with the idea that Casa de las Americas, Menéndez is equally we could improve the lives of committed to redevelopment, doing what our people, improve the country, he can to bring attention to Cuba’s design and change the history of Cuban community. That includes playing host design,” Menéndez recalls. to Icograda’s 2007 World Design Congress. What Menéndez didn’t know Even though Menéndez is resolutely was that, under the dual pres- focused on the future, he hasn’t forgotten sures of economic and political his roots. Walking the neighborhoods liberalization, the Soviet Union of Havana, he’s started his own historic and related socialist states would preservation project, collecting photo- collapse, as would his transfor- graphs of typography in use throughout the mative dream. Almost overnight, city. Noting that one day he felt the need Cuba lost sympathetic trade agreements, to begin collecting these attractive details, agricultural subsidies, and the technical as- Menéndez says, “I admire the variety of sistance it had relied upon since the revolu- formal solutions and the fine finishing. It’s tion. The country’s economy sputtered and obvious that these letters have been manip- it launched what has been officially called ulated with expressive intentions according the “special period.” Under new economic to the style of building, the commercial restraints, many of the agencies directly message, or the owner’s status.” After responsible for supporting the graphic de- so many years of vandalism and neglect, sign community (and the global success of he is surprised these examples still exist the Cuban poster) lost much of their state and, after six years of collecting images, support. Mired in financial difculty, these is always thrilled to find a new detail half agencies – including Editora Politica, the hidden behind a patina of rust or erosion. Cuban Film Institute, and the Organiza- “The photos combine my professional tion in Solidarity with the People of Asia, vocation with the enjoyment of a person on Africa, and Latin America (OSPAAAL) – are foot who is attentive to the city,” Menéndez still struggling to reinvent themselves as smiles. He knows that with each picture, self-sustaining entities. At the center of the his love of the city is transformed into cultural crisis, the Cuban design industry a romantic portrait of a place where time Havana, Cuba is being challenged. is standing still, if only for the last few

Nickname To think that almost twenty years minutes before the alarm sounds and Ciudad de las Columnas have passed since Menéndez graduated Cuba is changed again.pp (City of Columns) from ISDI and materials like paper and Established 1515 ink remain in short supply could be

Coordinates 23° 8' 0" N, 82° 23' 0" W

Time zone GMT −5

City population (2005) 2,328,000 (or 7,908/sq. mi.)

34 font 006 fonts used ff maiola™ ff moderne gothics™ Guaranteed against dodgy parts, shoddy workmanship, & rubbishy batteries ClassICa™ ClassICa PrestIGe™ The Classica types are an il ÅLPHOX elegant pairing of capitals with roots in the Latin qclassica,™ classica prestige;™ ° inscriptions of the fi rst Tucked away high century and a lowercase in the French Alps and from the chancery Ingredients: enriched fl our (wheatthus removed from mainstream fl our, niacin, writings and books of design, Thierry Puyfoulhoux is free the Renaissance. to work from instinct. This makes his typefaces highly original and very she was a bit of a mountainous reduced iron, thiamine mononitrateuncommon. If he has any central source [vitamin of B1], PrÉsenCe™ inspiration, it comes from his years at Paris’ This modern sans serif Imprimerie Nationale under the tutelage sports girl, if you get my drift features a light stroke ribofl avin [vitamin B2], folicof Joséacid), Mendoza y Almeida, high one of fructose contrast. Replete with Spain’s foremost type designers. His prÉsence™ subtle original forms, surroundings, family, and kayak Présence is suitable for corn syrup, sugar, soybean oil,only yellow inspire him more. corn syrup, text and display work.

bIGtICy™ partially hydrogrenaded cottonseed oil, calcium Puyfoulhoux says of his impactful display design: “For the Maxi style, I tried carbonate (source of calcium), baking soda, salt, soy to reduce the inner white spaces to their minimum. Insouciant I had in mind those bigticY™ amazing stone walls that lecithin (emulsifi er), artifi cial fl avour one can see in the ancient Incan cities in Peru.”

alInea™ This suite’s members— a contrasted serif, neutral sans, and crisp incised Small is more style—are designed to work harmoniously less is beautiful (or something like that) in the same document.

alinea™ aDesso™ Warm and friendly, Adesso is a fresh alternative to typewriter Aesthetically pleasingand grotesque typefaces. Eat Polish old copper pans MaDIsonIan™ The creator of this face must have raised some eyebrows back in the 1850s. no. 13706 It feels like a Spencerian with ketchup script at fi rst glance, then adesso™ a Bodoni italic, then the kinky little fl ame i-dots and bizarre descenders enter the fray. Puyfoulhoux found Madisonian in an old foundry catalog and added Bold and Engraved styles.

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36 font 006 fontshop.com 37 BAKED SNACK CRACKERSDon’t be shy about asking us for samples, tech support, Hauser sCrIPt™ Among the many typographic valuables Thank you, Sir, may I have another or to fi nd out more about us. The number in the corner unearthed by Red Rooster hauser script™ founder Steve Jackaman are original drawings from Ludlow, an important will put you in touch with our insanity. American foundry from the metal era. This sprightly script is one of the gems of this library.

VeneZuela™ Venezuela and its cousin WASHING Honduras™ celebrate the decorative fi ll lettering of the 1920s and ’30s.

lesMore™ THE LIZARD veneZuela™ Paul Hickson lovingly digitized the work of Les Usherwood, a mid-century ¿Que? pioneer in Canadian type design. The result is Lesmore, one of the few Dernière étape Champs-Élysées truly original sans serifs to eLearning Objectives: come out of North America. lesmore™

alPHabet souP™ Jackaman created this soft headliner back in the fi lm type days at Typographic DOES MY BUM LOOK BIG IN THIS? House in Boston. It quickly alphabet soup™ became popular then and will again now that it’s in digital form.

GranD Canyon™ As deep and majestic as the natural wonder itself, the Grand Canyon fonts come in a variety of fi lls and shadows to replicate the letterpressed posters of the American West.

Canterbury™ sans VERSION 2.0 Sans and swash come “Frederick Goudy together in this beautifully said, ‘The old guys stole modern take on 1920s NO SHOES · NO SHIRT · NO SERVICE all our best ideas.’ If that’s the ornamental typography. case, we’re busy digging all the ‘old This graceful design is grand canYon™ guys’ up!” jokes Steve Jackaman in his also available in its original playful English timbre. He emigrated to the serif fl avor. States in 1977 and brought over 100 exclusive display typefaces with him. Since then, his team at International TypeFounders, Inc., has licensed and digitized more metal, wood, and fi lm type with great care and respect for the original designers. see WWW.fontmag.com for more Artificial Intelligence of the red rooster storY canterburY™ sans

FOUNDRY SPOTLIGHT RED RoostER coLLEctIon® read more at WWW.fontshop.com/features/neWsletters/ 38 font 006 4263fontshop.com 39