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Zahrah

Name: Zahrah Zahrah is a Didone-style family in ten styles: five Classification: Display Serif upright weights and companion italics. It includes some Designer: Yoann Minet whimsical details, which liven up even the most serious Designed in: 2015 of texts. Didone types are characterised by strong visual Styles: 5 Romans + 5 Italics difference between the weight of the letters’ thick and thin strokes. Zahrah may be selected for almost anything and there’s no reason it shouldn’t shape the text of your www.indiantypefoundry.com newest annual report websites or fashion apps. — a stylish high-contrast Didone-style family Zahrah

This multi-purpose text face for the Latin script comes from Yoann Minet, a Paris-based designer. It includes some whimsical details, which liven up even the most serious of texts. Zahrah is a Didone-style serif in ten styles: five upright weights and companion italics. Didone types are characterised by strong visual difference between the weight of the letters’ thick and thin strokes. Didones also feature clarity and geometric simplification not found in type based on older, Renaissance models. Didone faces are used for a wide variety of applications: from fashion or cosmetic labels to newspaper text, and from academic publications to the annual reports of Fortune 500 companies. They may be selected for almost anything – and there’s no reason they shouldn’t shape the text of your newest websites or apps. ITF — ZAHRAH WEIGHTS OVERVIEW

ROMANS ITALICS

6 7 8 9 10 1 2 3 4 5

1 Zahrah Light 6 Zahrah Light Italic

2 Zahrah Regular 7 Zahrah Regular Italic

3 Zahrah Medium 8 Zahrah Medium Italic

4 Zahrah Semibold 9 Zahrah Semibold Italic

5 Zahrah Bold 10 Zahrah Bold Italic ITF — ZAHRAH WEIGHTS OVERVIEW

LIGHT LIGHT ITALIC Nonadrenergic Rëpreśenŧatioņ

Degas invited Mary Cassatt to display her work in that exhibition at 25 By recreating the sensation in the eye that views the subject, rather then

REGULAR REGULAR ITALIC Dīffėreńțiaŧion Ŧempęråmĕňts

Critic & humorist Louis M. wrote a scathing review in the magazine The Académie had an annual, juried art show, the Salon de Paris said

MEDIUM MEDIUM ITALIC Radiosensitise Sħowž from ’78

After Emperor Napoleon III saw the rejected works of 1863, a lot fleed Derisively titling his article The Exhibition of the Impressionists & son

SEMIBOLD SEMIBOLD ITALIC Unremarkable Overflourished Radicals in their time, Impressionists were violating rules like form Monet, Sisley, Morisot, and Pissarro may be considered the only pure

BOLD BOLD ITALIC Fashion Sense Groundkeeper The name of the style derives from the title of a Claude Monet pain Poetry is a form of literary art, which uses aesthetics and rhythmic ITF — ZAHRAH WEIGHTS OVERVIEW

Een vlakke kristalstructuur 5857 2ND AVE. DONNA KARAN Bert & Roge Legjelentősebb Christian Louboutin was a master shoe designer modifikasiyası qrafit ORHIDEEA Discover the Valentino Garavani clothing & accessories Acest privilegiu este revendicat în același timp de Franța, Spania și Anglia, 38. Valentino Đĩđøňe* — CALVIN KLEIN — Sign up today for our funny newsletter ‘DKNY’ Kay & Rika Er zeigt Fluoreszenz und Phosphoreszenz und ist triboelektrisch. Vulkaanilõõrid – teemantide transpordikoridorid 3n/25+79²≠46 Fashion Runway ITF — ZAHRAH ZAHRAH LIGHT + LIGHT ITALIC

LIGHT LIGHT 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance

LIGHT LIGHT 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven primary characters. primary characters.

LIGHT LIGHT 124 PT ITALIC Ğeŗm 124 PT Flųffë

LIGHT LIGHT 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k

LIGHT The four major current fashion capitals are known to LIGHT The four major current fashion capitals are known to be 11 PT ITALIC be Paris, Milan, New York City, and London, which are all 11 PT Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers Fashion weeks are held in these cities, where designers ITF — ZAHRAH ZAHRAH REGULAR + REGULAR ITALIC

REGULAR REGULAR 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance

REGULAR REGULAR 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven primary characters. primary characters.

REGULAR REGULAR 124 PT ITALIC Mërĝí 124 PT Çŕæż

REGULAR REGULAR 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k

REGULAR The four major current fashion capitals are known to REGULAR The four major current fashion capitals are known to be 11 PT ITALIC be Paris, Milan, New York City, and London, which are all 11 PT Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers Fashion weeks are held in these cities, where designers ITF — ZAHRAH ZAHRAH MEDIUM + MEDIUM ITALIC

MEDIUM MEDIUM 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance

MEDIUM MEDIUM 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven primary characters. primary characters.

MEDIUM MEDIUM 124 PT ITALIC Miłañ 124 PT Egÿpŧ

MEDIUM MEDIUM 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k

MEDIUM The four major current fashion capitals are known to be MEDIUM The four major current fashion capitals are known to be 11 PT ITALIC Paris, Milan, New York City, and London, which are all 11 PT Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers Fashion weeks are held in these cities, where designers ITF — ZAHRAH ZAHRAH SEMIBOLD + SEMIBOLD ITALIC

SEMIBOLD SEMIBOLD 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance

SEMIBOLD SEMIBOLD 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven chief characters. chief characters.

SEMIBOLD SEMIBOLD 124 PT ITALIC Møđę 124 PT Qùåd

SEMIBOLD SEMIBOLD 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k

SEMIBOLD The four major current fashion capitals are known to be SEMIBOLD The four major current fashion capitals are known to be 11 PT ITALIC Paris, Milan, New York City, and London, which are all 11 PT Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers Fashion weeks are held in these cities, where designers ITF — ZAHRAH ZAHRAH BOLD + BOLD ITALIC

BOLD BOLD 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance

BOLD BOLD 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven chief characters. chief characters.

BOLD BOLD 124 PT ITALIC Șéçøl 124 PT Pàrįs

BOLD BOLD 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k

BOLD The four major current fashion capitals are known to BOLD The four major current fashion capitals are known to 11 PT ITALIC be Paris, Milan, New York City, and London, which are 11 PT be Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies all headquarters to the greatest fashion companies and are renowned for their major influence on global and are renowned for their major influence on global fashion. Fashion weeks are held in these cities, where fashion. Fashion weeks are held in these cities, where ITF — ZAHRAH DETAILS OVERVIEW / ROMANS

VERTICAL PROPORTIONS OF ZAHRAH ROMAN DEFAULT FIGURES ARE PROPORTIONAL LINING & €0123456789

DEFAULT LINING FIGURES SLIGHTLY LOWER STRAIGHT DIACRITICAL MARKS CALLIGRAPHIC ALIGN WITH CAPS THAN HEIGHT SERIFS, RETAIN THE HIGH TEARDROP ALIGN WITH CONTRAST DESIGN TERMINALS X-HEIGHT

90°

ELEGANT DOUBLE- CONSTRUCTED SERIFS, VERY HIGH CONTRAST STOREY LOWERCASE G WITHOUT BRACKETING

SUPPORTS MOST EUROPEAN LANGUAGES WRITTEN IN THE LATIN SCRIPT / VARIOUS CURRENCY SYMBOLS BEAUTIFUL LIGATURES ARE AVAILABLE FOR SELECTED COMBINATIONS łânģuågęș ßupþőrt ðæġ golfino golfino $53 ¢25 ¥675 €28.97 £43 * flairful flairful ITF — ZAHRAH DETAILS OVERVIEW / ITALICS

VERTICAL PROPORTIONS OF ZAHRAH ITALIC WEIGHTS THE HORIZONTAL STROKE THICKNESS STAYS THE SAME IN ALL WEIGHTS, SO THAT RELATIVE CONTRAST INCREASES WITH WEIGHT Typography& HHHHH

FLAT SERIFS A FEW LIGATURES HELP REDUCE 10° ANGLE EXCLAMATION AND ALIGNING TO LETTERSHAPES CLASHING QUESTION MARKS ALIGN X-HEIGHT, EVEN WITH CAP HEIGHT QuiźIN ITALICS fige! LOWERCASE F HAS BEAUTIFUL OPEN ITALIC POINTED-PEN INFLUENCED SHORT , TRUE ITALIC SHAPES & Q SHAPE WITH TAIL CALLIGRAPHIC DETAILS WITHOUT TERMINAL SINGLE-STOREY LOWERCASE G

THE POETIC FORMS OF THE ITALICS MAKE EVEN THE MOST SERIOUS TEXT A BIT WHIMSICAL SOME SYMBOLS FEATURE A MONOLINEAR DESIGN, BASED ON THE THINNEST STROKES Charles Darwin was jamming ±45°C≥34≈185#DIY+G on Åke’s heavy metal xylophone OTHER SYMBOLS FEATURE HIGH CONTRAST AND BECOME DECORATIVE ELEMENTS IN HEADLINES in the Qatar night pub Zelig. †1861»He“185@me)40% ITF — ZAHRAH CHARACTER OVERVIEW / 398

LOWERCASE LOWERCASE FOREIGN CHARACTERS a b c d e f g h i j k l m n o p q r s t à á â ã ä å ā ă ą æ ç ć ĉ ċ č ď ð đ u v w x y z è é ê ë ē ĕ ė ę ě ĝ ğ ġ ģ ĥ ħ ì í î ï ĩ ī ĭ UPPERCASE į i ij ĵ ķ ĺ ļ ľ ŀ ł ñ ń ņ ň ò ó ô õ ö ō ŏ A B C D E F G H I J K L M N O P Q ő ø œ ŕ ŗ ř ś ŝ š ş ș ß ť ţ ŧ ù ú û ü ũ R S T U V W X Y Z ū ŭ ů ű ų ŵ ẁ ẃ ẅ ý ŷ ÿ ỳ ź ż ž þ

LINING FIGURES LIGATURES 0 1 2 3 4 5 6 7 8 9 fi fl UPPERCASE FOREIGN CHARACTERS À Á Â Ã Ä Å Ā Ă Ą Æ Ç Ć Ĉ Ċ CURRENCY AND MISCELLANEOUS SYMBOLS ¢ € $ ¥ £ ƒ ¤ ª º ⁰ ¹ ² ³ ⁴ ¼ ½ ¾ # % ‰ Č Ď Ð Đ È É Ê Ë Ē Ĕ Ė Ę Ě Ĝ Ğ ' " † ‡ ⁄ § ¶ + − ± ÷ × = < > ≤ ≥ ≠ ≈ Ġ Ģ Ĥ Ħ Ì Í Î Ï Ĩ Ī Ĭ Į İ IJ Ĵ Ķ Ĺ Ļ Ľ ¬ ° π ∂ ∫ ^ ~ ∑ ∏ √ ∞ ℮ ℓ ◊ Ŀ Ł Ñ Ń Ņ Ň Ò Ó Ô Õ Ö Ō Ŏ Ő

STANDARD PUNCTUATION Ø Œ Ŕ Ŗ Ř Ś Ŝ Š Ş Ș Ť Ţ Ŧ Ù Ú _ - – — ( ) [ ] { } ‘ ’ “ ” ‚ „ ‹ › « » * . , : ; Û Ü Ũ Ū Ŭ Ů Ű Ų Ŵ Ẁ Ẃ Ẅ Ý … ! ¡ ? ¿ / \ | ¦ @ & · • © ® ™ Ŷ Ÿ Ỳ Ź Ż Ž Þ ITF — ZAHRAH TEXT SETTING / ROMANS

ZAHRAH REGULAR 8/13 PT ZAHRAH REGULAR 23/26 PT

¶ The design of # ¶ The design of #typefaces has developed alongside has developed alongside the development of the development of typesetting systems. Although systems. Although typography has evolved significantly from REGULAR ITALIC typography has evolved significantly fromits origins, it its origins, it is a largely $37.50 conservative art that tends is a largely $37.50 conservative art that tends to cleave to cleave closely to tradition. This happens because closely to tradition. This happens because legibility legibility is 97% paramount, and so the typefaces that SEMIBOLD is 97% paramount, and so the typefaces that are most are most readable usually are retained. In addition, the readable usually are retained. In addition, the long long evolution of typography is inextricably intertwined evolution of typography is inextricably intertwined with by hand & 124.000 related artistic forms, MEDIUM with lettering by hand & 124.000 related artistic forms, especially formal_styles, which thrived for centuries especially formal_styles, which thrived for centuries preceding @typography — and so the evolution of typography preceding @typography — and so the evolution of must be discussed with ∑e25 reference to this BOLD typography must be discussed with ∑e25 reference relationship. In the nascent stages of European printing, to this relationship. In the nascent stages of European the (, or Gothic) was designed in printing, the typeface (blackletter, or Gothic) was imitation of the popular hand-lettering styles of LIGHT designed in imitation of the popular hand-lettering #25 scribes. Initially*, this new typeface was difficult to read, styles of #25 scribes. Initially*, this new typeface was †1854 because each letter was set in place individually difficult to read, †1854 because each letter was set and made to fit tightly into the allocated space.[33] The art in place individually and made to fit tightly into the ITF — ZAHRAH TEXT SETTING / ITALICS

ZAHRAH REGULAR ITALIC 8/13 PT ZAHRAH REGULAR ITALIC 23/26 PT

¶ The #development of the ¶ The #development of the Roman typeface is traced Roman typeface is traced back to Greek lapidary letters. The back to Greek lapidary letters. The Greek 20th lapidary Greek 20th lapidary letters were carved ≈6420 A.D. into stone LIGHT ITALIC letters were carved ≈6420 A.D. into stone and “one of the and “one of the first formal uses of Western letterforms”; after first formal uses of Western letterforms”; after that, they that, they evolved into the monumental capitals, which evolved into the monumental capitals, which laid the laid the foundation for Western typographical design, especially foundation for Western typographical design, especially serif typefaces. There are two main styles of Roman BOLD ITALIC serif typefaces. There are two main styles of Roman typefaces: the old style & the modern. The former is typefaces: the old style & the modern. The former is characterized by its similarly- weighted lines, while the ∑15.64e⁴ characterized by its similarly-weighted lines, while the latter is distinguished by its [contrast of light] and heavy ∑15.64e⁴ latter is distinguished by its [contrast of light] lines. Often, these styles are combined. By the 20th century, and heavy lines. Often, these styles are combined. By the computers turned #type_design into a rather simplified process. MEDIUM ITALIC 20th century, computers turned #type_design into a This has allowed the number of @typefaces and styles 94.000 rather simplified process. This has allowed the number to proliferate exponentially, as there now are thousands of @typefaces and styles 94 to proliferate exponentially, available. Confusion between typeface and * (the various as there now are 1000s available. Confusion between styles of a typeface) occurred in ~1984 when Steve typeface and font* (the various styles of a typeface) Jobs mislabeled typefaces as ‘’ for Apple computers and SEMIBOLD ITALIC occurred in ~1984 when Jobs mislabeled typefaces as his error has been perpetuated throughout the computer ‘fonts’ for Apple computers and his error has been SAN FRANCISCO SCHOOL OF COOL / SPRING LESSONS 2353 THAMES AVENUE CRAZY JAZZ MONDAY GOSPEL riverside WORKSHOP SINGSONG 12–15 April, 18:00–21:00 12, 19, 26 May, 10:00–12:00

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tips for the WALK IN 3 High Heels 42 BIG DAY Annual Report Annual Report 2018—2019 2018—2019 CORPORATE MOVING IDENTITY FORWARD MANAGEMENT Corporate visual identity management 85 involves the planned maintenance, TWENTY colour choice assessment and development of a corporate 87 visual identity as well as associated tools SIXTEEN our board and support, anticipating developments both inside and outside the organization, 89 behaviour and engaging employees in applying it, with the objective of contributing to employees' 93 identification with and appreciation of A family company, policies & misc. the organization as well as recognition and a historical building appreciation among external stakeholders. 108 improvements