A Lively and Delicate Blackletter Modelled on a Bâtarde Flamande

TYPETOGETHER Givry

A lively and delicate blackletter modelled on a bâtarde flamande.

Tom Grace 2008 GIVRY ABOUT

To create Givry, Tom Grace researched the bâtarde The bâtarde flamande is technically a writing hand flamande, a lively style of writing used predominantly that, with its syncopation and fluidity, produces a in France and what is present-day Belgium in the vibrance uncharacteristic of other blackletters. Simply 15th century. The style shares an ancestry with other put, the bâtarde flamande is the most expressive and writing styles traditionally grouped as blackletter: emotional of the blackletter options, and Givry plays fraktur, textura, rotunda, and schwabacher. The to this strength. bâtarde flamande, however, evolved into an aesthetic While suitable as an elegant and energetic display far removed from its relatives. face, Givry was created to set continuous text. Many The bâtarde flamande is strikingly distinct in almost refinements and adjustments were necessary to every way from its blackletter cousins. While high- balance both the style’s irregular nature with the contrast in nature, the bâtarde flamande is more consistency that continuous text typography requires. delicate and dynamic than the austere and condensed Carefully researched and developed in OpenType fraktur and textura. Its quick curves also lack the format for a wealth of typographic features and rigidity of the schwabacher and rotunda. Calligraphic support for more than forty languages, Givry is flair through swashes is thematic, as are the variations neither derivative nor experimental, but is historically in letterforms. accurate and textually enjoyable. The flowing rhythm, achieved through a slightly Givry comes in one weight, speaks multiple rightward lean, is most noticeable in the hallmark ‘f’ languages, and, along with our entire catalogue, and long ‘s’ and is undergirded by round forms which has been optimised for today’s varied screen uses. are fused together for economy of space.

STYLES Regular

vibranta soft breeze and the harvest moon

Itbrilliance was at that moment, under the stars, that he proposed Nuits St Georges �� dignité �� hues of aureolin & violetflooded the room characteristic TYPETOGETHER WWW.TYPE-TOGETHER.COM © 2019 ALL RIGHTS RESERVED GIVRY DISPLAY SIZE

REGULAR + SWASH 55PT Rhythm & Reaction

REGULAR+ SWASH 50PT Rhythm & Reaction REGULAR+ SWASH 45PT Rhythm & Reaction

REGULAR+ SWASH 35PT Rhythm & Reaction

REGULAR 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.

REGULAR + SS01 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

REGULAR + SS02 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

REGULAR + SS03 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand. REGULAR + SS05 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

REGULAR + SS06 25/30PT And now I was on my journey, in a pair of thick boots and with a hazel stick in my hand.

REGULAR + SS08 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 the dog followed the route and Wilt followed the dog. They went down past the Post Office, across the playground, under the railway bridge and out on to the footpath by the river. A mile along the river and then under the railway line again and back through

GERMAN 12/14PT FRENCH 12/14PT CZECH 12/14PT

Im speziellen Sinn bezeich- Les gestes sont la méthode Vědecký obor zabývající se net das Wort Sprache eine de communication la plus zkoumáním jazyka se nazývá bestimmte Einzelsprache connue, utilisée par diverses lingvistika. Otázky týkající se wie Deutsch, Japanisch oder espèces dont l’ensemble des filosofie jazyka byly pokládány Swahili etc. Die gesproche- primates. C’est également le již ve starověkém Řecku, byly nen Sprachen der Menschheit cas des abeilles et leurs danses : zde otázky typu zda mohou werden gemäß ihrer genetischen lorsqu’une abeille exploratrice slova reprezentovat zkušenost Verwandtschaft in Sprachfa- revient vers sa ruche après avoir nebo motivovanost obsahu slov, milien gegliedert. Jede einzelne trouvé une source de nectar, elle konkrétními památkami jsou Sprache wird dabei anhand der peut effectuer une danse en rond například Platónovy dialogy

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 à capacidade especificamente synlige, hørbare eller følbare il complesso definito di suoni, humana para aquisição e uti- symboler for kommunikasjon gesti e movimenti attraverso il lização de sistemas complexos og elementer som brukes for å quale si attiva un processo di de comunicação, quanto a uma manipulere dem. Språk kan comunicazione. La facoltà di instância específica de um sis- også henvise til bruken av rappresentare mentalmente un tema de comunicação complexo. slike systemer som et generelt significato è presente in molte O estudo científico da lingua- fenomen. Eksempler på språk specie di animali, tra le quali gem, em qualquer um de seus er naturlig språk (menneske- l’essere umano. La capacità di sentidos, é chamado linguística. lige enkeltspråk, for eksempel elaborare e produrre un lin-

TURKISH 12/14PT SWEDISH 12/14PT POLISH 12/14PT

İnsanlar arasındaki anlaş- Språk eller tungomål är en Język służy do przedstawia- mayı sağlayan bir araç olarak del av olika system för kom- nia rzeczywistości dotyczącej tanımlanabilir. Bu bağlamda munikation, som används av przedmiotów, czynności czy dil, kelimelerden oluşan, yani människor och som vi börjar abstrakcyjnych pojęć za po- vücut dili gibi sözlü olmayan tillägna stora bitar av redan mocą znaków. Zbiór znaków w iletişim biçimlerinin yanı sıra under våra första levnadsår. języku jest otwarty. Wynika to insanların en etkili iletişim şekli Barn lär sig använda språk lika z faktu, że znakiem językowym olan sözlü iletişimi tanımlar. naturligt, som de lär sig att gå. jest każdy tekst, każda sfor- Dil, ses dalgaları aracılığıyla Språket kommuniceras exem- mułowana wypowiedź, posia- akustik olarak ve kelimeler pelvis via talat språk, tecken- dająca znaczenie. Jednostka

ICELANDIC 12/14PT SPANISH 12/14PT FINNISH 12/14PT

Mál er kerfi merkja, tákna, Un lenguaje (del provenzal len- Kieli on järjestelmä, jossa hljóða og orða sem notuð eru guatge1 y del latín lingua) es un ihminen ilmaisee ajatuksensa saman til þess að lýsa hugtö- sistema de comunicación estruc- kielellisillä merkeillä, abstrakti- kum, hugmyndum, merkingum turado para el que existe un con- oilla. Näitä merkkejä nimitetään og hugsunum. Málfræðingar texto de uso y ciertos principios kielellisiksi ilmauksiksi. Puhu- eru þeir sem að rannsaka mál, combinatorios formales. Existen tuissa kielissä kuuluvia (au- en í nútímanum var málfræði contextos tanto naturales como ditiivisia) merkkejä tuotetaan fyrst kynnt sem vísindagrein artificiales. Desde un punto de puhe-elimillä. Kirjoitetussa af Ferdinand de Saussure. Þeir vista más amplio, el lenguaje kielessä kielelliset ilmaukset on sem að tala mál, eða nota það indica una característica común tehty silmin nähtäviksi eli luet-

ALL CAPS

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

LIGATURES

Affiliate, físico, fjord, offkey Affiliate, físico, fjord, offkey

DISCRETIONARY LIGATURES

The, chai, bottle The, chai, bottle

PROPORTIONAL OLDSTYLE FIGURES

0123456789$€¢£¥ƒ%‰ 0123456789$€¢£¥ƒ%‰

PROPORTIONAL LINING FIGURES (DEFAULT)

0123456789$€¢£¥ƒ%‰ 0123456789$€¢£¥ƒ%‰

NUMERATOR/DENOMINATOR

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

FRACTIONS

1/2 3/4 1/46 5/7 2/9 1/2 3/4 1/46 5/7 2/9

SUPERIOR/INFERIOR

H2O x8 y3 aIndex H2O x8 y3 aIndex

ORDINALS

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

HISTORICAL FORMS

Question, Roi roses & jaipur 457 Queſtion, Roi roses & jaipur 457

FINAL FORMS

Sparrows Sparrows

CONTEXTUAL ALTERNATES

og þá bo pp Ad re Or og þá bo pp Ad re Or

SWASHES

llos ABCD av llos ABCD av nud ned nada los nud ned nada los

MULTI-CHARACTER ORNAMENTS � � � � � � � � � � � � ��

TURKISH/AZERI/CRIMEAN TATAR

findik,FINDIK findik,F INDIK

STYLISTIC SET O1 (ALTERNATES)

ÀDŞ DÉN VWŶ … ÀDŞ DÉN VWŶ …

STYLISTIC SET O2 (COMPRESSED SPACING)

pp pp

STYLISTIC SET O3 (CONTEXTUAL ALTERNATES) Ad Or Ad Or

STYLISTIC SET O4 (FINAL FORMS)

s s

STYLISTIC SET O5 (UPPERCASE SWASHES)

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

STYLISTIC SET O6 (LOWERCASE SWASHES)

d v d v

STYLISTIC SET O7 (HISTORICAL ALTERNATES) s & s &

STYLISTIC SET O8 (HISTORICAL ALTERNATES)

R Ŕ Ŗ i j R Ŕ Ŗ i j

STYLISTIC SET O9 (I/J)

J Ĵ I Î

STYLISTIC SET 10 (FIGURES)

4 5 7 4 5 7

STYLISTIC SET 11 (ORNAMENTS)

A B C D E F G H I J K L M N O P A B C D E F G H I J K L M N O P

UPPERCASE PROPORTIONAL OLDSTYLE (DEFAULT)

� � � � � � � � � � � � � � � � � � � � � � � � � � Æ � � � � � � � � � � � � � � � � � � � � Ð Ĳ Ŋ Œ Þ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � PROPORTIONAL LINING FIGURES � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ROMAN FIGURES LOWERCASE � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � æ ð ĳ ŋ œ þ ß � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 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

SWASHES SUBSCRIPTS

� � � � � � � � � � � � � � � � � � � � � H 0 1 2 3 4 5 6 7 8 9 + − = ( ) - , . � � � � � � � � � � � � � � � � � � �

� � � � � � � � � � � � � � � � � � � � � � � NUMERATOR/DENOMINATOR � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 6 7 8 9/ 0 1 2 3 4 5 6 7 8 9 � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � FRACTIONS

LIGATURES � � �

� � ff � � � fi ffi fj � � � ffk fl � � � � � ft � � � � ORDINALS � � � � � � � � � � � � � � � � � � � � � � st � � H � � No. � � �

DISCRETIONARY LIGATURES MATHEMATICAL OPERATORS

Th ch � dett pp li � � � ld ll lli ⁄ − ∕ ∙ ≈ ≠ ≤ ≥ < = > � + ± ÷ × √ π

HISTORICAL FORMS DIACRITICAL MARKS

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

ALTERNATES ORNAMENTS (SS011)

� � � � � � � � � � � � � � � � � � � � � � � � � � � A B C D E F G H I J K L M N O P � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

� � � � � � � � � MULTI-CHARACTER ORNAMENTS

� � � � � � � � � � � � � � � � � � � � � � � � � � � PUNCTUATION � � � � � � � � � � � � � � � � � ‘ “ “ ‘ ’‚ “ ” „ - , . : ; ¿? ! ¡ [ ] ( ) { } \ / _ « » ‹ › • … · – — - ' "

SYMBOLS

SUPPORTED LATIN LANGUAGES EXTENDED TYPOGRAPHIC FEATURES

Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, All caps, basic ligatures, case-sensitive forms, Alsatian, Amis, Anuta, Aragonese, Aranese, class kerning, contextual alternates, discretionary Aromanian, Arrernte, Arvanitic (Latin), Asturian, ligatures, denominators & numerators, fractions, Atayal, Aymara, Bashkir (Latin), Basque, Belarusian alternative fractions, historical forms, 3 sets of figures (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, (oldstyle figures, lining figures, and Roman figures), Cape Verdean Creole, Catalan, Cebuano, Chamorro, localised forms, ordinals, ornaments, stylistic sets Chavacano, Chichewa, Chickasaw, Cimbrian, (SS01 , SS02, SS03, etc), superiors & inferiors, … Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, 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, , Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Kurdish (Latin), Ladin, Latin, Latino sine Flexione, 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 CREDITS

A Boston native, Tom Grace is an independent Lead design and concept typeface designer and font developer. He focuses on Tom Grace font technology, font development, non-Latin scripts, and creating new logotype and typeface designs. His Graphic design work can be seen in both retail and custom typeface Elena Veguillas projects. After completing an undergraduate degree in hu- Copywriting man physiology and acquiring experience in informa- Joshua Farmer tion technology, his interest in type and typography developed significantly through his work and development in visual design and illustration. He had gained a formal education in type from the Rhode Island School of Design (RI, USA) and the University of Reading (UK), where he received his MA in typeface design. For over a decade Tom Grace has refined his craft AWARDS of creating and optimizing letterforms and typefaces. – Typographica’s Best Typefaces of 2008 He has designed and developed over 700 font styles, many of them for Cyrillic and other non-Latin writing systems. His work has earned distinctions for excellence, reinforcing his reputation as a go-to letter- form specialist for design agencies and type foundries alike. Tom also teaches, lectures, and consults on let- terform design and development. Apart from design, Tom is an avid musician. He has published Alizé, Givry, and Iskra with Type- Together.

FAMILY UPGRADES GIVRY

Buy a single weight (or more) now and get reimbursed Design: Tom Grace if you buy the entire font bundle at a later time. www.type-together.com/givry-font This is a great way to explore a new typeface without © TypeTogether 2008 full commitment. To take advantage of the upgrade, TypefaceName is a registered trademark of please email [email protected]. TypeTogether. 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, inEye 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.