esaur�

☞ designed by Fermin Guerrero { Origins }

Tesauru is a type family inspired by the typefaces used by French printer, editor and publisher Henri II Estienne in his famous book Thesaurus Græcæ Linguæ, published in Geneva–����. Tesauru binds together special features and rare characteristics that we find in the original metal types used by Estienne, with more contemporary characteristics such as a big x-high, narrower forms, increased modulation/contrast, &c. The result is a charismatic typeface with an unique flavour, that has one foot in the past and one foot in the present.

These metal type were brought to Geneva by Henri’s father, , who, before settling in Geneva and working as Calvin's printer, was the printer of 's King, François I. This typefaces highly influenced the punch cutters and printers in Geneva at that time. Henri and Robert Estienne’s work in Geneva helped it to become one of the most important cities in Europe for printing and typography in the 16th century. Thesaurus Græcæ Linguæ

All pictures in this document were taken by Fermin Guerrero from the original book which is part of the Rare Books collection at the Bibliothèque de Genève. { Optical Sizes }

Thesaurus’ family consists of 4 weights, 16 styles and 2 optical sizes

Display: 4 weights / 8 styles a aRegulara aMediuma aBolda Blacka aa aa aa aa Text: 4 weights / 8 styles Thesaurus Regular Tesauru Regular Italic Thesaurus Regular Display �esaurus Regular Display Italic Thesaurus Medium Thesaurus Medium Italic Thesaurus Medium Display �esaurus Medium Display Italic Thesaurus Bold Thesaurus Bold Italic Thesaurus Bold Display �esaurus Bold Display Italic Thesaurus Black Thesaurus Black Italic Thesaurus Black Display �esaurus Black Display Italic Finnish ays. To put it «bluntly»: the character implies an effluvial specification for the formal configuration of the .The point I am maked is that typefaces offer interpretations of scripts, not languages. So far I have been using the term “su wielationship of positive and negative spaces but � ignorant of the speci�c shape. �he Latin “a” implies an “envelope” of sound percalifragilisticexpialidociou” but in fact this is not strictly correct. At the heart of contemporary applications, and typographic not; better are glyphs: representations of typographic characters. In other words, efaces is the Unicode standard: a system for assigning an exclusive identifier to each character in any zucchini ever used by the same character: 3.14 Greek alph�, and all the “�ue” are Latin script says how do you spell it? – not English or Spanish or wasps and vermin. In this sense “Latin small letter a” and “Greek small letter alpha” are characters, but “k” and “8 are efaces is the Unicode standard: a system for assigning an exclusive identifier to each character in aaaaaaaanot; better are glyphs: representations of typographic characters. In other words, all “a”s in all the typefaces in t wasps and vermin. In this sense “Latin small letter a” and “Greek small letter alpha” are characters, but “k” the same character: 3.14 Greek alphas, and all the “Que” are Latin script says – how do you spell it? – not English or Spanish or The point I am maked is that typefaces offer interpretations of scripts, not languages. So far I Finnish ays. To put it «bluntly»: the character implies an effluvial specification for the formal configuration of the glyph r percalifragilisticexpialidocious” but in fact this is not strictly correct. At the heart of contemporary applicat wielationship of positive and negative spaces but is ignorant of the specific shape. The Latin “a” implies an “envelope” of sounds within eac { Character Set } abcdefghijklmnopqrstuvwxyz ([{00123456789}]) áăâäàāąåãæǽǣćčçĉċðďđéĕěêëėèēęẽğĝģġ ħĥíĭîïi̇ìīįĩĵķĺľļŀljłńňņŋñóŏôöòőōøǿõœþŕřŗśšş ŝșṣəŧťţțúŭǔûüùűūųůũvwẃŵẅẁxyýŷÿỳȳzźžż abcdefghijklmnopqrstuvwxyz ([{00123456789}]) ÁĂÂÄÀĀĄÅÃÆǼǢĆČÇĈĊÐĎĐÉĔĚÊËĖÈĒĘẼĞĜĢĠĦĤ ÍĬÎÏİÌĪĮĨĴĶĹĽĻĿLjŁŃŇŅŊÑÓŎÔÖÒŐŌØǾÕŒÞŔŘŖŚŠŞŜ ȘṢƏŦŤŢȚÚŬǓÛÜÙŰŪŲŮŨVWẂŴẄẀXYÝŶŸỲȲZŹŽŻ abcdefghijklmnopqrstuvwxyz ([{00123456789}]) ÁĂÂÄÀĀĄÅÃÆǼǢĆČÇĈĊÐĎĐÉĔĚÊËĖÈĒĘẼĞĜĢĠĦĤ ÍĬÎÏİÌĪĮĨĴĶĹĽĻĿLjŁŃŇŅŊÑÓŎÔÖÒŐŌØǾÕŒÞŔŘŖŚŠŞ ŜȘṢƏŦŤŢȚÚŬǓÛÜÙŰŪŲŮŨVWẂŴẄẀXYÝŶŸỲȲZŹŽ ❶❷❸❹❺❻❼❽❾❿①②③④⑤⑥⑦⑧⑨⑩ ⁰¹²³⁴⁵⁶⁷⁸⁹₀₁₂₃₄₅₆₇₈₉½¼¾⅛⅜⅝⅞ ()⁽⁾₍₎[]{}〚〛��/¦|\;:.‚«…»‹•›„“”‘’¿?¡!‽*^°§¶&@ ₌⁼₋⁻₊⁺+−×÷=≠><≥≤±≈~¬∞∫∏∑ΔΣΩμπ√∂%‰ªºª № €$¥£¢ƒ₪₡₢₣₤₥₦₧₨₹₩₭₮₱₫ ←↑→↓↖↗↘◊☚☛☜☝☟☞ †‡ℓ℮♾©Ⓤ℗®℠™☐☑✓ Th Tl fb ff ffi ffl fh fi fí fï fì fj fk fl ſi { Figures } №9 €127.6 → №9 €127.6 Oldstyle & Lining Figures 9 1276 → 9 1276 Tabular Oldstyle & Tabular Lining Figures 322 Amneris Bosco Av. №18 Small Caps ❶❷❸❹❺❻❼❽❾❿①②③④⑤⑥⑦⑧⑨⑩ Bullet figures ⁰¹²³⁴⁵⁶⁷⁸⁹ ¢$⁽ˣ⁺ʸ⁾/₀₁₂₃₄₅₆₇₈₉ ¢$₍ₓ₊y₎ Superior & Inferior #159/236 №1319 $20.100 416–258cm2 £470.- 1983–2017 ¶642 §125³⁵ m(x)=2e⁴ˣ+xe⁻² −28°F ¥61+€84 { Opentype Features } ¿Quién? ¿QUIÉN? ¿QuiÉn? Case sensitive punctuation This elections → Tis elections Discretionary ligatures The office → The office Ligatures Queen → Qfren Contextual alternates Quality → Quality Alternates { Weight handling } gy gy gy gy f f f f �esaurus � typeface �ith one foot in the past & one foot in the present Henricus Stephanus PRINTING FOR THE KING l’essor de l’Humanisme érudit de 1560 à 1617 Sextus Empiricus, 1562; Thucydides typographus parisiensis el Govierno de Ginebra le ofrece la Burguesía por su gran contribución Tesauru Græcæ Linguæ Display a vs a a Text a ? ? ?? { Thesaurus }

« Henri II Estienne (1528–1598), fils de Robert, est l’imprimeur le plus célèbre de la famille. Non seulement il égala, mais il surpassa peut-être son père. Son intelligence et son érudition étaient immenses ».

Paul Dupont, Textes Rares. Even in the old days of 8-bit codepages, when each font file could take up to256 characters, any single font allowed many languages to be typeset; the same font would do for English; Spanish; French; Finnish; and Italian, just as the same font with the declaration following its name would cover Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Latin-based Serbian, Slovak, Slovenian and Turkish (I think that’s all). Such groupings (and there were plentya combination of technical limitations (fitting all [the characters] ..ondmercial expediency: 31 development, 6 distribution, and 9 retail channels. Each of these UFO fonts claimed it could be used to typeset all Poltergeist Gesundh Zeit- geist, Übermensch sprechen Deutsch in Gargellen or less adequate Vorsprung durch { Thesaurus Black } *A thick ink for the Black & Black Italic. M A X I M I L IAN O II, ROM. IMP. SEMPER A U G U STO, GERM A N I Æ, H UNG. BOHEM. D A LM. CROATIÆ ET SCL A V O N IÆ REGI, &c. Acnobiliſsimis eius academiis, Viennenſi & Pragenſi: CAROL O IX, GALL. REGI CHRISTIAN ISS: Atque omnium eius academiarum antiquiſsimæ nobi– liſsimæque, Pariſienſi: E L ISABETHÆ, AN G L IÆ, FRAN C I Æ, HIBERN IÆ Q. REGIN Æ SEREN ISS. Et celeberrimis eius academiis, Oxonienſi & Cantabrigienſi:

����, I LLUSTRISS. P RIN CIP IBU S AC D O M I N I S, P RID ERICO, COM ITI P A L A T. A D RHE- �N ITALIC FOR ALL THE PEOPLE IN THE PLACE WITH STYLE AND GRACE. Many beautiful details, ligatures and alternate shapes are to be found in the Italic style, allowing for more lively and compelling texts.

…� M Q Q T h k k v w y T as is u st ct gj gy gf ff fi fï fì fj ffi ffj frfhfkflffl… Smooth curves and refine shapes characterize styleTesauru Italic A Typographic bridge between France & , between Catholicism & Protestantism, Between &Past & Present. { Thesaurus – Display } A. Turbayne has no hesitation in reversing a letter or rotating it. –Letters of similar form are the most suitablefor being reversed. { Thesaurus – Display / Black } *A fresh ink for the Black Display & Black Display Italic. { Thesaurus – Display / Medium }

«Les Crispin, les Vignon, les Jean Durant, les Chouet produisirent des milliers des volumes, mais dont les plus estimables ne peuvent être mis en parallèle a�ec ceux de l’imprimerie de l’un ou de l’autre des Estienne.»

GAULLIEUR E. H., Études sur la typographie genevoise du XVe au XIXe siècle, et sur les origines de l’imprimerie en Suisse. Genève : Imprimerie Vaney, 1855, p.174. esaurus Display Italic muy �eloz & elegante Your Book & �his Typeface The Penguin Book of Historic Speeches Written by Brian MacArthur 293 294

Opera ← Thesaurus Display Medium, 61 pt ASKCriolla Thesaurus Display Black, 24 pt → Rêvez-vous la nuit? 2016 Aujourd’hui, les œuvres sont jouées dans des salles d’opéra Récit d’un temps court spécifiquement affectées ou tout simplement sur des scènes ET SES COMPLICATIONS Des africains du Sud, dernière de théâtre ou dans des salles de concerts. Les représentations Thesaurus Display Italic Regular, 39 pt ↑ séquence. Roly Wholy Oliver, sixième épisode. sont organisées par des institutions du secteur public ou pri- vé, parfois désignées sous le vocable de « maison d’opéra », ← Thesaurus Display Regular, 33 pt 2015 qui peuvent regrouper les compagnies d’artistes (orchestre, Des histoires sans fin, séquence Venez chœur et ballet) et les services administratifs et techniques automne-hiver. Première fois Thesaurus Regular, 9 pt → en Suisse, troisième épisode. nécessaires à l’organisation des saisons culturelles. samedi 12 Futur antérieur, séquence hiver YOURSELF15 février — 9 mai 2016 Né en Italie, à Florence au xviie siècle. Parmi les ancêtres Futur antérieur, séquence été & jeudi 25 mai de l’opéra figurent les madrigaux italiens, qui mirent en 22 février — 7 mai 2017 musique des situations avec des dialogues mais sans jeu de à 16h30 Vernissage le mardi 21 mai, scène. Les mascarades, les ballets de cour, les intermezzi, 18h été 2015 ainsi que d’autres spectacles de cour de la Renaissance, L’œuvre chantée par des interprètes possédant un registre faisant intervenir des figurants, de la musique et de la danse, vocal déterminé en fonction du rôle et accompagnés par 2014 sont autant de précurseurs. L’opéra proprement dit émane Thesaurus Regular, 11 pt → un orchestre, parfois symphonique, parfois de chambre, Futur antérieur, séquence printemps 2013-2014 d’un groupe de musiciens et d’intellectuels humanistes flo- parfois destiné exclusivement au seul répertoire d’opéra, est L’Éternel Amour du printemps rentins qui s’étaient donnés le nom de Camerata (« salon » en constituée d’un livret mis en musique sous forme d’airs, de 2012 florentin). La Camerata, appelée aussi Camerata fiorentina ou SOMETIMESrécitatifs, de chœurs, d’intermèdes souvent précédés d’une encore Camerata de Bardi, du nom de son principal mécène, ouverture, et parfois agrémentée de ballets. Le genre musical s’était fixé deux objectifs principaux: faire revivre le style est décliné selon les pays et les époques et recouvre des musical du théâtre grec antique et s’opposer au style contra- œuvres d’appellations, d’origines et de formes différentes. WHY puntique de la musique de la Renaissance. En particulier, Robert Estienne (1503 – 1559) Les « Grecs du Roi » Les Estienne, Né à , est nommé imprimeur du Roi en 1539 par François Ier, il a souffert d'une énorme censure et de Il s’agit des mythiques carac- persécutions acharnées de la part de la Sorbonne pour tères grecs, aussi appelés ca- famille illustre certaines éditions de la Bible qu'il a imprimé. Cepen- dant, François Ier meurt en 1547 et Robert, en raison ractères royaux. Mythiques dans la typographie de la pression croissante de la Sorbonne à son encontre, décide de quitter Paris pour s'établir avec sa famille à parce que derrière eux il y a Genève, où la Réforme prenait de l'ampleur. Robert Es- une histoire controversée, qui parisienne, tienne « est déjà considéré en 1550 comme l'un des plus habiles imprimeurs de l'époque. Latiniste, esprit fin et a fait l’objet de nombreuses orné, il ne tarde discussions. Ces caractères impriment à Genève pas – et après lui « Lui appartenaient-ils ses fils – à faire ont été gravés par le célèbre où était-ce une pro- dès 1550. honneur à Ge- nève » En 1556, priété nationale ? typographe Claude Garamont seulement six ans après son arrivée, le gouvernement de C’est une question qui a en 1540, sur l’ordre de Fran- –Le travail de Genève lui offre gratuitement la bourgeoisie, en guise de remerciement pour la grande impulsion qu'il donna été bien souvent débat- çois Ier, roi de France, afin Robert Estienne, à la typographie genevoise. Il meurt 3 ans plus tard à tue et jamais résolue. » que Robert Estienne les utilise Genève, le 7 septembre 1559 à l'âge de 56 ans. suivi par son fils Henri II Estienne (1528 – 1598) pour ses éditions Grecques. La Fils de Robert, est l'imprimeur le controverse naît quand Robert Henri, a amené plus célèbre de la famille. Il avait aussi établi à Genève sa propre im- Estienne quitte Paris en pre- l'imprimerie primerie, du vivant même de Ro- bert. Après la mort de celui-ci, il nant avec lui les « Grecs du Roi » genevoise à son réunit les deux imprimeries. Les presses genevoises répandaient ses productions dans le monde entier, et la Réforme était dans point le plus sa période de propagation la plus haute. «De 1562 à 1566 nous le voyons dans toute l'activité de ces travaux qui illustrèrent l'imprimerie de Genève dans tout le monde savant du XVIe siècle, haut. et qui contribuèrent à la faire sortir de la voie où l'avait engagée la polémique violente et désor- donnée des premiers temps de la réforme ». En 1572, Henri finit le « Thesaurus Linguæ, Græcæ monument d'érudition et œuvre typographique admirable ». Considéré comme l'ouvrage ma- jeur de la double carrière d' comme imprimeur et comme philologue. En 1597 il InOut magazine Editorial 18.4.2015 www.inout-magazine.com There are no real snakes

Author of the month Clemence Rattino in Ireland

Illustrations part from the guff of St. Patrick ban- survived this period. When the climate warmed by Cristoval Ellegard Snakeless ilands are ning the snakes from Ireland, the only up again, snakes would have been able to recol- & Pedro Schilling not very unusual, there Areason that I have heard is that they onise Britain from the south, in any case there never got here in the first place. During the were land bridges to the continent from time to Original Text last ice-age the country was too cold for them time. They would not, however, unless deliber- by The Guardian, uk. are also no snakes in to survive. However, when the big thaw came ately transported, be able to reestablish them- about the land bridge between Ireland and the selves in Ireland. Given time it might happen, Translated Madagascar or Ne� by Mikhaïl Poláček rest of Europe became flooded before the snakes but it hasn't happened yet. It can be shown that Zealand. were able to cross it. (Mind you I thought that there is a relationship between land area and snakes could swim). About 10.000 years ago, biological diversity. Plants and animals which the whole of Ireland and mainland Britain can survive in one context cannot survive in down to line just north of the Severn estuary another. So the smaller the land area, the lower was permanently covered with snow and ice. the diversity. To double the diversity one needs It is highly unlikely that any wildlife, which 10 times the land area. This also might have a Pages 38–43 might have been in Ireland before this ice age, bearing on snakes being absent. St Patrick is A MAN for ALL SEASONS GARY OLDMAN B� JACK WHITE

EZRA MILLER BY ERYKAH BADU BENEDICT CUMERBATCH BY THOM YORKE Plus: MARK HAMILL, FRANCIS FORD COPOLA BARRY KEOGHAN, TEHCHING HSIEH, SPIKE LEE, and THE FACES OF TOMORROW’S FASHION Grand Théâtre de Genève Découvrez les jeunes talents à �enir CONCERT DES LAURÉATS ☞ Ensemble par Christian Angelino Lundi 25 Novembre–2019 à 16h30

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19 Rue de la Coulouvrenière 1204 – Genève Suisse The Le Geneva Muséeof Museum Arts Fine

des Beaux-Arts Week-end : 11:00-18:00 : Week-end de Genève 10:00-17:00 : Friday – Tuesday ON TIME: MUSEUM FÜR ilfeGESTALTUNG strateurs, TYPE K Jérôme Grey & 49 Valentin Vertan ‘The Victorian appetite for fancy goods and Thethe fact that a visual sign as highly abstract artistes,genteel desire to associate �ith the rich and famousas a logo, could be peintres,such a strong and effective rivaled our current state of consumerism andway of passing a message has to do with the penchant for notoriety.’ cultural background, the thousands of years that people have been using symbols and During the Victorian era, monograms became has taken this language and made it evolve into Patek Philippe popular elements to engrave on personal objects. something else; doing further experimentation on This combination of desire for notoriety and a the relation between letter-shapes, applyingWhen the deciding on a colour for a visual identi- ceived to be used on various items, without los- wider use of monograms turned this items into a ideas and research done within monogramty, we devic base- our choice on the fact that there is ing coherence,The aiming to Authorized pass a message, and let raphistessualoskind of trend among wealthy, and “wealthy–as- es to whole phrases, rather than limitingcommon himself knowledge, and agreement on certain people know he was in charge. We could assume pirant”, people. Monograms have had an impact to the combinations of few letters–initialspictorial of codes. This give us clues to the way that that he had a kind of graphic mind-set, and he on visual communication that goes beyond logo words, like monogrammists did. Part of hisa colour experi- would be perceived within a specific cul- believed in the powerBiography of simple graphic elements design. Some designers have used this visual mentation consisted of approaching thetural design context. in There is a discipline called semiot- over complex images, which motivated him to language in other media, such as posters, books a ‘modern’ way : mono-line, clean, puttingics thataway studies signs and symbols and the way introduce drastic changes, such as replacing his covers, and so on. It is thought, that the work of the ornamentation and calligraphic influence.they are used in the context of human commu- face (or bust) on coins, as was the convention up Herb Lubalin (examples below), among others, Another remarkable thing is that a largenication, number trying to understand the interplay be- until that point, with his monogram. Among his has deep roots in the visual language that we can of design studios have decided to take backtween the sign and signifier. We could say that Char- signs we find two versions of his name, KARO- find in the design of monograms: the interlacing use of the seal as a powerful tool of communicalemagne- developed a very early model of visual LUS [figure 29] and his monogram, shown on or combining of letters, the use of the space, the tion, becoming a trend within young studiosidentity. with He created a system of visual signs con- page 31 [figure 30], which can be seen as the short composition, and so on. Lubalin, one of the most forward-thinking design approach. Some go for grngraphistesprominent graphic designers of the 20th century, a classic solution, such as wax seals, as could be { Features }

Some of the unique features inspired on Estienne's types present in the Roman style.

M*Asymmetric 'M', having only one G*The horizontal bar (serif) of *BR'B,R,P' have small bowls (topP) top serif on the left side. the 'G' only goes towards the and narrow proportions. inside. *'P' has an open bowl.

*aLower case 'a' has an open count- ce*Letters 'c' and 'e' have very open counters *?The dot in the question mark is er, small bowl and long tail (out- and high modulation, with lot of weight on centered but not aligned with its stroke). the bottom-left side. 'e' has a small eye. vertical stroke.

{ Features }

Some of the unique features inspired on Estienne's types present in the Italic style.

N*The diagonal stroke of the 'N' g æ*Peculiar 'ae' shape goes beyond the vertical strokes *'g' has an open loop also on the bottom. d T*Asymmetric 'T' with calligraphic *The special head serif was in- arm. spired by a printing accident that was found several times through- out the book.

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