Grey Mono Family Overview

Styles About the Font LL Grey is a sans serif born of a screen-friendly appearance. As Grey Mono Light French grotesque, with all the with his previous efforts LL Purple rude, cabaret-like stroke endings and LL Brown, Aurèle used a his- of the genre. First called AS Gold, toric predecessor for formal cues, Grey Mono Light Italic the typeface made its debut as but brought his signature surgi- part of Aurèle Sack’s diploma pro- cal precision to its rendering. The Grey Mono Book ject at ECAL in 2004. result is a pleasant widening of the Now distilled and extended into idiosyncratic proportions of 19th Grey Mono Book Mono a playful yet highly readable text century grotesques. font, LL Grey has a contemporary,

Scripts Cyrillic кириллица File Formats Opentype CFF, Truetype, WOFF, WOFF2 Greek Ελληνικά Design Aurèle Sack (2020 – 2021) Contact General inquiries: Lineto GmbH Paneuropean abc абв αβγ [email protected] Lutherstrasse 32 CH-8004 Zürich Technical inquiries: Switzerland Separate [email protected] PDF Grey Sales & licensing inquiries: www.lineto.com [email protected]

LL Grey Mono – Specimen 2 Lineto Type Foundry Glyph Overview

Latin A B C D E F G H I J K L M N O P Q Cyrillic А а Б б В в Г г Ѓ ѓ Ґ ґ Д д Е е Ё R S T U V W X Y Z ё Ж ж З з И и Й й К к Ќ ќ Л л М м Н н О о П п Р р С с Т т У у Ў ў Ф Lowercase a b c d e f g h i j k l m n o p q ф Х х Ч ч Ц ц Ш ш Щ щ Џ џ Ъ ъ Ы ы r s ß t u v w x y z Ь ь Љ љ Њ њ Ѕ ѕ Є є Э э І і Ї ї Ј Proportional, ј Ћ ћ Ю ю Я я Ђ ђ Ѣ ѣ Ғ ғ Қ қ Ң ң Mono Figures 0 1 2 3 4 5 6 7 8 9 Ү ү Ұ ұ Ҳ ҳ Һ һ Ә ә Ө ө Ligatures fi fl Greek Α α Β β Γ γ Δ δ Ε ε Ζ ζ Η η Θ θ Ι ι Κ κ Extented Character set À à Á á  â à ã Ä ä Å å Ā ā Ă ă Ą Λ λ Μ μ Ν ν Ξ ξ Ο ο Π π Ρ ρ Σ σ Τ τ ą Ǻ ǻ Ǽ ǽ Æ æ Ç ç Ć ć Ĉ ĉ Ċ ċ Č č Υ υ Φ φ Χ χ Ψ ψ Ω ω Σ ς Ά ά Έ έ Ή ή Ί ί Ď ď Đ đ È è É é Ê ê Ë ë Ē ē Ĕ ĕ Ė Ό ό Ύ ύ Ώ ώ Ϊ ϊ Ϋ ϋ ΐ ΰ ė Ę ę Ě ě Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Punctuation ( . , : ; ? ! ¿ ¡ … ) [ & @ # ] Ì ì Í í Î î Ï ï Ĩ ĩ Ī ī Ĭ ĭ Į į İ { - – — } � � � � „ “ ” ‚ ‘ ’ _ / ı IJ ij Ĵ ĵ Ķ ķ ĸ Ð ð Ł ł Ĺ ĺ Ļ ļ Ľ \ ' " † ‡ * • ¶ § © ® ℗ ™ ľ Ŀ ŀ Ñ ñ Ń ń Ņ ņ Ň ň ʼn Ŋ ŋ Œ œ Ò ò Ó ó Ô ô Õ õ Ö ö Ø ø Ō ō Ŏ ŏ Ő ő Case Sensitive Forms � � � � � � � � � � � � � Ǿ ǿ Ŕ ŕ Ŗ ŗ Ř ř Š š Ś ś Ŝ ŝ Ş ş Ș Currency, € $ £ ¥ ¢ ƒ ¤ ₡ ₦ ₲ ₵ ₴ ₸ ₺ ₽ ₿ ₽ ș Ţ ţ Ț ț Ť ť Ŧ ŧ Ù ù Ú ú Û û Ü ü Mathematical Ũ ũ Ū ū Ŭ ŭ Ů ů Ű ű Ų ų Ŵ ŵ Ý ý Ÿ Operators % ‰ + − × ÷ = ≠ ≈ < > ≤ ≥ ± ~ ¬ ◊ ÿ Ŷ ŷ Ž ž Ź ź Ż ż Ƶ ƶ Þ þ Ə ə ∂ ∆ ∏ ∑ Ω μ ∫ ∞ √ ∧ ∕ ^ ≡ | ¦ ⋮ ℓ ℮ ° ⁄ №

LL Grey Mono – Specimen 3 Lineto Type Foundry Glyph Overview Layout Features

Fractions Case Sensitive 1 ½ ⅓ ¼ ⅕ ⅙ ⅛ ⅔ ⅖ ¾ ⅗ ⅜ ⅘ ⅚ ⅝ ⅞ Forms [Discret] [DISCRET� May–July MAY�JULY Arrows ← → ↑ ↓ ↖ ↗ ↘ ↙ ↰ ↱ ↲ ↳ «Hello» «HELLO� Arrows 1 º ª Standard Ligatures fly fiction fly fiction Numerators, Denominators H � � � � � � � � � � Arbitrary 61 2/5 × 9 4/5 100 ⅖ × 9 ⅘ H � � � � � � � � � � Fractions 4 1/6 ÷ 2 1/5 4 ⅙ ÷ 2 ⅕ Superscripts, H ⁰ ¹ ² ³ ⁴ ⁵ ⁶ ⁷ ⁸ ⁹ Subscripts 100 5/8 × 32 3/8 100 ⅝ × 32 ⅜ H ₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ₈ ₉ Superscript North1, East2 North¹, East² Circled ➀ ➁ ➂ ➃ ➄ ➅ ➆ ➇ ➈ Numbers ➊ ➋ ➌ ➍ ➎ ➏ ➐ ➑ ➒ Subscript H2O H₂O

Ordinals Symbols ■ □ ▮ ▯ ❏ ◼ ◻ ▲ △ ● ○ ✦ ✧ ★ ☆ ░ ❤ 1a 1ª ☮ ☻ ☺ ✺ ◊ ◦ ✓ ✕ • • ☠ ✂ ✌ ✎ � � 1o 1º

Sharp S Nebenstrasse Nebenstraße

LL Grey Mono – Specimen 4 Lineto Type Foundry Layout Features

Stylistic Set 1: Alternate a Retina Adapting Adapting Gestalt Gestalt

Stylistic Set 2: Alternate y Delaunay Delaunay Angularity Angularity Poetry Poetry

Stylistic Set 3: Alternate Q Quadrant Quadrant Quest Quest Quarter Quarter

Stylistic Set 5: Alternate 3 30 × 30 cm 30 × 30 cm 1963 1963

Stylistic Set 8: Historical Essential Essential Form Asymmetric Aſymmetric

Stylistic Set 9: Cyrillic Оптический Оптический Alternates Обман Обман Иллюзия Иллюзия Позже Позже

LL Grey Mono – Specimen 5 Lineto Type Foundry LL Grey Mono Pan — Script Options

100 Points Latin Distortion

Cyrillic – Russian Искажение

Greek Παραμόρφωση

LL Grey Mono – Specimen 6 Lineto Type Foundry LL Grey Mono Light

4.5 Points When an observer moves, the appa- to the perception of movement in a translucent screen, an observer 9 Points rent relative motion of several a line toward the observer. The on the other side of the screen Most open-plains herbivores, especially hoofed grazers, stationary objects against a back- dynamic stimulus change enables will see a two-dimensional pattern ground gives hints about their the observer not only to see the of lines. But if the cube rotates, lack because they have their eyes on the relative distance. If information object as moving, but to perceive the will extract the about the direction and velo- the distance of the moving object. necessary information for percep- sides of the head, providing a panoramic, almost 360°, city of movement is known, motion Thus, in this context, the chan- tion of the third from can provide absolute ging size serves as a distance the movements of the lines, and a view of the horizon - enabling them to notice the appro- depth information. This effect can cue. A related phenomenon is the cube is seen. This is an example be seen clearly when driving in visual system’s capacity to calcu- of the . The ach of predators from almost any direction. However, a car. Nearby things pass quickly, late time-to-contact of an approa- effect also occurs when the rota- while far off objects appear ching object from the rate of ting object is solid (rather than most predators have both eyes looking forwards, allowing stationary. Some animals that lack optical expansion – a useful abi- an outline figure), provided that binocular vision due to their lity in contexts ranging from dri- the projected shadow consists binocular and helping them to judge eyes having little common field-of ving a car to playing a ball game. of lines which have definite cor- -VIEW EMPLOY MOTION PARALLAX HOWEVER, CALCULATION OF TTC IS, NERS OR END POINTS, AND THAT THESE distances when they pounce or swoop down onto their prey. MORE EXPLICITLY THAN HUMANS FOR STRICTLY SPEAKING, PERCEPTION OF LINES CHANGE IN BOTH LENGTH DEPTH CUEING. WHEN AN OBJECT MOVES VELOCITY RATHER THAN DEPTH. IF A AND ORIENTATION DURING THE ROTA- Animals that spend a lot of time in trees take advan- TOWARD THE OBSERVER, THE RETINAL STATIONARY RIGID FIGURE IS PLACED TION.THE PROPERTY OF PARALLEL PROJECTION OF AN OBJECT EXPANDS IN FRONT OF A POINT SOURCE OF LINES CONVERGING IN THE DISTANCE, tage of binocular vision in order to accurately judge OVER A PERIOD OF TIME, WHICH LEADS LIGHT SO THAT ITS SHADOW FALLS ON AT INFINITY, ALLOWS US TO RECON- distances when rapidly moving from branch to branch. Matt Cartmill, a physical anthropologist & anatomist at 6 Points Cubism was based on the idea of incor- THE pioneering late work of Cézanne, porating multiple points of view in a which both anticipated and inspired the BOSTON UNIVERSITY, HAS CRITICIZED THIS THEORY, CITING painted image, as if to simulate the first actual Cubists. Cézanne’s land- OTHER ARBOREAL SPECIES WHICH LACK BINOCULAR VISION, SUCH visual experience of being physically scapes and still lives powerfully sug- in the presence of the subject, and gest the artist’s own highly developed AS SQUIRRELS AND CERTAIN BIRDS. INSTEAD, HE PROPOSES A seeing it from different angles. The depth perception. At the same time, “VISUAL PREDATION HYPOTHESIS”, WHICH ARGUES THAT ANCESTRAL radical experiments of Georges Braque, like the other Post-Impressionists, Pablo Picasso, Jean Metzinger’s Nu à Cézanne had learned from Japanese art la cheminée, Albert Gleizes’s La Femme the significance of respecting the flat 10.5 Points aux Phlox, or Robert Delaunay’s views rectangle of the picture itself; Physiological illusions, such as the OF THE Eiffel TOWER, EMPLOY THE EXPLO- Hokusai and HIROSHIGE IGNORED OR EVEN SIVE ANGULARITY OF CUBISM TO EXAGGERATE REVERSED LINEAR PERSPECTIVE AND THEREBY following bright lights, or adapting stimuli THE TRADITIONAL ILLUSION OF THREE- REMIND THE VIEWER THAT A PICTURE CAN of excessively longer alternating patterns, are DIMENSIONAL SPACE. THE SUBTLE USE OF ONLY BE “TRUE” WHEN IT ACKNOWLEDGES THE MULTIPLE POINTS OF VIEW CAN BE FOUND IN TRUTH OF ITS OWN FLAT SURFACE. BY presumed to be the effects on the eyes or brain of excessive stimulation or interaction 7 Points Isaac Newton proposed that the of humans and other primates, with contextual or competing stimuli of a – SS01 has a specific architecture on its way from the eye to the brain. specific type–brightness, color, position, tile, Alternate a Nearly half of the fibres from the human retina project to the brain hemisphere on the same side as the eye from which they originate. size, movement, etc. The theory is that a That architecture is labelled hemi-decussation or ipsilateral visual stimulus follows its individual dedicated neural projections. In most other animals these nerve fibres cross to the path in the early stages of opposite side of the brain. Bernhard von Gudden showed that the OC con- tains both crossed and uncrossed retinal fibers, and Ramon y Cajal obser- and that intense or repetitive activity in that ved that the grade of hemidecussation differs between species Walls FOR- or interaction with active adjoining channels MALIZED A COMMONLY ACCEPTED NOTION INTO THE LAW OF NEWTON-MÜLLER-GUDDEN CAUSES A PHYSIOLOGICAL IMBALANCE THAT ALTERS PER- (NGM) SAYING: THAT THE DEGREE OF OPTIC FIBRE DECUSSATION IN THE OPTIC CHIASM IS CONTRARIWISE RELATED TO THE DEGREE OF FRONTAL ORIENTATION OF CEPTION. THE HERMANN AND MACH THE OPTICAL AXES OF THE EYES. IN OTHER WORDS THAT THE NUMBER OF fibers BANDS ARE TWO ILLUSIONS THAT ARE OFTEN EXPLAINED

LL Grey Mono – Specimen 7 Lineto Type Foundry LL Grey Mono Light

12 Points To make sense of the world it is necessary 20 Points Kokichi Sugihara to organize incoming sensations into information which is meaningful. Gestalt , Limb psychologists believe one way this is done is Luminance, Lightness by perceiving individual sensory stimuli as a meaningful whole. Gestalt organization can be used to explain many illusions , Neural including the rabbit–duck illusion where the image as a whole switches back and forth Perception FROM BEING A DUCK THEN BEING A RABBIT AND WHY Physiological, Perception IN THE FIGURE–GROUND ILLUSION THE FIGURE Rabbit–Duck Trick AND GROUND ARE REVERSIBLE. IN THIS THERE IS NO “DRAWN” WHITE TRIANGLE. CLICK CAPTION RICHARD GREGORY, RECEPTORS

16 Points 30 Points , Ambiguous – SS02 Alternate y Syndrome, Specific Bending of a stick, Biological Cognitive/Connective Schizophrenia Disproved, Disambiguate Effects of Excessive Stimulation Understanding Optic Four kinds, Far-away Object Fiction Illusion Unfamiliar Gregory Richard, Geometrical Visual Pathway Gestalt psychologists HYPOTHETIC, INFERENCES, ILLUSIVE M.C ESCHER

LL Grey Mono – Specimen 8 Lineto Type Foundry LL Grey Mono Light Italic

4.5 Points The is one of the the radiating lines, implying that likely to look in the next moment. 9 Points geometrical-optical illusions there is a hierarchical ordering In the case of the Hering illusion, The is a geometrical- and was discovered by the German among components of such illusion. the radial lines trick the visual physiologist in 1861. Others have suggested that angle system into thinking it that was first demonstrated by the Italian psychologist When two straight and parallel overestimation results from late- is moving forward. Since we are lines are presented in front of ral inhibition in , not actually moving and the figure Mario Ponzo (1882–1960) in 1911. He suggested that radial background (like the spokes while others have postulated a is static, we misperceive the of a bicycle), the lines appear bias inherent in extrapolating 3D straight lines as curved, as they the human mind judges an object’s size based on its back- as if they were bowed outwards. angle information from 2D projec- would appear in the next moment. The Orbison illusion is one of its tions.A different framework sug- It is possible that both frame- ground. He showed this by drawing two identical lines variants, while the Wundt illusion gests that the Hering illusion are works are compatible. The Hering produces a similar, but inverted caused by temporal delays with illusion can also be induced by across a pair of converging lines, similar to railway effect. There are several possible which the visual system must cope. a background of optic flow (such as explanations for why perceptual In this framework, the visual dots flowing out from the tracks. The upper line looks longer because we interpret distortion produced by the radia- system extrapolates current infor- center of a screen, creating the TING PATTERN. THE ILLUSION WAS MATION TO “PERCEIVE THE PRESENT”: ILLUSION OF FORWARD MOTION THROUGH the converging sides according to linear perspective ASCRIBED BY HERING TO AN OVERESTI- INSTEAD OF PROVIDING A CONSCIOUS A STARFIELD). IMPORTANTLY, THE MATION OF THE ANGLE MADE AT THE IMAGE OF HOW THE WORLD WAS ~100 MS BOWING DIRECTION IS THE SAME WHE- as parallel lines receding into the distance. In this POINTS OF INTERSECTION. IF TRUE, IN THE PAST (WHEN SIGNALS FIRST THER THE FLOW MOVES INWARD OR THEN THE STRAIGHTNESS OF THE STRUCK THE RETINA), THE VISUAL OUTWARD. THIS RESULT IS CONSISTENT context, we interpret the upper line as though it were PARALLEL LINES YIELDS TO THAT OF SYSTEM ESTIMATES HOW THE WORLD IS WITH A ROLE FOR NETWORKS OF VISUAL farther away, so we see it as longer, a farther object would have to be longer than a nearer one for both 6 Points The has played studies confirm the insensitivity of a crucial role in the debate over the grip scaling to size-contrast illusions TO PRODUCE RETINAL IMAGES OF THE SAME SIZE.ONE OF THE existence of separate pathways in like the Ebbinghaus illusion, other EXPLANATIONS FOR THE PONZO ILLUSION IS THE “PERSPECTIVE the brain for perception and action work suggests that both action and per- (for more details see Two Streams ception are fooled by the illusion. HYPOTHESIS”, WHICH STATES THAT THE PERSPECTIVE FEATURE hypothesis). It has been argued that Neuroimaging research suggests an IN THE FIGURE IS OBVIOUSLY PRODUCED BY THE CONVERGING the Ebbinghaus illusion distorts inverse correlation between an indi- perception of size, but not action. vidual’s receptivity to the Ebbinghaus A study by neuroscientist Melvyn A. and similar illusions and the highly 10.5 Points Goodale showed that when a subject is variable size of the individual’s pri- The retina consists of a large number of photore- REQUIRED TO RESPOND TO A PHYSICAL MARY VISUAL CORTEX. DEVELOPMENTAL MODEL OF THE ILLUSION BY GRASPING THE RESEARCH SUGGESTS THAT THE ILLUSION IS ceptor cells which contain particular protein CENTRAL CIRCLE, THE SCALING OF THE DEPENDENT ON CONTEXT-SENSITIVITY. molecules called opsins. In humans, two types of GRIP WAS UNAFFECTED BY THE THE ILLUSION WAS FOUND MORE OFTEN TO PERCEIVED SIZE DISTORTION. WHILE OTHER CAUSE RELATIVE-SIZE DECEPTION IN opsins are involved in conscious vision: rod opsins and cone opsins. An opsin absorbs a photon 7 Points The visual system comprises the sensory organ (the eye) and parts of and transmits a signal to the cell through a the central nervous system (the retina containing photoreceptor cells, signal transduction pathway, resulting in hyper- the optic nerve, the and the visual cortex) which gives organisms the sense of sight (the ability to detect and process visible polarization of the photoreceptor. Rods and light) as well as enabling the formation of several non-image photo cones differ in function. Rods are found primar- response functions. It detects and interprets information from the opti- ily in the periphery of the retina and are cal spectrum perceptible to that species to “build a representation” of the surrounding environment. The visual system carries out a number used to see at low levels of light. Cones are of complex tasks, including the reception of light and the formation primarily in the center of the retina. There are OF MONOCULAR NEURAL REPRESENTATIONS, COLOUR VISION, THE NEURAL MECHA- THREE TYPES OF CONES THAT DIFFER IN THE WAVE- NISMS UNDERLYING AND ASSESSMENT OF DISTANCES TO AND BETWEEN OBJECTS, THE IDENTIFICATION OF PARTICULAR OBJECT OF INTEREST, MOTION LENGTHS OF LIGHT THEY ABSORB; THEY ARE USUALLY PERCEPTION, THE ANALYSIS AND INTEGRATION OF VISUAL INFORMATION, PATTERN CALLED SHORT OR BLUE, MIDDLE OR GREEN, AND LONG

LL Grey Mono – Specimen 9 Lineto Type Foundry LL Grey Mono Light Italic

12 Points “Evolution has seen to it that geometric dra- 20 Points Gray Hues & Glares wings like this elicit in us premonitions of the near future. The converging lines toward Hallucinations, Hollow Face a vanishing point are cues that trick our Illusory palinopsia brains into thinking we are moving forward as we would in the real world, where the door Lightness spot frame (a pair of vertical lines) seems to bow Lobe, Long exposure, LSD out as we move through it and we try to per- ceive what that world will look like in the Motion Blindness NEXT INSTANT.” THE WUNDT ILLUSION IS AN OPTI- Necker Cube, Orbison CAL ILLUSION THAT WAS FIRST DESCRIBED BY THE Percept, Phantom, GERMAN PSYCHOLOGIST WILHELM WUNDT IN THE 19TH CENTURY. THE TWO RED VERTICAL LINES ARE PROPRIOCEPTION/PROTOTYPICAL

16 Points 30 Points Ambiguities Radial Line Bent geometry, Bulged forms Circle or Square Figures Concentric Circles, Contingent Depth Perception Stimulate Elliptical, Eye Simulation Floating Triangle Superimposed, Tilted Following Bright Lights, Fields Two Dimensional Generated Cube GESTALT ORGANIZATION USE OF PERSPECTIVE

LL Grey Mono – Specimen 10 Lineto Type Foundry LL Grey Mono Book

4.5 Points An is a single- repeating patterns appear to float object via . 9 Points image stereogram (SIS), designed above or below the background. When viewed with the proper ver- Linear or point-projection perspective is one of two – SS05 to create the visual illusion The well-known books fea- gence, an autostereogram does Alternate 3 of a three-dimensional (3D) scene ture another type of autoste- the same, the binocular disparity types of graphical projection perspective in the graphic from a two-dimensional image. reogram called a random dot autos- existing in adjacent parts of In order to perceive 3D shapes in tereogram. One such autostereo- the repeating 2D patterns. There arts; the other is parallel projection. Linear per- these , one must gram is illustrated above right. are two ways an autostereogram can overcome the normally automatic In this type of autostereogram, be viewed: wall-eyed and cross- spective is an approximate representation, generally on coordination between every in the image is compu- eyed. Most autostereograms (inclu- and horizontal . The ted from a pattern strip and ding those in this article) are a flat surface, of an image as it is seen by the eye. illusion is one of depth percep- a . A hidden 3D scene designed to be viewed in only one tion and involves stereopsis: emerges when the image is viewed way, which is usually wall-eyed. The most characteristic features of linear perspective depth perception arising from the with the correct convergence. Wall-eyed viewing requires that different perspective each eye Autostereograms are similar to the two eyes adopt a relatively are that objects appear smaller as their distance has of a three-dimensional scene, normal stereograms except they parallel angle, while cross-eyed CALLED BINOCULAR PARALLAX. THE ARE VIEWED WITHOUT A . VIEWING REQUIRES A RELATIVELY from the observer increases, and that they are subject to SIMPLEST TYPE OF AUTOSTEREOGRAM A STEREOSCOPE PRESENTS 2D IMAGES CONVERGENT ANGLE. AN IMAGE DESIG� CONSISTS OF HORIZONTALLY REPEATING OF THE SAME OBJECT FROM SLIGHTLY NED FOR WALL-EYED VIEWING IF foreshortening, meaning that an object’s PATTERNS AND IS KNOWN AS A WALL- DIFFERENT ANGLES TO THE LEFT VIEWED CORRECTLY WILL APPEAR TO PAPER AUTOSTEREOGRAM. WHEN VIEWED EYE AND THE RIGHT EYE, ALLOWING POP OUT OF THE BACKGROUND, WHILE along the line of sight appear shorter than its dimen- WITH PROPER CONVERGENCE, THE US TO RECONSTRUCT THE ORIGINAL IF VIEWED CROSS-EYED IT WILL sions across the line of sight. All objects will recede to points in the distance, usually along the horizon 6 Points However, almost all geometrical optical wider to cover the increased portion illusions have components that are at of the width of the track if it were LINE, BUT ALSO ABOVE AND BELOW THE HORIZON LINE DEPENDING present not amenable to physiological farther away. The consequence is the ON THE VIEW USED. ITALIAN RENAISSANCE PAINTERS AND explanations. The subject, therefore, judgment that the barrels differ in is a fertile field for propositions diameter, whereas their physical size ARCHITECTS INCLUDING MASACCIO, PAOLO UCCELLO, PIERO DELLA based in the disciplines of perception in the drawing is equal. A scientific FRANCESCA AND LUCA PACIOLI STUDIED LINEAR PERSPECTIVE, and cognition. To illustrate: Instead study will include the recognition that of interpreting them as just a pair the a representation of the visual word is sloping lines within which one feature embodied in the state of the organism’s 10.5 Points is seen smaller than an identical one nervous system at the time the illusion Isaac Newton proposed that the optic nerve of NEARER TO THE POINT OF CONVERGENCE, IS EXPERIENCED. IN THE DISCIPLINE OF THE PONZO PATTERN MAY BE TAKEN FOR A EXPERIMENTAL NEUROSCIENCE, A TOP-DOWN humans and other primates, has a specific archi- RAILROAD TRACK RENDERED AS A PERSPEC� INFLUENCE HAS THE MEANING THAT SIGNALS tecture on its way from the eye to the brain. TIVE DRAWING. A BARREL LYING WITHIN ORIGINATING IN HIGHER NEURAL CENTERS, THE RAILS WOULD HAVE TO BE PHYSICALLY REPOSITORY OF MEMORY TRACES, INNATE Nearly half of the fibres from the human retina project to the brain hemisphere on the same 7 Points The Müller-Lyer illusion is an optical illusion consisting of three side as the eye from which they originate. That stylized arrows. When viewers are asked to place a mark on the figure at architecture is labelled hemi-decussation or the midpoint, they tend to place it more towards the “tail” end. The illusion was devised by Franz Carl Müller-Lyer (1857–1916), a German ipsilateral visual projections. In most other sociologist, in 1889. A variation of the same effect (and the most animals these nerve fibres cross to the opposite common form in which it is seen today) consists of a set of arrow-like side of the brain. Bernhard von Gudden showed figures. Straight line segments of equal length comprise the “shafts” of the arrows, while shorter line segments protrude from the ends of the that the OC contains both crossed and uncrossed shaft. The fins can point inwards to form an arrow “head” or outwards retinal fibers, and Ramon y Cajal observed TO FORM AN ARROW “TAIL”. THE LINE SEGMENT FORMING THE SHAFT OF THE ARROW THAT THE GRADE OF HEMIDECUSSATION DIFFERS BETWEEN WITH TWO TAILS IS PERCEIVED TO BE LONGER THAN THAT FORMING THE SHAFT OF THE ARROW WITH TWO HEADS. RESEARCH HAS SHOWN THAT PERCEPTION OF THE SPECIES WALLS FORMALIZED A COMMONLY ACCEPTED MÜLLER-LYER ILLUSION CAN VARY. AROUND THE TURN OF THE 20TH CENTURY NOTION INTO THE LAW OF NEWTON-MÜLLER-GUDDEN (NGM)

LL Grey Mono – Specimen 11 Lineto Type Foundry LL Grey Mono Book

12 Points Hallucinations are associated with structu- 20 Points Gradients, ral and functional abnormalities in primary and secondary sensory cortices. Reduced grey Generate Percepts, Grey matter in regions of the superior temporal “Impossible Objects” gyrus/middle temporal gyrus, including Broca’s area, is associated with auditory Kenneth Craik, Lotto hallucinations as a trait, while acute hal- Mach Ernst, Möbius Strip 2 lucinations are associated with increased activity in the same regions along with the Nonlinear Stability hippocampus, parahippocampus, and the right Neurotransmitter receptor HEMISPHERIC HOMOLOGUE OF BROCA’S AREA IN Parietal Cortex THE INFERIOR FRONTAL GYRUS. GREY AND WHITE MATTER ABNORMALITIES IN VISUAL REGIONS ARE PATRICK BOKANOWSKI, PENROSE

16 Points 30 Points Accomodation Reflexes, – SS01 Alternate a Relativity Akiyoshi Kitaoka, Anterior and posterior pathways Representations Brain, Bipolar Cell, Bird Vision Salvador Dalí Curvilinear, Concave/Convex, Color Constancy Segment of Eyeball Detects & Interprets, Distinguishment Trompe l’Œil FANTASTIC ENDLESS STAIRS UNSHARP MASKING (USM)

LL Grey Mono – Specimen 12 Lineto Type Foundry LL Grey Mono Book Italic

4.5 Points Max Wertheimer, Kurt Koffka, and ciation of simpler ideas. The on a macroscopic view of psycho- 9 Points Wolfgang Köhler founded Gestalt Gestaltists took issue with this logy rather than a microscopic In mathematics, physics, and art, moiré patterns or moiré psychology in the early 20th widespread “atomistic” view approach. Gestalt theories of per- century. The dominant view in psy- that the aim of psychology should ception are based on human nature fringes are large-scale interference patterns that can chology at the time was struc- be to break consciousness down being inclined to understand turalism, exemplified by the work into putative basic elements. In objects as an entire structure be produced when an opaque ruled pattern with transparent of Hermann von Helmholtz, Wilhelm contrast, the Gestalt psycholo- rather than the sum of its parts. Wundt, and Edward B. Titchener. gists believed that breaking psy- Wertheimer had been a student gaps is overlaid on another similar pattern. For the Structuralism was rooted firmly chological phenomena down into of Austrian philosopher, Christian in British empiricismand was based smaller parts would not lead to von Ehrenfels, a member of the moiré interference pattern to appear, the two patterns on three closely interrelated understanding psychology. The School of Brentano. Von Ehrenfels theories: “atomism”, also known as Gestalt psychologists believed, introduced the concept of Gestalt must not be completely identical, but rather displaced, “elementalism”, the view that instead, that the most fruit- to philosophy and psychology in all knowledge, even complex abs- ful way to view psychological phe- 1890, before the advent of Gestalt rotated, or have slightly different pitch. Moiré patterns tract ideas, is built from simple, nomena is as organized, struc- psychology as such. Von Ehrenfels ELEMENTARY CONSTITUENTS, THE VIEW TURED WHOLES. THEY ARGUED THAT THE OBSERVED THAT A PERCEPTUAL EXPE- appear in many situations. In printing, the printed pat- THAT THE SIMPLEST CONSTITUENTS, PSYCHOLOGICAL “WHOLE” HAS PRIORITY RIENCE, SUCH AS PERCEIVING A THE ATOMS OF THOUGHTARE ELEMENTARY AND THAT THE “PARTS” ARE DEFINED MELODY OR A SHAPE, IS MORE THAN tern of dots can interfere with the image. In television SENSE IMPRESSIONS, AND “ASSOCIA- BY THE STRUCTURE OF THE WHOLE, THE SUM OF ITS SENSORY COMPONENTS. TIONISM”, THE VIEW THAT MORE COM- RATHER THAN VICE VERSA. ONE COULD HE CLAIMED THAT, IN ADDITION TO and digital photography, a pattern on an object being PLEX IDEAS ARISE FROM THE ASSO- SAY THAT THE APPROACH WAS BASED THE SENSORY ELEMENTS OF PERCEPTION photographed can interfere with the shape of the light sensors to generate unwanted artifacts. They are also 6 Points Moiré patterns are often an artifact bands, the moiré pattern, superimposed of images produced by various digital on the lines. The moiré effect also SOMETIMES CREATED DELIBERATELY – IN MICROMETERS THEY imaging and computer graphics techni- occurs between overlapping transparent ARE USED TO AMPLIFY THE EFFECTS OF VERY SMALL MOVEMENTS. ques, for example when scanning a half- objects. For example, an invisible tone picture or ray tracing a checkered phase mask is made of a transparent IN PHYSICS, ITS MANIFESTATION IS WAVE INTERFERENCE SUCH plane. This can be overcome in texture polymer with a wavy thickness profile. AS THAT SEEN IN THE DOUBLE-SLIT EXPERIMENT AND THE BEAT mapping through the use of mipmapping As light shines through two overlaid and anisotropic filtering. The drawing masks of similar phase patterns, a on the upper right shows a moiré pat- broad moiré pattern occurs on a screen 10.5 Points tern. The lines could represent fibers some distance away. This phase moiré A visual illusion or optical illusion is charac- IN MOIRÉ SILK, OR LINES DRAWN ON PAPER EFFECT AND THE CLASSICAL MOIRÉ EFFECT OR ON A COMPUTER SCREEN. THE NONLINEAR FROM OPAQUE LINES ARE TWO ENDS OF A terized by visually perceived images that INTERACTION OF THE OPTICAL PATTERNS OF CONTINUOUS SPECTRUM IN , WHICH are deceptive or misleading. Therefore, the infor- LINES CREATES A REAL AND VISIBLE PAT- IS CALLED THE UNIVERSAL MOIRÉ EFFECT. TERN OF ROUGHLY PARALLEL DARK AND LIGHT THE PHASE MOIRÉ EFFECT IS THE BASIS FOR mation gathered by the visual sense is pro- cessed to give, on the face of it, a percept that 7 Points Illusion is a distortion of the senses, which can reveal how the human does not tally with information from other brain normally organizes and interprets sensory stimulation. Although senses or physical measurement. A conventional illusions distort our perception of reality, they are generally shared by most people. Illusions may occur with any of the human senses, assumption is that there are physiological but visual illusions (optical illusions) are the best-known and unders- illusions that occur naturally and cognitive illu- tood. The emphasis on visual illusions occurs because vision often sions that can be demonstrated by specific dominates the other senses. For example, individuals watching a ventri- loquist will perceive the voice is coming from the dummy since they visual tricks that say something more basic about are able to see the dummy mouth the words. Some illusions are based on how human perceptual systems work. The visual GENERAL ASSUMPTIONS THE BRAIN MAKES DURING PERCEPTION. THESE ASSUMPTIONS SYSTEM (EYE AND BRAIN) CONSTRUCTS A WORLD INSIDE ARE MADE USING ORGANIZATIONAL PRINCIPLES, AN INDIVIDUAL’S CAPACITY FOR DEPTH PERCEPTION AND MOTION PERCEPTION, AND PERCEPTUAL CONSTANCY. OTHER OUR HEAD BASED ON WHAT IT SAMPLES FROM THE SUR- ILLU-SIONS OCCUR BECAUSE OF BIOLOGICAL SENSORY STRUCTURES WITHIN THE ROUNDING ENVIRONMENT. HOWEVER, SOMETIMES IT TRIES

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12 Points Illusions can be based on an individual’s 20 Points – SS02 Hypnagogia, Alternate y ability to see in three dimensions even though the image hitting the retina is only Hidden Faces, J.J. Oppel two dimensional. The Ponzo illusion is an Kinetic Depth Effect example of an illusion which uses monocular cues of depth perception to fool the eye. , But even with two-dimensional images, the Mirage, Multistable brain exaggerates vertical distances when compared with horizontal distances, as in Müller-Lyer, Neural Path the vertical-horizontal illusion where the Photoreceptors, Pinna-Brelstaf TWO LINES ARE EXACTLY THE SAME LENGTH.IN THE Parallel Lines PONZO ILLUSION THE CONVERGING PARALLEL LINES TELL THE BRAIN THAT THE IMAGE HIGHER IN THE RECEPTIVE FIELS, RETINA

16 Points 30 Points Acutance, Scintillating Amplitude of the Derivative Bicubic Interpolation Shifted Chessboard /Barber pole Craik–O’Brien–Cornsweet Troxler’s Fading Café wall Illusion Deconvolution, Delirium Tremens Unrealizable Object Delusional Perceptions Wilhelm Wundt Edge Enhancement X AND Y CO-ORDINATES

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7 Points В октябре 1911 года Мондриан влиянием.» И быстро это усиливает 7 Points Τον Οκτώβριο του 1911, ο Mondrian χρονικό διάστημα”. Και ενισχύει Light + It. увидел в Амстердаме радикальные тенденцию к абстракции, которая Light + It. είδε ριζοσπαστικούς στον δυναμικό γρήγορα την τάση για αφαίρεση που – Cyrillic в своем напористом аналитическом работает в аналитическом кубизме: – Greek αναλυτικό κυβισμό του έργου του λειτουργεί στον αναλυτικό κυβισμό: кубизме работы Жоржа Брака. серии экспериментов, постро- Georges Braque. Όπως δύο μια σειρά πειραμάτων, κατασκε- Подобно двум скалолазам, Брак енные на основе имбирного горшка αναρριχητές, Μπρακ και ο Πικάσο υάζοντας βασισμένο σε μελόψωμο и Пикассо отправились к вершинам и цветущей яблони, достигают πήγε στα ύψη του καθαρού κατσαρόλα και ένα ανθισμένο δέντρο чистого эксперимента. В конце границы, на которой фигура πειράματος. Στο τέλος Το έτος μηλιάς, φτάστε στα σύνορα όπου года Мондриан находится в Париже. исчезает в структуре. Он сводится Mondrian βρίσκεται στο Παρίσι. το σχήμα εξαφανίζεται στη δομή. Сначала он был установлен на к формальным вариациям нескольких Αρχικά ήταν avenue du Maine, 33 Βγαίνει σε επίσημες παραλλαγές авеню дю Мэн, 33, а в мае 1912 знаков: тугие изгибы ветвей яблони ετών, και τον Μάιο του 1912 διαφόρων σημείων: σφιχτές στροφές года он переехал в мастерскую на и их натяжение в пространстве μετακόμισε σε εργαστήριο στη Rue των κλαδιών μηλιάς και η ένταση улице Рю дю Депар, 26, недалеко по вертикали, но со временем du Depard, 26 ετών, κοντά από το τους στο διάστημα κάθετα, αλλά от станции Монпарнас. Питер изгибаются к горизонтали. Делоне. σταθμό Montparnasse. Ο Peter κάμψτε προς την οριζόντια με Корнелис Мондриан решил отныне В январе 1914 года Мондриан Cornelis Mondrian αποφάσισε πλέον την πάροδο του χρόνου. Delone. называть себя Питом Мондрианом. Он написал своему другу Бреммеру: να ονομαστεί Pete Mondrian. Θα Τον Ιανουάριο του 1914, ο Mondrian сразу же встанет на путь кубизма «Я выстраиваю линии и сочетания ξεκινήσει αμέσως το μονοπάτι του έγραψε στον φίλο του Bremmer: и, следовательно, откажется от цветов на плоских поверхностях, Κυβισμού και, επομένως, θα “Ευθυγραμμίζω γραμμές και ярких цветов, сократив свою чтобы выразить с величайшей εγκαταλείψει τα φωτεινά χρώματα, συνδυασμούς χρωμάτων σε επίπεδες ПАЛИТРУ ДО ДИАПАЗОНОВ СЕРОГО И ОСОЗНАННОСТЬЮ ОБЩУЮ КРАСОТУ. ΜΕΙΏΝΟΝΤΑΣ ΤΗΝ ΠΑΛΈΤΑ ΤΟΥ ΣΕ ΕΠΙΦΆΝΕΙΕΣ ΓΙΑ ΝΑ ΕΚΦΡΆΣΩ ΤΗ ОХРИСТОГО. О КУБИЗМЕ ОН СКАЖЕТ: ПРИРОДА (ИЛИ ТО, ЧТО Я ВИЖУ) ΣΕΙΡΈΣ ΓΚΡΙ ΚΑΙ ΏΧΡΑΣ. ΘΑ ΠΕΙ ΓΙΑ ΣΥΝΟΛΙΚΉ ΟΜΟΡΦΙΆ ΜΕ ΤΗ ΜΕΓΑΛΎΤΕΡΗ «Я ЧУВСТВОВАЛ, ЧТО ТОЛЬКО КУБИСТЫ ВДОХНОВЛЯЕТ МЕНЯ, СТАВИТ МЕНЯ, ΤΟΝ ΚΥΒΙΣΜΌ: “ΈΝΙΩΣΑ ΌΤΙ ΜΌΝΟ ΟΙ ΕΠΊΓΝΩΣΗ. Η ΦΎΣΗ (Ή ΑΥΤΌ ΠΟΥ НАШЛИ ПРАВИЛЬНЫЙ ПУТЬ, И ДОЛГОЕ КАК И ЛЮБОГО ХУДОЖНИКА, В ΚΥΒΙΣΤΈΣ ΒΡΉΚΑΝ ΤΟ ΣΩΣΤΌ ΔΡΌΜΟ ΚΑΙ ΒΛΈΠΩ) ΜΕ ΕΜΠΝΈΕΙ, ΜΕ ΒΆΖΕΙ, ВРЕМЯ ОНИ НАХОДИЛИСЬ ПОД СИЛЬНЫМ ЭМОЦИОНАЛЬНОЕ СОСТОЯНИЕ, КОТОРОЕ ΕΠΗΡΕΆΣΤΗΚΑΝ ΠΟΛΎ ΓΙΑ ΜΕΓΆΛΟ ΌΠΩΣ ΚΆΘΕ ΚΑΛΛΙΤΈΧΝΗΣ, ΣΕ ΜΙΑ

9 Points Бергсон осудил в «Очерке прямых данных сознания» то, 9 Points Ο Μπέργκσον κατήγγειλε στο “Δοκίμιο για τα άμεσα δεδομένα Book + It. что он называет «иллюзией» заблуждения, «интенсивного и Book + It. της συνείδησης" αυτό που αποκαλεί “ψευδαίσθηση” σύγχυσης – Cyrillic – Greek обширного». Интенсивные цены,термин, который сегодня "το εντατικό και το εκτεταμένο”. Οι εντατικές τιμές, – SS09 Cyrillic немного устарел, - это значения, которые постепенно ένας όρος που είναι λίγο ξεπερασμένος σήμερα, είναι τιμές Alternate увеличиваются, но которые не могут относиться ни к числу, που αυξάνονται κατά μοίρες, αλλά οι οποίες δεν μπορούν ни к степени. Напротив, расширенное относится к степени. ούτε να σχετίζονται με έναν αριθμό, ούτε να σχετίζονται мы чувствуем определенную величину, которая определяется με έναν βαθμό. Αντιθέτως, το εκτεταμένο αναφέρεται σε ένα контрастом, оттенком, и мы пытаемся несколько грубо βαθμό. Νιώθουμε μια συγκεκριμένη ποσότητα, που ορίζεται определить ее с помощью объективно данной величины, από την αντίθεση, την απόχρωση, και επιδιώκουμε λίγο которая сама по себе принадлежит субъективному сознанию. καταχρηστικά να την ορίσουμε με μια ποσότητα αντικειμε- Итак, «чувство - это психологический факт, выходящий νικά μια δεδομένη που ανήκει από μόνη της στην υποκει- за рамки всякой меры». Бергсон не отрицает измерения μενική συνείδηση. Τώρα, “η αίσθηση είναι ένα ψυχολογικό дифференциальных порогов Вебера, которые определяют γεγονός που ξεφεύγει από κάθε μέτρο”. Ο Μπέργκσον δεν возбуждение и, следовательно, вызывают его. Но он αρνείται τη μέτρηση των διαφορικών κατωφλίων του Weber, КРИТИКУЕТ АМАЛЬГАМУ ФЕХНЕРА, КОТОРАЯ ПРИВОДИТ ПРИЧИНУ В ΤΑ ΟΠΟΊΑ ΚΡΊΝΟΥΝ ΤΟΝ ΕΝΘΟΥΣΙΑΣΜΌ ΚΑΙ ΣΥΝΕΠΏΣ ΤΗΝ ΑΙΤΊΑ. ДЕЙСТВИЕ. ПОЭТОМУ ОН ВЫСТУПАЕТ ЗА РАДИКАЛИЗАЦИЮ МЫШЛЕНИЯ, ΑΛΛΆ ΕΠΙΚΡΊΝΕΙ ΤΟ ΑΜΆΛΓΑΜΑ ΤΟΥ FECHNER, ΤΟ ΟΠΟΊΟ ΘΈΤΕΙ ΣΕ КОТОРАЯ ДЕЛАЕТ БОЛЬШИЙ УПОР НА СУБЪЕКТИВНЫЕ СИТУАЦИИ. ΙΣΧΎ ΤΗΝ ΑΙΤΊΑ. ΕΠΟΜΈΝΩΣ, ΥΠΟΣΤΗΡΊΖΕΙ ΜΙΑ ΡΙΖΟΣΠΑΣΤΙΚΟ- ОН ДОЛЖЕН, КАК ОН УЧИТ НАС, ВОССТАНОВИТЬ ИСТИНУ «ПРЯМЫХ ΠΟΊΗΣΗ ΤΗΣ ΣΚΈΨΗΣ ΠΟΥ ΔΊΝΕΙ ΜΕΓΑΛΎΤΕΡΗ ΈΜΦΑΣΗ ΣΤΙΣ

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12 Points Он подчеркивает, что существует неотъем- 12 Points Τονίζει ότι υπάρχει μια εγγενής συνείδηση ​​ Book + It. Book + It. – Cyrillic лемая часть сознания и тела, которую – Greek και το σώμα που πρέπει να λαμβάνει необходимо учитывать при анализе υπόψη η ανάλυση της αντίληψης. Η υπεροχή восприятия. Примат восприятия означает της αντίληψης σημαίνει την υπεροχή примат опыта, поскольку у восприятия της εμπειρίας, στο βαθμό που η αντίληψη есть активное и конститутивное измерение. έχει ενεργή και συστατική διάσταση. С Полом Ватцлавиком реальность стала Με τον Paul Watzlawick, η πραγματικότητα результатом мысленного построения. «Из έγινε το αποτέλεσμα μιας διανοητικής всех иллюзий наиболее опасно думать, κατασκευής. “Από όλες τις ψευδαισθήσεις, что существует только одна реальность». το πιο επικίνδυνο είναι να πιστεύουμε ИССЛЕДОВАНИЯ, ПРОВЕДЕННЫЕ В ПОСЛЕДНИЕ ΌΤΙ ΥΠΆΡΧΕΙ ΜΌΝΟ ΜΊΑ ΠΡΑΓΜΑΤΙΚΌΤΗΤΑ”. ГОДЫ НЕВРОЛОГАМИ, ТАКИМИ КАК ДЭВИД ИГЛМАН ΜΕΛΈΤΕΣ ΠΟΥ ΠΡΑΓΜΑΤΟΠΟΙΉΘΗΚΑΝ ΤΑ ΤΕΛΕΥΤΑΊΑ ИЛИ ДЭН АРИЭЛИ, ПОДЧЕРКИВАЮТ ВЛИЯНИЕ ΧΡΌΝΙΑ ΑΠΌ ΝΕΥΡΟΕΠΙΣΤΉΜΟΝΕΣ ΌΠΩΣ Ο DAVID

16 Points 16 Points Light + It. Как только опыт позволил Light + It. Όταν η εμπειρία έχει καταστήσει – Cyrillic – Greek – SS09 понять двойственность образа, δυνατή την κατανόηση της Cyrillic Alternates ограничения восприятия или διττότητας της εικόνας, οι περι- суждения могут быть легко ορισμοί στην αντίληψη ή στην преодолены. Как сказал Гете, κρίση μπορούν εύκολα να ξεπερα- мы видим только то, что знаем. στούν. Όπως είπε ο Goethe, И «открытие-это видеть то, βλέπουμε μόνο όσα γνωρίζουμε. что видели все остальные, и Και, “η ανακάλυψη βλέπει τι ДУМАТЬ О ТОМ, О ЧЕМ ЕЩЕ НИКТО ΈΧΟΥΝ ΔΕΙ ΌΛΟΙ ΟΙ ΆΛΛΟΙ ΚΑΙ НЕ ДУМАЛ». МЫ ТАКЖЕ МОЖЕМ ΣΚΈΦΤΟΝΤΑΙ ΤΙ ΔΕΝ ΈΧΕΙ ΣΚΕΦΤΕΊ

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Latin Afrikaans Koyraboro Senni Swahili Open Type aalt Access All Alternates ss01 Stylistic Set 01 Albanian Langi Swedish Features afrc Alternative Fractions ss02 Stylistic Set 02 Asturian Latvian Swiss German case Case-Sensitive Forms ss03 Stylistic Set 03 Asu Lithuanian Tachelhit dnom Denominators ss05 Stylistic Set 04 Basque Lower Sorbian Taita hist Historical Forms ss08 Stylistic Set 05 Bemba Luo Tasawaq liga Standard Ligatures ss09 Stylistic Set 06 Bena Luxembourgish Teso mgrk Mathematical Greek subs Subscript Breton Luyia Turkish numr Numerators sups Superscript Catalan Machame Upper Sorbian salt Stylistic Alternates tnum Tabular Figures Chiga Makhuwa-Meetto Uzbek sinf Scientific Inferiors Colognian Makonde Volapük Cornish Malagasy Vunjo Codepage Please refer to the Technical Document Croatian Maltese Walser Czech Manx Welsh Danish Meru Western Frisian Copyright No part of this publication may Lineto GmbH assumes no resposi- Dutch Morisyen Yoruba be reproduced, stored in a retrieval bility for any errors or inaccuracies, Embu North Ndebele Zarma system, or transmitted, in any makes no warranty of any kind English Northern Sami Zulu form or by any means, electronic, (express, implied or statutory) with Esperanto Norwegian Bokmål mecanical, photocopying, record- respect to this publication, and Estonian Norwegian ing or otherwise, without the prior expressly disclaims any and all war- Faroese Nynorsk written consent of the publisher. ranties of merchantability, fitness Filipino Nyankole This publication and the informa- for particular purposes and non- Finnish Oromo tion herein is furnished AS IS, is infringement of third party rights. French Polish subject to change without notice, Brand or product names, used in Friulian Portuguese and should not be constured as a this publication, are the trademarks Galician Prussian commitment by Lineto GmbH. or registered trademarks of their Ganda Quechua respective holders. German Romanian Gusii Romansh Hungarian Rombo Icelandic Rundi Igbo Rwa Inari Sami Samburu Indonesian Sango Irish Sangu Italian Scottish Gaelic Jola-Fonyi Sena Kabuverdianu Serbian Kabyle Shambala Kalaallisut Shona Kalenjin Slovak Kamba Slovenian Kikuyu Soga Kinyarwanda Somali Koyra Chiini Spanish

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