ITC 10.1,matk Ty peto ■

UPPER AND LOWER CASE

THE INTERNATIONAL JOURNAL OF AND DIGITAL MEDIA

PUBLISHED BY INTERNATIONAL CORPORATION

VOLUME 23, NUMBER 2, FALL 1996

$5.00 US, $9.90 AUD, £4.95 The Image Club's free monthly catalog is the essential design tool for today's creative masters. Over 800 from the best foundries, thousands of stock photos on CD ROM (royalty free!) and tons of cool digital art, along with ideas, solutions and tips & tricks from other designers. New for you every month!

Order your catalog: call 1.800.387.9193 fax 1.403.261.7013 http://www.imageclub.com/

Hey! The entire FONTEK and ITC type libraries featured throughout this issue of U&lc are available from Image Club. Call 1-800-661-9410 to order!

Image Club Graphics is a division of Adobe Systems Incorporated Adobe ucLo8

Circle 1on Reader Service Card ATypI I Typelab The Hague, The , oit) The Hague 1996

October 24-28, 1996 The Association Typographique Internationale (ATyp1), The Royal Academy of Art and The Royal Conservatory of Music

Typography &... is a conference gathering of Art Directors, Graphic Designers, Type Designers, Musicians, Filmmakers, Business and Legal Executives, Users and Developers of Software, and anyone to whom type and are essential.

Typography &... focuses on how typography is developing, evolving and changing with a speakers' program, debates and discussion groups, exhibitions, studio visits, special museum programs, and TypeLab, an interactive, experimental environment for typography, and graphic design. Speakers and participants include: David Carson, Neville Brody, Ed Benguiat, Gert Dumbar, Just van Rossum and Erik van Blokland, Matthew Carter, Gerard Unger, Jeff Keedy, Petr van Blokland, Tobias Frere-Jones, Lucas de Groot, Gene Gable, David Berlow, Roger Black, Frank Blokland, Colin Brignall, , Christopher Noordzij, Gerrit Noordzij, Peter Matthias Noordzij, Michael Twyman, Margaret Richardson, Fred Smeijers, , Sumner Stone, Peter Verheul, David Farey, Jonathan Hoefler, Jost Hochuli, Frank Martinez, Mark Batty and many more.

Registration fees: ATypI members: NLG 610. Non-members: NLG 730. Student members: NLG 225. Student non-members: NLG 250

To register for the ATypI 1996 conference, contact: Holland Organizing Centre, Delegate Support Dep't (DSD), Parkstraat 29, 2514 JD The Hague, The Netherlands. Telephone: (+31) 70 365 78 50 Fax: (+31) 70 364 57 48. E-mail: [email protected]. For hotel reservations, contact: Holland Hotel Services, PO Box 82000, 2517 JW The Hague, The Netherlands. Telephone: (+31) 70 364 06 70 Fax: (+31) 70 365 78 90. E-mail: [email protected]

For further information contact Anita Garay @ ITC (212) 371-0699, Fax: (212) 752-4752 or e-mail: [email protected]

Circle 2 on Reader Service Card 3 Q BY DEFINITION A DICTIONARY OF TYPE-RELATED WORDS, PHRASES AND TERMINOLOGY FOR THE COMPUTER ERA. BY GENE GABLE.

EXECUTIVE PUBLISHER:

MARK J. BATTY

•--,EDITOR/PUBLISHER. MARGARET RICHARDSON

MANAGING EDITOR: JOYCE RUTTER KAYE

11/PE, IYPE, IYPE CONTRIBUTING EDITORS: AS EVERY NEW FAMILY, DISPLAY PETER HALL, FACE OR PICTURE FONT APPEARS, THE KAREN S. CHAMBERS OPPORTUNITY FOR MORE EXPRESSIVE AND GRAPHIC DESIGN: EXPANSIVE USES OF TYPE BECOMES EVI- MICHAEL IAN KAYE DENT, WRITES MARGARET RICHARDSON. CREATIVE SERVICES DIRECTOR:

JANE MUCCI r71 ART/PRODUCTION MANAGER: CLIVE CHID ART/PRODUCTION: SIX NEW, DISTINCTIVE ITC TYPEFACE JAMES MONTALBANO RELEASES SPRING FROM THE IMAGINATIONS INTERN: CLARE DELLE GRAZIE OF COMMERCIAL LETTERING ARTISTS. ASSOCIATE PUBLISHER:

REBECCA L. PAPPAS

ADVERTISING SALES:

BARBARA H. ARNOLD

BHA ASSOCIATES INC. IE MACKINTOSH: P PHONE: (617) 259-9207 THE INFLUENCE OF THIS LEGENDARY SCOTS FAX: (617) 259-9883 ARCHITECT AND DESIGNER IS CAPTURED DISTRIBUTION: EDWARD WORMLY IN EXHIBITIONS OF HIS WORK AND IN A SUBSCRIPTIONS: ELOISE A. COLEMAN NEW ITC TYPEFACE. BY MICHAEL HEALEY. FOR INFORMATION ON

EXISTING SUBSCRIPTIONS,

r7 FAX (516) 7562604 41171PE ON THE TABLE LIST RENTAL OFFICE: A RECENT ROUNDTABLE DISCUSSION ON

n CMG INFORMATION SERVICES CONTEMPORARY TYPE ISSUES REVEALED Ta (800) 677-7959

PERTINENT CONCERNS ABOUT ESTHETICS, l

a ,suTERNATIONAL TYPEFACE CORPORATION 1996. TECHNOLOGY AND COMPENSATION.

h a Mc (ISSN 0362 6245) IS BY PETER HALL. r PUBLISHED QUARTERLY BY

INTERNATIONAL TYPEFACE CORPORATION. k 866 SECOND AVENUE,

1 hAl a NEW YORK. NY 10017.

RE -FORM FREE FORMS t

4 1 SMALL DIGITAL TYPE FOUNDRIES ISSUE 1 ITC IS A SUBSIDIARY OF ESSELTE LETRASET. A- NEW RELEASES IN PROVOCATIVE SPECIMEN U.S. SUBSCRIPTION RATES. SHEETS THAT ARE STATEMENTS OF STYLE, kE

li $30 FOR THREE YEARS: WRITES STEVEN HELLER. FOREIGN AIRMAIL SUBSCRIPTIONS.

$60 U.S. FOR THREE YEARS:

U.S. FUNDS DRAWN ON U.S. BANK.

Ir7 Ir9 1996-1997 TO CONTACT ITC ITC TYPEFACE COLLMIEION CALL: (212) 371-0699 A SPECIAL 64- U&/cSUPPLEMENT FEA- FAX: (212) 752-4752 TURING CHARACTER SAMPLES OF MORE E-MAIL THAN 1000 FROM ITC, LETRASET GENERAL: intItypco@aoLcom AND FONTEK, INDEXED BY STYLE, INCLUD- EDITORIAL/PRODUCTION:

ING: , SANS SERIF, DISPLAY AND [email protected]

ORNAMENTS & ILLUSTRATIONS. CIRCULATION: UlcRPappasgaol.com

ADVERTISING: [email protected]

L S FROM ENGLAND PERIODICALS POSTAGE PAID

YOUNG BRITISH DESIGNERS FUSE PAST AT NEW YORK, NY AND ADDITIONAL

AND PRESENT TYPE TECHNOLOGIES IN MAILING OFFICES. POSTMASTER:

CONTEMPORARY EDITORIAL DESIGN. SEND ADDRESS CHANGES TO BY LEWIS BLACKWELL. U&Ic SUBSCRIPTION DEPARTMENT.

P.O. BOX 129.

PLAINVIEW, NY 11803-0129. n ITC OPERATING EXECUTIVE BOARD 1996 ON 1 YPE Q MARK J. BATTY. ESSENTIAL BOOKS ON TYPE DESIGN AND PRESIDENT AND CEO HISTORY ARE CHOSEN BY D. A. HOSEK. RANDY S WEITZ,

CONTROLLER

ILENE STRIZVER,

DIRECTOR OF TYPEFACE DEVELOPMENT

ITC FOUNDERS: C") AARON BURNS, HERB LUBALIN, ITC OLDEN COCKEREL' EDWARD RONDTHALER ERIC GILL'S FIRST INDEPENDENT TYPEFACE ' ITC. U&Ic AND THE U&Ic LOGOTYPE DESIGN FOR THE GOLDEN COCKEREL PRESS ARE REGISTERED TRADEMARKS OF IS REVIVED IN A CLASSICALLY STYLED INTERNATIONAL TYPEFACE CORPORATION. DIGITAL FAMILY. MICROFILM (16mm OR 35mm)

AND MICROFICHE (105mm) COPIES

OF U&Ic ARE AVAILABLE FROM

UMI, 300 NORTH ZEEB ROAD,

ANN ARBOR. MI 48106-1346

PHONE: (800) 521-0600

OR (313) 761-4700.

Vol HME 73. NOMRFR 7, FAI I 1996 FAX: (313) 761-3221

TABLE OF CONTENTS/FRONT COVER: HEADLINE/NUMBERS: ITC AMERICAN TYPEWRITER MEDIUM SUBHEADS/TEXT: ITC OFFICINA SANS BOOK, BOLD, BOLD ITALIC MASTHEAD: ITC FRANKLIN GOTHIC MEDIUM, MEDIUM CONDENSED, MEDIUM CONDENSED ITALIC, BOLD CONDENSED 4 rAEV wA Call tries Put your own font creations to the test! Send us your best digital font(s)

An international jury will choose the winners Linotype-Hell in four font categories resents A nd Inte national Digital ype Design Con est

Jury Philippe Apeloig F Jonathan Barnbrook UK CH Gabriele Gunder D Alessio Leonardi I Peter Matthias Noordzij NL Prof. Kurt Weidemann D

Categories:

1. Body Types

2. Headline or Display Font

3. Experimental or Fun Font

4. Symbols, Icons 'type or Pi-characters

For dot,111,, deadline contest information Winning awards total of 25000 DM please contact: for entries Linotype-Hell AG + Organizer's Mergenthaler Allee 55-75 Circle 3 on Reader Service Card development prize D-65760 Eschborn Tel. +49 (0)6196 98-2626 February 28 Sponsored by Fax +49 (0)6196 98-2185 Linotype E-Mail: 1997 Type [email protected] 1=0AG E Internet Home Page: LinAgY http.//www.ltnotype-hell.de S 0 EDESIGN LEADERS HAVE PROTESTED THAT THE PROLIFERATION OF DIGITAL TYPE FACES IS EXCES- SIVE. IN FACT, IN A RECENT NEW YORK TIMES ARTICLE TITLED "CREATING. GENERATION OF VIVID TYPE FACES:' THE NUMBER OF TYPE FACES IN USE IS ESTIMATED TO BE BETWEEN 50,000 AND 60,000. THIS AMOUNT SEEMS PARTICU- LARLY MONUMENTAL WHEN YOU CONSIDER THAT A FEW PUNDITS HAVE SUGGESTED THAT TWO STANDARD TYPE FACES ARE PERHAPS ALL ANY DESIGNER WOULD EVER NEED. MOST TYPE USEESMOWER, AND THAT INCLUDES ANYONE WHO WORKS ON A COMPUTER, DEFY THIS NOTION BY FINDING NEW AND ApPIAP TYPE FACES FOR EACH SPECIFIC C N. AS EVERY NEW FONT OPPORTUNITY FOR AND EXPANSIVE USES OF a BECOMES EVIDENT. TYPOGRAPHY HAS BEEN TRANSFORMED BY THE ENDLES ARIAT1ONS OF INNOVATIVE AND CREATIVE TYPE FACES. THOUGH NOT ALL NEW FAMILIES AND RANGES OF TYPEFACES ARE TRENDY OR BASED ON FASHION, NOVEL AND CONTEMPORARY DESIGNS HAVE AN IMMEDIATE . AS THE TIMES ARTICLE POINTS OUT, "THE TYPE FACE BUSI- NESS, AFTER ALL, IS A FASHION BUSINESS." A RANGE OF CLASSIC AND CLASSICAL TYPE FACES ALSO CONTINUES TO BE REINVENTED IN DIGITAL FORM. FOR EXAMPLE, ITC HAS NOW BEEN AVAILABLE FOR TWO YEARS, AND SUMNER STONE CONTINUES TO SUPPLEMENT THIS FONT WITH EMBELLISHMENTS LIKE CAPS AND ORNAMENTS. THE NEXT NEW CLASSIC TYPE FACE DESIGNED FOR ITC BY DAVE FAREY IN ENGLAND IS ITC GOLDEN COCKEREL, A DIGITAL REN- DERING OF ERIC GILL'S MASTERLY T YPE FOR THE GOLDEN COCKEREL PRESS. THE DOCUMENTING OF THE RESEARCH AND DEVELOPMENT OF THIS TYPEFACE BEGINS IN THIS ISSUE ON PAGE 24. ALSO BEING LAUNCHED ON THESE PAGES IS AN INTERPRETATION OF CHARLES RENNIE MACKINTOSH'S LETTERING RENDERED AS A DIGITAL TYPEFACE. THIS COINCIDES WITH A WAVE OF MACKINTOSH INTEREST: MAJOR EXHIBITIONS OF HIS LIFE'S WORK INCLUDE ONE OPENING IN NOVEMBER AT THE METROPOLITAN MUSEUM OF ART IN NEW YORK. STEVEN ZANE, A DESIGNER AT THE METROPOLITAN, PROVIDED US WITH A PREVIEW OF THE EXHIBITION POSTER DESIGNED USING THE ITC FONT. ITC RENNIE MACKINTOSH, LIKE ITC GOLDEN COCKEREL, ALLOWS DESIGNERS TO EXPRESS A TOTAL AMBIANCE, AN ADAPTATION CAPTURING AN ENTIRE STYLE AND ERA. THIS IS SEEN ON THE FOLLOWING PAGES IN THE DESIGNS OF MICHAEL IAN KAYE. IN THIS ISSUE, WE ALSO PAY TRIBUTE TO THE INDEPENDENT AND SMALL TYPE FOUNDRIES THAT HAVE CHANGED THE WAY WE PERCEIVE AND USE TYPE. STARTING WITH THE EMIGRE REVOLUTION, INDI- CNARLES RENNI A N VIDUALS AND SMALL TEAMS OF TYPE DESIGNERS HAVE ADDED A PERSONAL FLAIR TOTYPE FACES, WHICH AGAIN ARE USED EXPRESSIVELY BY DESIGNERS. EXAMPLES OF BRITISH DESIGNERS USING T YPE IN DISTINCTIVE WAYS ARE PRESENTED IN A FEATURE BY LEWIS BLACKWELL. AND, FOR THE FIRST TIME IN Uctic, WE ARE PRESENTING THE ENTIRE ITC TYPE FACE COLLECTION. SINCE ITC HAS BEEN ACQUIRING NEW TYPEFACES, EXPANDING ITS TYPE FACE LIBRARY AND IS NOW DISTRIBUTING AND MAR- KETING THE ENTIRE FONTEK RANGE ORIGINALLY DEVELOPED BY LETRASET, THE TIME HAS COME TO SHOW THEM ALL IN A TYPE SPECIMEN FORMAT THAT CAPTURES THE QUALITY AND THE DIVERSITY OF INTERNATIONAL TYPEFACE CORPO- RATION'S COMMITMENT TO CLASSIC AND CONTEMPORARY TYPE AND DESIGN. CONTINUING THE TYPE THEME, THE MAIN FORUM FOR TYPOPHILES CONVENES IN OCTOBER. THE ASSOCIATION TYPOGRAPHIQUE INTERNATIONALE (ATYPI) CONFERENCE IN THE HAGUE TAKES PLACE FROM OCTOBER 24-28. SINCE THE NETHERLANDS HAS MANAGED TO PRODUCE MASTERS OF TYPE AS WELL AS REVOLUTIONARY TYPE DESIGNERS AND TYPOGRAPHERS, THE VENUE IS IDEAL FOR THE PLANNED DISCUSSIONS ON TYPOGRAPHY AND ART, TYPOGRAPHY AND LAW AND MORE. FOR FURTHER INFORMATION, E-MAIL MARK BATTY, PRESIDENT OF ATYPI (AND ITC) AT [email protected] , OR CONTACT ANITA GARAY AT (212) 371-0699 OR FAX (212) 752-4752. FOR DETAILS ON THE EVENT AND REGISTRATION AND ACCOMMODATION, SEE THE ATYPI ADVERTISEMENT ON PAGE 3. TYPE AS A MEDIUM AND TYPE USED IN EVERY ASPECT AND AREA OF DESIGN IS THE SPECIFIC FOCUS OF THIS ISSUE OF Mc AND PART OF OUR ONGOING COMMITMENT TO PRESENTING TYPE EFFECTIVELY THROUGH CONTENT AND DESIGN. Mc EXPRESSES ITS GRATITUDE TO THOSE OF YOU WHO HAVE CONTACTED US WITH YOUR COMMENTS AND VIEWS. WE ARE ALSO PLEASED TO HAVE RECEIVED AN AWARD FROM THE 1996 BRNO BIENNALE FOR thfic, AND TO HAVE TWO COM- PLETE ISSUES (FALL, 1995 AND SUMMER, 1996) INCLUDED IN THE EDITORIAL DESIGN CATEGORY OF THE 1996 APPLIED ARTS AWARDS ANNUAL. MARGARET RICHARDSON 6 FontFont Distributors France Japan Switzerland USA FontFonts are by FontShop FontShop Compress Information Group FontShop Canada Australia Tel +33 (1) 43 06 92 30 Tel +81 (3) 5474 -77 41 Tel +41 (I) 722 77 oo Tel +1 888 44 FONTS (toll free) designers for FontShop Fax +33 (1) 43 06 54 85 Fax +81 (3) 5474 - 77 44 FaX +41 (1) 722 77 01 Fax +1 416 364 1914 Tel +61 (3) 9388 2700 Fax +61 (3) 9388 2818 Norway UK FontShop San Francisco designers: accept FontShop FontShop Monotype Typography Ltd Tel +1888 FF FONTS (toll free) Austria Tel +49 (30) 69 58 95 Tel +47 (2) 225 48 20 Tel +44 (1737) 7 65 959 FaX +1 415 398 7678 no substitutes FontShop FaX +49 (30) 692 88 65 Fax +47 (2) 225 49 20 Fax +44 (1737) 769 243 Tel +43 (I) 523 29 46-0 Monotype Typography Inc Fax +43 (1) 523 29 47-22 Italy Sweden Tel +1 800 MONOTYP (toll free) For a free copy of our new Happy Books Typecraft Fax +1 (847) 718 0500 Canada Tel +39 59 45 0804 Tel +46 (8) 663 91 23 loo-page FontFont FontShop Fax +39 59 45 0343 Fax +46 (8) 663 91 29 For all other countries Tel +1888 44 FONTS (toll free) FSI FontShop International catalogue—with full showings Fax +1 416 364 1914 MediaLab Srl Tel +49 (30) 693 70 22 Tel +39 (2) 7000 1176 Fax +49 (3 0) 692 84 43 of almost l000 FontFonts Fax +39 (2) 7010 4 199 from the world's best designers—contact your local FontFont distributor.

Coming in August, and designed by Erik van Blokland, FontFonts on FF IDENTIFICATION the Internet: http://www.fontfont.de

And don't forget FUSE the award-winning quarterly publication of experimental digital typography.

FUSE 15 CITIES out now with fonts by Tobias Frere-Jones, Paul Elliman, Frank Heine, and Peter Grundy.

FUSE 1 — 14 back issues are also now available in limited quantities.

FF SCALA FE TRIXIE

FF BROKENSCRIPT

FF MINIMUM

Circle 4 on Reader Service Card

Photograph of Charles Rennie Mackintosh by J. Craig Annan Photograph of West Doorway of The Glasgow School of Art by T&R Annan Inset: Wall Clock designed by Mackintoshfor The Glasgow School of Art TILLS, CARPETS,WALL C9VCR TUE, TEXTILES, TMCIR IMPECCABLYWR9UQIITt THE INTCRI9R5WITH TERMS, THISC°ULD;01 TIC ARCMITCCTURC:: THE INSIDE°UT.MN: C9NTCMP°RARY710: DETAILS BE CALLED"M9115 THE INFLUENCEFNATUREANIX IMACKINT9SM WASTHEffIKST TICALLY ASMAVINQA TI9N INMIS5C9TSMCRITAQC.:41 199TH ANNIVERSARY,ANDIT1: DESIGNING BUILDINGS NATURAL CLCMCNTS.111ACK- INT9511 MADAI9TALV1519N,IM TCCT THERE,MCUTE ITY ANDM9NCSTYFLINEWITM MC INTERPRETEDTHISCSTMC STANDS ASTHEEASTON(' M9VCMCNT T°RN!)INSPIRA 9r ACKN9WLCINCD MASTCRH CAREER ASANARCNI RIAL FMACKINT°511'5V151°N.: M9DCRN DESIGNS.Ell5 WITH QLASQ°W. PIECE, THEQLASQ°WSCM99Lt BLY INSTARTLINGLY MIS IMPRINTINDCLI RELATIVELY 5M9RTS IN TMISCITY1868,ANDAil MST CL9SCLYASS9CIATCDN ART, ISCELEBRATING ARCMITCCT FTHEM°DCRNI MARLCS RCNNICMACKIN T9SM ISTHEARCMITCCT:Ilele CVCN CUTLERY — FTTINQS, rURNI lac CERAMIC -

- WAS B9RIV :.:. — SIMPLIC-: - WERE ricri9-1 ITSIIII -6 DK1 - - M - : ARTISTS WM°WEREQRCATLPi 119N9RCD ANDTMCN AND UNEVENLIGHTPENS ACCIDENTS gAIRBUBBLCSEIll TI9N5, MACKINT9511SCCM5ki: AND ;11AVC RCLISMCDTHE V°CABU LARY. AND DCSIQN111 ARCHITECTURAL MIS C°NSTRUC DETAILS WITMINt II1N MISUSE AS PART C9VCRINQ, ASWELLTMC:0:4 VICK WEREALLSCIZCDOIIIA1 STRAIQMTr°RWARDNCSS W9RKIS PRESENTEDWITHTHE NEW MATERIAL STRUCTURES. 111ACKINT95115M A WIALC°11PLCMCNTT°NW' BR9WN PAPER UNIQUE ARCHITECTURAL UCNTLY r9RQ°TTCN INTHEIR IST9RICALLY, MACKINT9S11:: US INT?THECATCCPRY 9r CERAMIC® GLASS ::II 9r TCRP9INT OHIS04 TRATI9N. 01912RL••: SPARINGLY ASATEE WAS ALWAYSUSCDE BR9ADCR TrIcrics.C1 LYRICAL C9UN SCREEN SAILCL'?TM, CVCN WITM MATERIALS`;' DRESSED ST'?NC, LIKE STAINEDPINE,:: BLACK ANDWHITE MIST 12 - il — r?K C9NCRCTC.:0 - PRINTED WALL SUBSE-® HAPPY - 11 iiii 501991_ WAS ALS'?CNTMUSIASTICALLM TI9NAL CXHIBITI9NINITALYNN DESIGNED T9TALLY 9N T9CXMIBITMISW9IKKIN MIS LASTINGLEGACY151195T M'?5C9W ANDBCRLIN.''ME[I'"" WARND'?RrER MUSICSAL9N. J9scr prrmausi RECEIVED, ANDMCWCNTGEN c9mmissmi R'?°M ATTHETURININTCRNA-: MARY DESIGNERSLIKE"1 9r C°MPARCD WITHTHEP°WCR ARCMITCCT R°BCRTVCNTURKE THAT NCC9MPLCTCDMISNEWT SCM°°L FART TRULY EQUALLEDINQRCAT 18% AUSTRIA, oNCGAINEDARCP HAS SAIDC'?ULD9NLYBUM W9RSMIPPCD INGERMANYAND DESIGN 9r BRITAIN. (ITWASATTHISTIMM UTATI°N INCUR9PCNEVER: °WN MICMCLANQCL9.) IN1999, EVIDENT INTHEQLASQ9WT MACKINT9511 - urrnmts. 1919, THE9RIQINALITYSt 9r r9R THE MACKINT9SM ART, WHICHKIN T° DESIGNTHE THE QLASQ9Weil — WITH C°NTCM-1 o 51°N; THISLCD1 VIENNA SCCCS TI9N oTHE8TH VIENNA WAS FETED MIS C9NTRIBU-: MACKINT°SrITI A W'?RKTMAT rIKIDIDSMIPSt 1 5 STYLEWAS? AT AND THCO! ER°M ITS] MIS r9K PEAK, - - : r9RMIDABLE PRC-DCC9 CXTC- MACKINT9SH ATTCMPTED rept 1994 AN9TMCR MACKINT9SM:•: R19R R9UQM THCTH9USANDS °- 19 RCSUMC PRACTICE AS AN CHAIR S9LD r9R $415,999. INTEGRATED DETAILS INCLUD- ARCMITCCT AND DESIGNER NMIS YEAR MACKINT°SM ANDI ING W99DW'?RK, DCC9RATIVC: DESIGNS MC PR9DUCCD MIS W9RK ARC TIC SUBJCCT B9RDCRS AND TRIMS, TMC- UN AT TMIS TIME, INCLUDINQQ1111 9r A SERICS 9r EXHIBITI9NS MATIC INLAYS, STAINED GLASS; TMC C9NVCR51911 9r A A BEVY F PUBLI- El WIND'?WS, DISTINGUISMCDElt TMCPUSC 9r W. J.S0 CATI9NS. LI MAJOR rURNITURC PICCCS A MIGHLYCI BASSETT-L9WKC IN s; CXMIBITI9N, WMICM t: 9RIGINAL LIGMTING FIXTURES. N9RTMAMPT9N, SM9W 9PCNCD IN MIS S CSPITC TMIS SUCCESS, AND W9.'RKING IN A" NATIVE GLASG9W WITH MIS UND9UBTCD B9LD NEW STYLE 9r IN MAY, TRAVELS T9 INFLUENCE ABR'?AD, MACK- 12 : DCC9RATI9N USING PRIMARY!: TIC MCTR9P9LITAN muscurio INT9SM'S CAREER IN GLAS- ::::: C9L'?RS AND GC9MCTRIC IN NEW Y9RK IN 119VCMBCR ► G9W BEGAN ; DECLINE. ri9Tirs. IT WAS AN 9UTPUTEJ SUBSEQUENTLY o CMICAG9 PRIVATE CLIENTS WCRC: 9I CXTRA'?RDINARY VITALITY V] AND L9S ANGCLCS...EEEEHE sumo CNTLYS AND 9RIQ- :::: IMACKINT9SM WAS INSPIRED; SYMPATMCTIC INALITY, WMICM: AND c9rain-Tcp. THC T9 WANT MIS El N WENT VIRTU12 rATHCR 9r M9DCRNISM, MC "MAL DESIGN"! ALLY UNMECDCD WAS A MAN DECADES AMCAD 9r MOUSE ANDL IN CNGLAND.Ot 9r MISTIME. OC UNDCRST99D• INTCRI9R, o MCI N 1923, THCEE TIC GENTLE AND MC QUALI- u WAS INCAPABLE` UliC9UPLC TI CS 9r RESTRAINT, 119DCSTY1 9r C9MPR9MISC. 111 L9ND9N r9R AND VISUAL INTCCiRITY.101TM1 NM ?MKT 9rx. THC TMCN- C9URAGC, MC WENT D9WN W9RLD WAR I MN DASMCDE CMCAPCR sc;surri 9r rRANCC:Et MIS 9WN LINEAR R9AD. Fitt ALL CL9SC LINKS WITH GCR-121 WrICRC MACKINT9SM RNALLY0 199K AN'?TlICR CiCNCRATI9NE MANY AND AUSTRIA.E GAVE UP ALL TrI9UCiMT AND AN9TMCR MILLCNNIUMAt Y 1914, MACKINT9SM MAD! ARCMITCCTURC AND DCV9TED 19 UNDERSTAND TMC TRUE" DESPAIRED 9r CVCRtnif3) MI risnr CNTIRCLY P9WCR 9r MIS ®:8 aD RECEIVING RCC9GNITI9N IN Nt 1.9 PAINTING LAND-6 GENIUS WHICH ISM] GLASG9W, 5? MC AND MIS WIFE SCAPCS. OC DICD " MANIFESTED IN THE' C9LLAB9RAT9R, MARGARET,: IN L9ND9N, 9r CAN-B 9RIGINALITY, VARI-D 119VCDT9 WALBCRSWICK 9N 1 CM, 9N DCCCMBCIU1 CTY AND DURABIL- THE CNGLISM surr9LK C9AST- : 19,1928, LEAVING tit ITY 9r MIS W9RIUM LINE, WMCRC MC PAINTCDV:It REMIND AN ESTATE VALUCDini EtrillM 11:1M MANY n_9wcR STUDIOS IN E' AT A LITTLE °VCR $129. g UT!' [Noun rALry 15 ITADIralt WATCRC9L°R. MIN 1915, THC NEARLY 59 YEARS LATER, t °SCM°OL, DESIGN ANDt!1 C9UPLE SETTLED IN L'?I`ID9N,:: MACKINT9S11 CHAIR S'?LD AT CRArT AT TrIr 1 4 C°RTMO NEXT rcw YCARS, S9THCBTS r9R $13,00. NNE 5C1=1991_ Pr ART.::: Etlkii7

▪

ITC RENNIE

NHARLES RENNIE MACKINT9SH IMPECCABLY INC' STYLE. JAMES MURRAY, A LECTURER IN GRAPH- HANDLETTERED HIS ARCHITECTURAL RENDER- MACK ICS AT THE GLASCPW 50199L 9r ART, MAD [MEN INGS AND CREATED P9STERS, 599K JACKETS, RESEARCHING MACKINT9511'S LETTERING AND LEAFLETS AND EVEN DANCE INVITATI9N5 WITH I N i°6 RELATED DEC?RATIVE CL?UR1511E3 r.YR MANY HIS DISTINCTIVE LETTERS, 5UT THERE IS 11? rvi- YEARS. MURRAY STUDIED THr SCH99LS EXTRA - DrNCE THAT HE EVER DREW 9UT AN ENTIRE 9RDINARY MACKINT9511 C9LLECTI9N AND HAD ALPHABET. MACKINT9SH'S 9WN HANDWRITING DRAWN MANY LETTERING SAMPLES THAT WLRL WAS rLUID, AND sN9wr-D THE R99TS ESSENTIALLY MACKIN-MN INCLUDING MIS ALTER- yr A ryRmAL VICT9RIAN EDUCATI9N, 5UT THE NATIVE VERSI9NS P LETTERS. 5RICINALL RECEIVED HAND - DRAWN LETTERING ?N HIS ARCHITECT- THE C99PERATI9N Yr TrINLASCPW SCH 99L URAL DRAWINGS WAS CHARACTERISTICALLY ART AND LULL ACCESS (1,- MURRAY'S RESEARCH. ■■■■ ■■ ■ ■ ■ NOME ••• ■ ■ • ME • • N• p ■ ■ MN• ME • • • -.dm ■■■■ ■ ■ ■ ■■•■ ■■■■ ■■■■ ■ ■ ■ ■ ■ ■ ■ ■ •11111 I I ■■ ■ ■ :••:•::• •••• I I ■ • • • • • • ■■■■ •r. • C ■ : A• • • • • •■■■ • •• ei • • ■ • • mu / • •• • • l• • • • INIME11111111E1 ••• • • ■ ■ ■ ■ " mwm• 9 P MN" 111:11 FillnIEEMINI P41 fp*, 8 1! l II NO •• El NS I !il MENT6 ORNA • •

MUCH M9RE C9NTRYLLED. THE-SE LETTER- TYPE DESIGNER PHIL CRIMSMAW WAS RECRUITED E9Rm.s, LIKE EVERY ?PIER ELEMENT yr- MIS AND, UNDER 5RIGNALLS ART DIRECTI9N, T??1( APPR9ACH, WERE DESIGNED T? C?NVEY THE MURRAY'S INITIAL W9RK AND DEVEL9PED T INT? SPECIEIC AMBIANCE AND 1199D P EACH PR9 - LULL TYPLLACL E9NTS IN 59LD AND LIGHT JECT. MACKINT9511 MAD A PASSPN T? DESIGN WEIGHTS, WHICH MAINTAIN THE SPIRIT AND AND T? C9NTRYL EVERY rACET yr HIS W9IRK. INTEGRITY P MACKINT9SITS LETTERING. 595 IN 1995, C9LIN 5RIGNALL, ITC'S EUR9PEAN TRLMALL? °L ITC USED HIS TraNicAL LXPLR - TYPE C9NSULTANT AND AN ADMIRER yr MACK- TISL T9 RNESSE THE E9NT IN 9RDER o ACC9M- INT9Stl, C9NTACTED THE GLASG9W SCH99L 9r M9DATE THE ALTERNATE LETTERS 5? TYPICAL ART WITH THE INTENTIYN SUGGESTING A yr MACKINT?51=1, AND T. INC9RP9RATE THE DIGITAL r9NT EASED 9N MACKINT9SH'S LETTER - VARI9US LIGATURES THAT GRIMSHAW HAD

12 ITC RENNIE

DESIGNED BASED °N INC 5C9T5 DESIGNER'S WITH 51199TH EDGES, INC TYPE WAS THUS SIGNATURE STYLE. MACK DESIGNED WITH SM??-111 EDGES T? BETTER FIT RIGNALL BELIEVED INC ARCNITECTURAL IN WITH THE ?RNAMENTST DETAILS AND 9RNAMENTAL DESIGNS IN MACK- INT°6M "1199KING AT INC RNAL RESULTS or INC NEW INT9511'S W9RK (ESPECIALLY N9TABLE IN THE TYPEFACE, IT bEC9MES EVIDENT THAT TNEY GLASG9W SCH??L or ART BUILDING) W9ULD REALLY D? REPRESENT INC SPIRIT F CHARLES MAKE A STRYNG GRAPHIC 9RNAMENT r?NT. RENNIE MACKINT9SKS ?RIQINAL LETTERING. THE HE HAD CIRIMSHAW INTERPRET AND CREATE ALTERNATIVE LETTER roRms, THE LIGATURES AND 9RNAMENTS AND REFINE INC STAINED GLASS THE SIVRT W9RD C?MbINATI?NS TNAT MACKIN- mows AS C9MPLEMENTARY ELEMENTS * THE T9S11 USED WNLN RESTRICTED roR SPACE- WERE LETTERING r9NTS. INCLUDED IN roRmuLATINQ THESE DESIGNS. ABCPCNMIJKLI1119PQRSTUVWXYZ AbCDENTHIJKLMNOPTIZSTUVWXYZ 1234567899AAAAAAktcarLfig IIMP11-00GDCE9" (613 ORRS6SS§Trn- flA-rwarincr-v!{}(i BoLD ABCDErCillIALMN?PQR:TSUIVI:XY(Z) o LICIMT AMDUCTIIIJKLMNOPYRSTUVWXYZ 12)4567899AAAAALCCUMITIF lAIE1100aDCCc)(?C'QDFORRS63S§Trar riATNf K- -FrINCr+?!{}[]()1 #$%101 0 Mir DECISI9N TY CREATE THE ?RNAMENT r9NT THE EXISTENCE ?r Trur DETAILED ELEMENTS P?SED AN ESTHETIC DILEMMA RELATING b THE MEANS TrIAT S?ME9NE USING THIS ITC r9NT CAN INTEGRITY F THE LETTERING r9NT. ACC?RDING CAPTURE THE VERY SPIRIT or THE 9RICIINAL T? BRIGNALL, "IF WE WERE T? ACCURATELY LETTERING:' SAYS bRIGNALL. INTERPRET MACKINT?SH'S PEN -AND- INK REN- iuriE UNIFYING ENERGY TUT 59UND INC ITC DERED LETTERING, THEN THE TyprrAcrs PR?- TEAM IN THIS UNIQUE PR?JECT WAS, CURSE, bAbLY VULD BE DESIGNED INC?RP9RATING MACKINT9.511 mirsnr THIS ARTIST WAS AN INN9 - A R?UGH EDGE: NC EXPLAINSAVWEVER, SINCE Toucm AND I. INFLU- VAT9R C°NTINUES T° THE 9RNAMENTS W9ULD M9STLY BE USED IN ENCE ALL WN? SEE MIS EXTRA°RDINARY W9RK. C?NJUNCTI9N WITH THE TYPE, 6 SINCE RESEARCH N9W HIS LEGACY LIVES oN DIGITALLY IN ITC SN?WED THAT INC ?RNAMENTS W?RNED BETTER RENNIE MACKINT9SH.

HEADLINE/INTRO/BYLINE: ITC RENNIE MACKINTOSH BOLD TEXT/DROP CAPS: ITC RENNIE MACKINTOSH LIGHT, BOLD, ITC RENNIE MACKINTOSH ORNAMENTS 13 r Ee Ee Ff O o R r Mm S s Sma 11 digital TYPE FOLADRE issue new releases IN PROVOCATIVE PRINTED PIECES that reveal their designers' unique PMSPECTIVES:

CONTEMPORARY TYPE AND BY THE '505, THI;1 7 specimens, whether in the were densely packedline Of

FORM OF FULL-COLOR BROADSIDES WORD SHOWINGS THEBUOYANT PRE- or precious, pristine booklets, exude an exu- war spirit resurfaced somewhat in the '6os, berance and inventiveness not seen since when Photo-Lettering Inc. introduced its

THE 1930s. DURING THAT DECADE, TYPEFACES ALPHABET ENCYCLOPEDIAS STUFFED WITH were announced with the same flourish and fanfare hundreds of new photofaces on pages that approxi- as popular songs. But by the 194os, owing to wartime mated old Victorian theater bills. For most of the'7as and shortages of hot metal, type specimens became austere early'8as;type ,speci nzens were more or less functional But

the dawn of type's digital age in the mid 28os marked a new inventiveness, as a handful of small digital foundries started to compete for market share.

or— by Steven Heller • • • ▪ ▪ • • ▪

r- any of today's typefaces appear to be designed with the screen in mind, which is probably why the a next generation of innovative type speci- mens will not be found on paper. Follow- ing Fuse magazine's pioneerin. g efforts of 0 0 distributing disks with samples ofmoving e type, Emigre Fonts already has a large col- lection of entertainingly animated show- ings on its First Class software and Web site locations. ElliouEarls recently- added a CD-ROM to his repertoire that offers pic- tures of types in motion. Jeff Keedy in Los Angeles willsoonpremiere his CipherType exclusively online, and in The Hague, Erik van Blokland and Just van Rossum display their designs in computer-gener- ated type animations. Oddly, this brings the art of modern type specimens back to its splashy starting in the early

t- r twos, when typefaces had a unique ca- h llia, c vo' O h)

a Po ita ✓

U) chet and the sheet music style provided su

4-) , s g ls 4.) m a suitable context for display. Today, it

't 0 Pu • `•41 's

Face 5 isn't enough simply to show elegantly set as E Plaz g -0 W iter line samples. Due to the proliferation of lie

Error. hi) g lease. tt • ;-o screen-based media, type marketing is g Ch der 04) l re such a highly competitive activity that a • a:3 f Le

o Hen Cd 0~C

4 0 larger stage is required on which to audi- • C -e ✓ h • tion type and see it perform. o o Dave Rossum as C1') u) 0 commercia A -4.7

C V C Cd O V f les 1:7

o Co 0 C gE C V -to CC) eccen- V • V V V ide C.) cd Char

cod s

t -8 O 5 less d co 0 o "Ew •,•, 4., = i

no 0 t

fron , CL)

E ov 0.) an -5 bu V fluence bA .•P The

d, •,-,

in 5 5)2•*

t H t) '5 se V V

ha O 0 O ba 0 t 7) bp t- V c.) O cc! C eschew. lar ar •

ls 5 r B acd .0 0 Less Ea nacu O on

4, O V

U y • r.4 CI) C U ts" V 0 of 0 • 0 g Er) CC 8 eccen- U) his 5 E Tt„, 4-) 0 •P. C.) • o •H

wn u 0 to

V CC "even U)

• o t a, 41) V E E . 514) . o c.) co V ion • • ,-, as 4 0 t b10 V his no„) • 0 V an a, co 4. 0)

cd ce E V a) ibes go co duc os 4 -to .4 V n .4_, r -- • V,), 7.)5 C.) C • o 40 0 co • CC tro a) coco C 4-4‘. 0 o ao descr in

1.4 ls

annou o 0 CC 0.) ua V • td) an • ••■ • 4 C.) fIL, ✓ VE

to 0 uCk) V

C Ear V ts As

C t g C A C 5 F4-4 C cs "0 "0 O O o V C.) ha 0 hee O 0 h s w -0 face. co '0 4.4, ed i- n h

C it - 8 O 0 hro

k (w fea O O U) hese (C

t ide, os s boo '3

• 0 C.) ts, ften C.) C d ing o

0 0.) cC .H" ). an

7.7 4.P nz 7 iness KIC men S

rso V

199 hco

V -5 t bus ve '20 r

C docu ing he Deco he f

fo r

he 0 's

V f t t f t o is r Sp f, o n

l 4. b) lle

4. ts lf o ks, Fi ha

be

"8 He ct io

ha ise ha Boo

her V le Alp c colle Steve Lou ot One Emigre http://www.emigre.com Elliott Earls http://www.theapolloprogram.com

Plazm [email protected]

16

▪▪

ri

ag.

4

• "‘" " , Te_

Ff H

le. l Me by hs Thirstype [email protected] rap tog Pho

HEADLINE/INTRO/BYLINE/A-F: ITC BODONI SEVENTY-TWO BOOK, BOOK ITALIC TEXT: ITC BODONI TWELVE BOOK. BOOK ITALIC, BOLD. BOLD ITALIC CAPTIONS/CREDIT: ITC BODONI SIX BOLD, BOOK ITH FONT DESIGN AND HYBRID TECHNOLOGIES 4NCREASINGLY CREEPING YFOGRAPHY IS A DISCIPLINE AT THE CROSSROADS. LEWIS BLACKWELL FINDS A GROUP OF YOUNG BRITIS S GNERor HAV D FR NT ID SIN H CH DIRECTION TO TAKE. -70P

pid u s a there iii the half-co let t in as riest and in the boyhood hobby of trainspotting: Phil Baines is a designer who quests purposefully. He loo Fo) fin a st e t e secret order of thin . E i has a son. These reasons are influenced by values. Values are derived from a respect for tradition, a "sense of t continuum;' an extensive and continuing study of his subje At college in the early 1980s, Central St. Martin's and the Royal College of Art in , he became fascinated with letterpress. The resulting work, locked-up assembli of hand-set type, were somehow strangely English and ecclesiastical. "Some people at college were interested in the hip things going on;' he recalls. "I was interested i going back to the early years of print and even before, to manuscript. All the stuff I did at college was letterpress; I seemed to have the right obsessive approach to do : What I got from letterpress was a strong sense of structure—the technology required you to have a reason for why you put something somewher Baines has since escaped the confines of metal type, but has lost none of the rigor it imposed on his thinking about design. Of one of his latest projects, the art direction c the book Raw Creation: Outsider Art and Beyond (Phaidon), he says: "It's all absurdly logicE Although the spreads look fairly free-form in their layout, this is misleading. The blocks of text are stepped across the pages in a repeated 99 mm measurement, wit footnotes pulling out precisely at the point they occur and pictures being placed as closely beside the linking text as is feasible. All quotes jump out to the full measur It is so rule-driven that some of the highly expressive pages were laid out by an assistant following Baines' master plan with no apparent diminution of effec Baines doesn't really consider himself a serious type designer, but he is the most alert critic of type. He took his text font for Raw Creation (Zuzana Licko's Matrix) int FontStudio and respaced it completely. Meanwhile, the headline face is all his own (it will be called Horncastle when he finishes developing it). Another of his font Toulon, was snapped up by Details magazine on an exclusive deal. "I avoided type design initially because I thought it took a lot of expertise I didn't have;' he recalls. Thi was before he had a Macintosh. In 1991 Jon Wozencroft asked him to do a font for the Fuse project, which forced him into contact with both the Mac and type desig

M ftware. The result was his font Can You...?. He still often prefers to sketch out ideas on gridded notepaper, however. "It's not a philosophical thing, but more that I get eas when I am not at the Mac:' ne reason Baines eschews getting deep into type design is that he is most attracted to the role of the designer as problem-solver, rather than as loose creative spirit. us, Horncastle only came about when Baines needed a heavy sans serif and couldn't find anything suitable. is ability to respond to the intricacies of letterform as well as to the broader requirements of art direction has undoubtedly helped his work in commercials, notably with irector Tony Kaye. Despite being uninterested in the fashionable end of graphics, he has ended up crafting type on some of the cool spots of the decade, with credits om Tag Heuer to Volvo to The Guardian, for which he recently drew up 77 sheets of A4 paper in order to devise a 10-second sequence. That said, he objects to "gratuitous ovement"of screen type and insists the main difference to think about between print and screen is "to respond to how the type comes up and how it goes away:' ne senses his approach is in a late modernist tradition, looking for big rules to apply, believing in the rational. "I have always liked things like bridges, where how they ok is very much a result of what they do. I like things that are engineered, rather than styled:' How the eye moves and falls in reading is the quarry that Baines chases, hether in print, in film or in the intricacies of character design. In this, his work reaches beyond the immediate fashionable concerns of the 1990s, beyond the current edia and its technology and to something a little more timeless. The seminary made its mark, even if Baines did get the calling to design.

elix nna & roese ernhar fume

s-14-1.r.% lea CA 1•1•1 el LA.

1 Covers from exhibition catalogues for the Goethe-Institut, London, 1995. 2 Spreads from the catalog of a typography exhibition at Central St. Martin's College, London, curated and designed by Baines and Graham Wood, 1992. 3 Spreads from Raw Creation, a book on Outsider Art by John Maizels, published by Phaidon, 1996. 4 You Can (Read Me)!, a revised version of an experimental font for Fuse magazine, 1995. 5 Poster related to a book produced for specialist press Northern Heights, 1996, showing Baines' Horncastle typeface. STATE Y.*

111111111CATE 0

th,11 very many of the perpenato,s of mu Arp are wry ycrang black ;amok: verge Se Paul Condon. Iletropoltan Pole, Comomponx n hs letter Wee—:nay leadors'c,rter ths rhohMANhlt can a btr(k man make d dal tr 4 even posob,e ttvg Dart of a coloured Entand-lotted ptove feel sals'actIon (perhaps soixonwoo) at seeing England hvmhated because of poet...mm.11 myths of opprewon and explortatem: wrote Robert Heideman 0 this morth's osue Of Madan Wet Mond#ANhisal does a black make of thatrYou Vow. a tot aback peopfmtheire not made to feet that they're port ages country: maatoded Unload Omebe on teloyoon last month What a Ole* man to make of MeV Interne*, by IkItY Vxtor. Ptryrat: by Ma-tal Mo-r't

VfIel o d typ " says V' ce F ries of publications he has been asked to devise for the photographers' collective Magnum. N d tter is is t art awards internationally for his work on Big magazine, until he quit at the end of 1995 when t e publisher as e im to break away om is use of wood type for headlines. This is the client who is talking to me after spending five weeks at the London printers House of Naylor grinding out a woodletter and hot-metal publisher's catalog that could have been done in a fraction of the time conventionally. This is the son whose father's work as a letterpress printer left a heavy impression on his youthful imagination. "I really don't think to use wood letter all the time. In a way this catalog was my taking that part of my work to a logical conclusion:' The 46-page black-and-white public tion for the publisher 4th Estate saw Frost able to go beyond what he achieved with Big. For that magazine he had assembled wood-letter constructions for headlinE but ended up reproducing the results in offset litho. With 4th Estate, he decided to rediscover the full joy of letterpress, printing direct from 50-year old wood letter thc he had ingeniously made into illustrations. Alongside these constructions, Frost opted to have all the text set (in Gill) on the Monotype. "You forget how much easiE it is now in some respects;' he ruefully admits. "You get so used to just being able to run the cursor over something, highlight it and change the spelling or change th font just like that:' But still he believes "something comes through this process that you can't get otherwise. There is a spirit in this...some kind of magi In the bold, punning illustrations one can see the influence of Hendrik Werkman (1892-1945), the Dutch printer who self-consciously revealed the printing process i

(20 and 2 Covers and related spreads from two issues of Frost's award-winning redesign of The Independent Magazine, 1995-96. Spreads from a catalog for 4th Estate publishers, London, 1996. All illustrations are in wood letter, and all text is set in hot metal—purported to be the largest commercial letterpress project in London for 20 years.

La couture tr,,e 0."Y MCA...v.10 ea. red amtnewata ro res..se work”, twtovocva 43.'43 v." .44bute. luswa itig.ft vs. *am taro, Osn....

Z2)

P.. 41 ken Core. THE HAT OF THE GLADE MODERN BAPTISTS 7r THE COVE VICTOR NOIR WITHIN THE GROVE SHIVERING CLUB ***** * *

ccasional art pieces, and El Lissitsky (1890-1941), who explored the dynamic quality of letterforms and related them to both abstraction and pictograms. In that these aspirations come from the core of 20th - century design history, one can perhaps detect Frost's own journey: his path took him early in his training to the center of he establishment with an apprenticeship of some years at Pentagram. Now he is finding his own voice with work that seems to deliberately rough-up the "slick" solutions f corporate design. Frost's typography is always immaculate, always coolly readable at the important points. But he steps beyond the polite grids of the corporate rorld with his embrace of wood letter in all its distressed, aged state, or in his advocacy of a particularly dry minimalist route at times, and also in his powerful handling images. For his work on The Independent 's magazine (also award-winning, also using Gill for its "Englishness," also ended earlier this year), he managed o get through a more considered, conceptual approach to many of the layouts than is typical (and current) for such a magazine. While never at any point being overtly evivalist or nostalgic, Frost seems to be fighting the ephemeral, the transitory aspect of mass media. etterpress attracts with its requirement that the designer obey certain limitations. "There is the incredible craftsmanship in each of the wood letters, each cut by and. There is also an incredible restriction compared with digital technology: letters print the size they are cut—you can't just play with the size:' At a time when esigners can make numerous typographic decisions on the Mac, but often with no clear philosophy behind the choice, Frost is putting a marker down for a more con- idered approach that learns from the past, but never apes it.

21 SUntil ec tl ris s wo h a eil h coul make a good claim to being two of the most productiv designers around. As the founders of Substance, they run de 'g o pa m L do an ff. l a work or a diverse range of clients, from the club scene to m nstream publishing. They were doing this and cranking o early 100 pages of explosive magazine graphics each mon But, thanks to the dearth of ads in the launch issues of Blah Blah Blah magazine, a U.K. music and style pub ication initially from the company behind Ray Gun and M Ashworth and Fletcher had almost too much of a good thing: a magazine unencumbered by ugly ads...but al a yawning mass of white paper to cover every month. Th came to a sticky end recently when the publisher shifted from Ray Gun to a company involved in teenage titl s...and Substance swiftly decided their art direction was going to fit with the new business tactics. Their approach had signaled restless change, rather than formula p blishing. Rather like David Carson, who paved the way wi his work on the parent magazine, Ray Gun, Substance pushed free-form graphic design right into the faces f Blah Blah Blah readers and then kept on going. You mig have struggled to decipher a few words here and there, even given up on the odd sentence if you were i a hurry, but at least you wouldn't fall asleep mid-senten Ashworth and Fletcher are conscious, perhaps slightly nervous, of the fact that the magazine gave them a h . h profile and associated them with a style. Typically, pag combined sans serif text across large measures, closely set, with a fair bit of grunge, such as distresse fax imagery, or other found graphics, often cut up, mov around a b and scanned back in. Photography and type often collid

T Ckr,r eI

IPA. Omni 31:4' • Isis is vs spin awnpsus nris• AIDA se ANSOMMOIDSIINO411111111M4111111111111111117 a 44444. <43.404, • sown Mliee SW* WV lin Ift Ire=12.116 111111111•111111MIIIIV sisbnoolossisiss lon 1110. ssres ...1.1.101. NSW!** Mon. In eis son. tosPiril smart ooOloodo.. aniniass -nonssiAnnan .to MY insassa.asebnes Innss nigria Rion afi.riss • :Min ;1 1.1ss .i rowb000Mole ▪ monis id WI: Onisdsssob n od*, 4143 iliossts•nosno doo*O000•eNoo sis mol'oballowelloo is IOW, Fa ohooLOO Ostli onielan, 0140lorOt oloomoOPlopo irontgaiseres boolsonsasan... nsiSin a N mks sot... lisSiSirisesi oamookotlook000r. .,:mm tOotio Mao. HOMO. asioaSss a/ OAP, eels* Ed l 1.1 nistils1111111111111100.10110114.0• 1fin•s••issestsilon o Ma • ("1°' a 0 wet, islyiV=tty WW1 to NMI nes isionninnoellsiimprnlinlisnAnnitnonassOnernbinesnallosos. alWiyp.aya _ilrZliss Nur tr. oo ses rtslontowlAnandaininssffisindieess*SsisnitedisSOS moo•to fps too. OSIOOok000ff Welfolo soo tot VLOOdos Ord 4a.O.P essesnin rolooaat ono ADSoro . Oaf Poor oIalwoOs oo •Onloosofolta rasa of roc. onArt.!" Oan oot or,. coo *14.4 4:44.%"""*"..`"" aaoo 4444 4. • fOoplOadoro filoorao, .41.1 en, diolotoOl.olaoll totonoto of *Ow odor.. lot ir si4Assns ssennaminielwinnsitinnenirnisniaaninirits is Tv ornesk eons SITV . Oksarstnsior O foo aftgoo pik WOO flloo OroOrtlo AO, Se San nnsen w* • • 554 ono • offoofotatof Oa aonsniksonesiSorisinnosnlafinnasonsOnmenentisont ran, 000foo. ostanof faro ifororoalt Unto Gonne

is the editor of the London-based communication arts magazine Creative Review. He is the author of several books, including 20th Century Type, The End of Print: the Graphic Design of David Carson, and (with Neville Brody, published this fall) Gl.

t's a bit of a problem for us at the moment that a lot of what we do is 'of the time' rather than timeless," admits Fletcher. Their contemporary heroes are the likes of 8vo, Mark arrow and Peter Saville—curiously designers whose cool, minimal typography is far from the hot and busy work Substance pumped out in Blah Blah Blah or, previously, for ITV Europe, where they spent time as in-house print designers. ne of the pieces of work they are happiest with is an album cover created for Ultramarine. The minimal use of sans serif type on a mysterious image (by photographer John Iolden) was for Ashworth "one job where we do seem to have done something more timeless." A forerunner to that might be Interference, the 1995 book of Holden's photo- raphs on surveillance technology. Here, Substance's mix of type with digital detritus operates as a carefully placed counterpoint to the out-of-focus and curiously lit images. he music industry and related fashionable clients perhaps disguise the firm roots to Ashworth and Fletcher's work. They see themselves as working in a European heritage, articularly Swiss. "But when we draw on Swiss, it's more Weingart than Ruder or Hofmann:' suggests Ashworth. (Wolfgang Weingart's early deconstructed ideas in the late 96os and '7os mocked the rules that Swiss designers such as Armin Hofmann and Emil Ruder had worked up in the 1950s and '60s.) All this might sound ambitious. But Ash- iorth and Fletcher have already achieved a high profile, have a style that gets copied by students, have new clients calling them since they left Blah Blah Blah ... and they re still only in their mid-2os. We can wait a little longer for the full manifesto.

hew htTV /(6.0111wtionownItl tios 40.11f.PAMKU den inlaeaH>AaMn Arraah.4A.Alt gef And., 0410'a hfndwng do titto tiptati. eatrocketc ,rensen Vat ana tronowolAk.

wetland est in Jo. gotten Nell hozeihwe,oiehe ow Ale tzwaleo kWh 'gnome now 1....wholetdigoo AA. WI A. A. VA the Walt Nyrnbolgewunteat 74 11 0#04810 au OA owe Oho. .sevatitrate Ch.M. von

hon. Mo. MTV how. wt. bn mr Itvtaltaion le getstAtithabemas held Obeeteholowe ton (Wwww..... nolotel Parch %oleo 11 rzo ,hoz twit. of WA.. Wow. W Al di. I ,2 ama'Neua wwo. ow wet loo arteltritv In oak. a.. tat.. avw ant Ite.feelftek. Wom '-I whore. olft WA snot.. sato zo tho Olotroehlwel tAtt Mve..garEp'an anew W Wu two, Slow Weel • Ow Ooll. *olio hos oleo Here dm twin Daltivattianti sondem sorb HIM 0. (61 Wawa olottel tavaltt.) It bo.itra atfirlicha Parts. . WV Fun, awgeaner 8' te. Co. oat tin , M AbeWr 19M. Mw type (Ma C.c.. pIU. Ai. A* to. to Coat Ie.. IV% Ow V... • 11 MI Pooh. All TaMlateaat WU.. Star Ars. awn taw trAt .0 4s. Ara. AA, 1.14. re, el Poo Cotton. two.: In th. w Or collo.. i9 PP. ta. t411* it, (M.*. W. Woods of AO.W. whe wows to Wo.. MI, how WAN lo pvesltms oM w ow." Of When. Wrotwo At tw wry ot.h. Vow, Nolen is me only lew hoArt he Ow ow Lwow, Iket WNW. MOMO two., We.. oast too... wool., MY AnO ae• wetowsz r I

1 From the MTV Music Awards publicity pack, , 1994. Substance had imagery printed on both sides of the translucent sheets, With contrasting fonts for the English and German texts.

2 Covers and spreads from Blab Blab Blab magazine, London, 1995. There is a deliberate attempt to incorporate manual processes inthe layouts, including Letraset headlines, plus extensive use of the fax machine to degrade the art. 3 From Interference, a book on the intrusion of surveillance photography in everyday life, by John Holden, Sheffield, 1994, Found imagery provides much of the type, which exists as mostly incoherent background "noise" against which the images are set.

HEADLINE/INTRO/NAMES: ITC OFFICINA SANS BOOK LARGE NAMES: ITC EDWARDIAN SCRIPT REGULAR TEXT: ITC OFFICINA SERIF BOOK, BOOK ITALIC 12345ABCDEFGHIJKLIVII`

4 24 @

CREATING A SERIES OF ELEGANT, DISTINCTIVE TYPEFACES FOR THE GOLDEN COCKEREL PRESS MARKED A DRAMATIC TURNING POINT IN THE PRODIGIOUS CAREER OF

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

ITC GOLDEN COCKEREL ROMAN 123456789offfiffiflifi PQRSTUVWXYZ67890 ITC GOLDEN COCKEREL"' TITLING

EFGH NOPQRST UVWXYZ

ITC GOLDEN COCKEREL"'

ABCDEFGHIJKLMNOPUSTUVWXYZ abcdefghijklmnopqrstuvwxyz

12345 6789offfiffifyfl ITC GOLDEN COCKEREL- ITALIC

EFORE STARTING THE PROJECT IN 1929, t t Gill had already earned a wide reputation in England as a sculptor, stonecutter and wood-engraver—and also as a controversial socialist, pacifist and liberal Catholic I • a convert. The Golden Cockerel typefaces, commissioned specifically for a special • wr edition of the Four Gospels, were his first efforts as a full-fledged type designer. Ini- tially, with the encouragement of at Monotype, he had provided letter drawings for the and typefaces to the foundry, whose drawing office Band engineering staff modified them to suit the hot-metal technology. *. A Heavy, Closely-Massing Type'A With the Golden Cockerel series, Gill immersed himself completely in the production of the typefaces, assuming the responsibility of ensuring that his drawings were converted to metal, sized on the body, spaced correctly and tested in page formats. By embracing the technology of the day, Gill was making a personal philosophical leap. Previously, the designer had turned his back on metal typecasting technology, adopted a reclusive, monastic lifestyle in rural England and settled on engraving in wood, he said "for the sake of lettering" But Gill was passionate about the Golden Cockerel project and became absorbed in achiev- ing technical precision without compromising his esthetic. In the late 192os, most private presses in England routinely used Old Face in text settings. Gill and his collaborator Robert Gib- bings, the owner of the Golden Cockerel Press and a fellow wood-engraver, decided the Four Gospels edition needed a typeface that would be robust enough to match the strong, illustrative images they were working on Soon after starting the project, the novice type makers ran into several technical snags. The first was the practical problem of adjusting the large-scale drawings to their eventual reduced size for use. Gill conveyed his problem to Morison in correspondence: "I have made drawings to large scale, but how am I to tell what they'll look like small?" He added, "I have made a drawing of Lord's Prayer actual size of i8 point (body). But neither my hand nor my eye is capable of working so small. Still the general effect is what I want—colour, character, etc:' Gill solved his dilemma with characteristic ingenuity: by getting his small sketch photo- graphically enlarged, working over the detail and having it reduced again, he began to achieve what he wanted, which he expressed to Morison as "a heavy, closely-massing type suitable for use with modern wood engravings7 Further problems were encountered when a larger point size than the i8-point text was cast for the titling font. As Gibbings put it "One of the greatest changes you can make to a design is to alter its scale" Gill reworked the drawings to make a titling font in 24 point and 36 point, as Gill said "reducing the weight of the horizontals in proportion to that of the verticals, and so retrieving the lost elegance of the design7 From Metal to Digital This same kind of scrutiny and care was applied this year by International Typeface Corporation when bringing Gill's classic typeface to digital form. In researching the Golden Cockerel type- faces, English type designer Dave Farey contacted Sebastian Carter, who with his father Will Carter at the Rampant Lions Press in Cambridge, has had exclusive use of the original metal

Ns*

ITC GOLDEN COCKEREL,'" ORNAMENTS

26 type since 1977. The younger Carter had been sparingly and lovingly using the typeface in 18 point for book and pamphlet settings. Seeing the ingenuity and variety of its contemporary use confirmed to both Farey and Colin Brignall, ITC's European type consultant, that Golden Cock- erel types would be esthetically valuable and an important contribution to the type collection when launched in a digital format. Prints of the type in Carter's possession—the roman and titling fonts—were pulled on a variety of papers for study and comparison with the original let- terpress printing, and enlarged drawings and photographic reductions were made. Research then continued at London's St. Bride Printing Library, where librarian James Mosley showed Brignall and Farey a copy of Gill's experimental drawing of the Lord's Prayer— and the original enlargements of it. Almost unnoticed in the library's collection was a small case of 14-point italic lowercase, which was attributed to Gill but had not been used by the Golden Cockerel Press in the production of the Four Gospels. Letterpress proofs of the lowercase italic were taken for further reference. Additional examples of the italic were located at Thomas Yoseloff's Golden Cockerel Press bookshop in London, which houses the complete works of the Golden Cockerel Press. Consulting with printing historian John Dreyfus, the ITC development team discovered that the original Golden Cockerel patterns and matrices of the type, manufactured by H.W. Caslon Letter Foundry, were kept in the vaults of the Cambridge University Library in the Stan- ley Morison collection. There Farey examined and measured the metal masters and made visual comparisons with the letterpress references before beginning the first-stage drawings of the ITC Golden Cockerel faces. Completing the Family Capitals for the italic were then devised by studying Gill's other types and alphabets, along with his numerous lettering projects, including stone engravings, to ensure that the set of capitals would complement the lowercase and relate well to the existing roman. In tandem with the roman and italic and the separate titling font, a set of ornaments and original initials were devel- oped to give a full span to Gill's expressive wood engravings, etchings and carvings carrying the master's fingerprint. Essentially, the ITC Golden Cockerel initial alphabet represents Gill's style of wood letters, including the exuberant flourished serifs and splendid lombardic stresses found in commissions from the Golden Cockerel, St. Dominic's and Curwen Presses and simple bookplates and devices developed throughout his life with letters. ITC also added ITC Golden Cockerel ornaments, which interpret and celebrate Gill's skills as an illustrator. The ornaments were selected by Brignall from research at the British Library and the Victoria and Albert Museum in London, along with published references that include borders, tailpieces and typographic devices. Gill's ecclesiastical style is well represented, bal- anced with embellishments taken from nature and mythology—including the three-leaf clover, the mulberry tree, the Welsh Dragon, and the motif used in The Canterbury Tales, described by Gill as "the inadequate fig leaf." These decorations are suitable for use with all roman or sans serif styles, but more appropriately have been chosen, as Gill would say, "to be fit for their pur- pose: relating to the ITC Golden Cockerel typefaces, the unique, digitally created versions of Eric Gill's classic first independent type designs.

Contributors: Joyce Rutter Kaye, James Mosley and Dave Farey

ITC GOLDEN COCKEREL` ORNAMENTS (T)

27 TYPE BY dertni.tion

CAN YOU TELL A FLUBDUB FROM A FLEURON? A FOND

FROM A FONT? GENE GABLE BRINGS US UP TO DATE WITH A

DICTIONARY OF TYPE-RELATED WORDS FOR THE COMPUTER ERA.

In his Devil's Dictionary, Ambrose Bierce defines type as "pestilent bits of metal suspected of destroying civilization and enlightenment, despite their obvious agency in this incomparable work." There is something about type that makes people want to invent unique words and phrases to describe it and the process of setting it. Some type phrases, like "lock up" and "dry transfer," make sense only in light of the technology used at the time they were coined. And others, like "" and "case," have survived, despite having no actual relevance to modern technology. Thanks to the dread- ful influence of the techno-babble that so permeates the computer industry, entirely new words are cropping up almost daily to describe type and type-related things. Sometimes, it's hard to keep track. While no means exhaustive, here is an updated list of important type terms and type technology in the computer era. And while some of you may find some entries obvious below, remember that the Macintosh has been around for 12 years-long enough to have inspired a generation with no exposure to traditional terminology. BY GENE GABLE

a get (resolution independent). Halftone images are pixel based-they're made up of tiny bits of color that, if you blow them up large enough, you can see them (resolution dependent). When you combine the two, such AA No, not where you go to dry out, but short for Author's Alterations as adding type over an image in Adobe Photoshop, the intersection of to typeset text. As opposed to PE, or Printer's Error. the perfect lines of the type, with the jagged dots of the image, can create a stair-stepped, uneven look to the type called aliasing. For this we do anti- AFM Files Adobe Font Metrics. You still get these with your Mac Type aliasing, a computer routine that sort of "blurs" the lines between the two, 1 fonts, but you don't need them for day-to-day use. It's been a while resulting in what should be more readable type. Some programs are better since any programs required them. than others in how they anti-alias type and other vector art.

Accent Marks You see them all the time, but did you know their names? Height Officially the distance from the top of the lowercase x (x-height) to the top of lowercase letters with ascenders, like f, d or k. , Acute k Asclitilde •-• ) Breve ( v ) Caron ( )

Cedilla ( ) Circumflex ( ) Dieresis ( ) Dotaccent( • )

Grave C Hungarumlaut Macron ( ) X-Height (")

, Ogonek ,) Ring k ) Tilde CI

Agate Not used much in the electronic era, but still a measurement of choice at some . It's both 51/2 point type, or an ad-space mea- ATM Some think it's where you get your cash. Others say it's short for surement of 1A4 of an high by one . Asynchronous Transfer Mode. But in the type world, it stands for Adobe Type Manager, a nifty little program everyone should have that allows Alphabet At any size, the length of all 26 lowercase characters. Macs and PCs to display bitmap type from Type 1 outlines. ATM also lets Some once thought 11/2 the alphabet length (39 characters) was the per- you use PostScript fonts on non-PostScript printers. In its current Deluxe fect width for a text column at the set size. version 4.0, ATM is more of a font utility, like Suitcase or Master Juggler. And even though with ATM your screen fonts are rasterized from the Anti-Aliased Type Type outlines are vector-based objects—they're made printer outlines, you still need to install at least one bitmap font, which up of straight lines and curves that stay smooth no matter how large they is contained in the font suitcase.

28 acter or number made up of zeros and ones (called bits). There are eight bits in one byte, or 16 bits in a double-byte.

Baseline Seems pretty obvious—it's the line on which letters stand. But Expert Not a firm standard, but a common layout that generally did you realize that most curved-bottom letters (like S, C or G) extend includes , oldstyle figures, superior and inferior numbers, slightly below the ? additional ligatures, and miscellaneous special characters. Adobe pretty much set this standard with their expert collections. Some- Bad Break Some people think these disappeared when computers began times referred to as SCOSF (small caps, oldstyle figures). making line-ending decisions. But any break in text that violates an estab- lished typesetting or grammatical rule is still a bad break, even if it passes ISO Latin Sort of the international version of the ASCII set as dic- Quark's default muster. tated by the International Standards Organization.

Bastard Title You've seen this page in every book—it's the one with just Circus Makeup Once referred to lots of typefaces on a single page. Now the book name—usually just before the main title page. Sometimes called it seems pretty commonplace. the half-title page. A measurement preference choice in XPress and PageMaker- Bitmap/Screen Font With Type 1 fonts, you need a different font for more popular in Europe than in the U.S. An old printer's term, a cicero is screen display than for printing, thus the bitmap, unless you use Adobe slightly larger than a (0.1776 ). The sub-unit of the cicero is Type Manager, of course, which creates screen fonts from outline fonts. the point—there are 12 of them to each one cicero. But even then, you need to install at least one bitmap font (which are contained in font suitcases), at least on the Mac. Whew! Classification Systems The advent of electronic type design has made it even harder to classify typestyles by design attributes. Type observers Blad You know about text. But did you know this term for have dreamt up all kinds of type categories, from Neo Grotesque Sans dummy book pages that appear in pre-release promotional materials? Serif (Akzidenz, ITC Franklin Gothic, ) to Humanistic (ITC Eras, Gill Sans, Optima), to Glyphic (ITC Barcelona, 25 Ultra Light Bounce When the baseline of a word gets all goofy, call it this. Some- ITC Serif Gothic, Friz Quadrata). In the late times referred to as asymmetrical or off the line. 1950s, Adrian Frutiger proposed a two-digit 26 Ultra Light Italic numbering system for type which first appeared 27 Ultra Lignt Condensed Brace This is the character used to connect or embrace lines, particu- with his family. The first digit denoted 35 Thin larly in math { }. Not the same as brackets, which are square [ ], except weight (from 3-light to 8-heavy), the second in Britain, where they refer to parenthesis () as brackets. width (from 3-extended to 9-condensed). Lino- 36 Thin ultimately released a Helvetica series with 37 Thin Condensed Built-in Fonts All fonts have to make their way to the printer before these numerical designations, but it is rarely 45 Light your job can print (at least with PostScript printers). Most printers come seen today. with some fonts permanently built in-these generally match the ones David Berlow of The Font Bureau proposed a 46 Light Italic that ship with the Apple Mac and Windows operating systems. Some- similar type numbering system in recent times, 47 Light Condensed times they're called resident fonts. All fonts that are not built in have to only in his scheme, weights and widths go from 55 Roman be downloaded to the printer from your computer during the printing 1 to 9, and italics are all even numbered. Ben process. This happens automatically when you hit the "print" button. Bauermeister of ElseWare Corporation came up 56 Italic with the PANOSE System, which is one of the 57 Roman Condensed Bullet Of course you know this is a solid, round dot. But are you also most ambitious ways of identifying type styles, 65 Medium aware that it's sometimes called a meatball? and one used by Microsoft Windows to affect type substitutions. The 7-digit classification 66 Medium Italic number covers serif style, proportion, contrast, 67 Medium Condensed C stroke variation, letterform, midline height and 75 Bold axis, and x-height. Using the Panose system, fonts can be mathematically compared, sorted 76 Bold Italic Case It shouldn't surprise you that in hot metal times, the capital letters or matched by style. 77 Bold Condensed were kept in the upper drawer (or case), and the non-capitals were stored Maximillian Vox (1894-1974), a French typo- 85 Heavy in the lower drawer. grapher, developed the Vox Type Classification System in early 1950s—it consists of nine gen- 86 Heavy Italic Center Point Not quite a bullet, not quite a eral type categories and is used primarily in 87 Heavy Condensed period. It's the dot that appears between letters Europe. None of the proposed type classification 95 Black to indicate syllable breaks. able systems has ever caught on widely in the elec- tronic type community, where the number and 96 Black Italic Character Sets Every font has a limited set of characters that it con- variety of type designs is at an all-time high. 97 Black Condensed tains-and they aren't always located at the same keyboard address (a key or combination of keys that make the character appear on your screen Contrast Not just an adjustment on your monitor, and on the printer). Unfortunately, a number of standards have emerged but how we refer to the difference between the thick for character sets, so fonts can be different from system to system (or and thin parts of a particular type design. even on the same system). All of this is a bit confusing, so try not to worry about it—when in doubt, consult a keyboard layout chart or use a charac- ter-choosing utility. d ASCII Most fonts are based on this American Standard Code for Infor- mation Interchange, which is limited to 128 characters, but in its Dead Font Formats Before Adobe Type 1 and TrueType became the win- extended form, covers up to 256 separate items (see ANSI below). ning standards in electronic type formats, others made a valiant effort: Chameleon from Ares was a promising format that created small, flex- ANSI The American National Standards Institute character set of 256 ible descriptor files that were applied to master type outlines, allowing characters (the first 128 are ASCII). "morphing" of type styles—it's since been bought by Adobe and will likely be used only as a font compression system for printer manufac- Double-Byte for extremely large character sets, like those used in turers. MoreFonts from Micrologic never gained much ground on the Kanji or Chinese, 256 characters is simply not enough (they can have Windows platform. Nimbus Q from the Digital Type Corporation was up to 20,000 characters). Double-byte software supports a system- developed by URW in Germany—it made its way into a few Windows level way of accessing more than the usual 256 (single-byte) characters. programs before its ultimate demise. Speedo was a font format from A byte, by the way, is a computer numerical representation of a char- Bitstream that was used on the Windows platform prior to the wide-

spread adoption of TrueType. Type 3 was the poor man's version of Fixed Spaces Most spaces between words in a computer are variable Type 1 fonts before Adobe opened up its specification for others to spaces—they adjust in size to fit the circumstances and to make better use. If you have any of these formats today, relegate them to the trash justifications. But sometimes you want a fixed amount of space, which where they belong. generally comes in three sizes: an space (or mutt) which is equal to the point size of the type being used; an en space (or nutt), which is half Depth The opposite of ascender height, it refers to the dis- an em space, or a (no, not a thutt) which is generally or Vs tance between the bottom of the lowercase x and the southernmost of an en space. Most page-layout applications have keyboard commands point of descending characters like g or y. for these standard spaces. The use of fixed spaces is invaluable when lin- ing up numbers in columns. Descriptors For a brief time it seemed like fonts were headed in this direction, where a master font file existed on your system, which would Fleuron You've seen lovely flower ornaments for sep- then be "modified" on the fly into a specific type design by descriptor arating sections of type. Now you know what they are fftk files (containing specific design guidelines). Efficiency of space and flex- called. ibility in distribution was the point here. It appears that most of these systems have lost favor. Folio is, of course, the page number in a document. But did you know that a blind folio is a page with no number? And that a drop folio is Dieresis When you need to help someone pronounce cooperate, it's when the number appears at the bottom of the page? Any printed folio what appears over the second o. Same as the German umlaut, by the way. is said to be an expressed folio. See accent marks. FOND From Font Family Descriptor, it's Apple's way of defining the You know these odd characters thanks to ITC Zapf Dingbats relationship between styles in a type family, like bold, bold italic and and WingDings. But do you know that fun typographic ornaments are italic, and it links the bitmap font to the printer font through a num- sometimes called flubdubs? Others still insist on sorts. bered ID system.

Font Not as simple as it seems. Once meant an individual size of a spe- 66 ')IE 71 • @ 4 )=- tr-w "4" " cific type style. Then it meant the actual physical device you installed in a typesetting machine. Now it generally means a single typestyle outline. Dipthong Not something for walking on the beach, it1 Some insist on calling the whole type family a font, but you should con- but rather the formed by two vowels coming . sider each individual weight or style of a type family a separate font. together to form one character. Ce

Discretionary Sometimes called a soft hyphen, it's really an "optional" word break that you put in to let the program know that if O a break needs to be made, this is where you want it to occur (usually by typing command + -). If the text is reformatted and the line endings Grammalogue Now you know what to call a word & @ change, a discretionary hyphen goes away automatically, as opposed to represented by a symbol, such as & or @. a hard hyphen, which stays until it is deleted. You should almost always use discretionary —you get into less trouble that way.

Display Type Back in the good old days, type was designed and cut to appear at a specific size. Technology now allows any font to be ABd Hairline Not actually the size of a human hair, of course, but generally set in any size, rendering the concept of specific display type much less the smallest available rule in any system. Should technically be Y2 point. popular. But certain designs still look best when cut for use at larger sizes. Fortunately, fonts like ITC Bodoni and Big Caslon from Carter and Cone Headlines Of course you know what a headline is, and a subhead, and (among many others) are designed to be used at specific sizes. In case you maybe even a running head. But less commonly known is that a stub- don't think it matters, look at the contrast of a display version versus a text head appears in the left-hand column of a chart, and a spanner head version of the same font. Generically, display type sometimes refers sim- straddles more than one column? And now you must know where a sub- ply to type designs that are hard to read at small sizes. But a true display spanner head goes. font is designed to be set large (generally above 24 pt). (see page 52) Hints/Hinting One of the hidden quality issues in type design, espe- cially with TrueType. Hints are computer algorithms that improve the e display of type (particularly at small sizes) on your screen. Better hints equal better type display at low resolutions. Good hints are done by hand on a face-to-face basis. Ear Those little boxes of type on either side of a newspaper or magazine title. Often contain the weather or inside previews. Not to be mistaken for a letter's ear (see Parts of a letter).

Embedded Fonts This is where fonts get saved and distributed auto- matically with a document so you can view them correctly on another Inferior Don't feel sorry—it's just those little letters and machine. The font companies don't like this idea since it allows the numbers that appear below the baseline. And superior, H,0 receiver of a document to capture and then use the document creator's of course, are on top. fonts. Some font embedding routines, like TrueDoc and OpenType, cap- ture enough font information to render type properly when opened, but Inline Starts at the edge of a letter and goes in. Outline, of course, starts not enough to re-create whole fonts illegally. at the same edge and goes out from the letter. Online, therefore, is half in and half out. Even Smalls is the term to use when you set in all small caps (with no full-size caps). Intellifont Developed by Agfa for use in Hewlett-Packard printers, Intel- lifont is a scalable font format that you really don't have to know anything about because it is invisible to the printer user.

f Intercap Giving something a name doesn't make it more acceptable, but these are here to stay. This is the official name for the practice of having Face We use this synonymously with type style. But it once meant the capital letters in the middle of proper names, like PostScript, QuarkXPress, surface of a letter that gets inked. and ObnoXious.

30 Interrobang A symbol that had a brief life in the late 1960s. generation. If you're Hewlett-Packard and you ship millions of printers It was to be used to express both a question and an exclama- a year, every little bit of information represents a manufacturing cost, tion at the same time, like in "What the ? or Who needs it ?" so the smaller the font, the less memory you have to build in to the prin- Martin Spector is said to have invented the interrobang. ter. MicroType Express is a version of the technology for electronic doc- • ument distribution that has caught the eye of Microsoft, among others, who have licensed it for possible use in future products. Everyone wants to have the type-compression technology of the future (see TrueDoc, OpenType, Intellifont).

Justification There are lots of terms Excellence in typography is the Modifier Key Since keyboards aren't big enough to dedicate a single result of nothing more than an to specify this: flush left is the same as attitude. Its appeal comes from the key to every letter, symbol or number, modifier keys exist to access sin- ragged right. Flush right will get you understanding used in its plan- gle characters by deploying two (or more) keys in sequence or in tandem. ning; the designer must care. In The shift key is the most basic modifier key. On the Mac, the most com- ragged left. And flush left and right contemporary advertising the per- will get you justified columns. fect integration of the design mon modifier key is the option key or the control key. On a PC keyboard, the option key is generally called the alternate key or escape key. Some- Justification Zone Most people don't set this preference in their page- times called the effector key, and if you have any old typesetters around layout program, but should. It's the definable area toward the end of the office, you may still hear them refer to the option key as the key. a text line in which you will accept a line break or hyphenation. You shouldn't let the program make this decision for you. Mouse You think it's just that pointing device next to your keyboard. Well, it's also the rubber cement pickup device from old paste-up days.

Multiple Masters Developed by Adobe, these fonts consist of at least two (and up to four) master outlines that can be combined to form an almost endless variety of weights, widths and heights of a particular Simply put, kerning is the Not Kerned design. They are not as popular as Adobe had hoped, but are a good bet adjusting of space between letters (par- if you work quite a bit with the same type style. Gives you lots of flexi- ticularly those that don't fit together Type Typeface bility in copyfitting and design. well like Yo or AW) to make for better Kerned looking words. But that's a little like saying you bang on piano keys to make Type Typeface music. Kerning is an art that you are either born with, or you master after years of painstaking practice. Technology has helped greatly here—kern- ing used to be all done by hand. Now a type designer can build kerning Oblique that has been artificially slanted to look italic. The pairs into the font so certain letter combinations are kerned automati- opposite of true italic. cally. You can add to kerning tables in either a type design program like Fontographer, or in your page-layout application. But please don't be OpenType Just in case you didn't think Type 1 and TrueType were lulled into thinking kerning is all automatic—there are hundreds of thou- enough, Adobe and Microsoft (with support from Apple, and sands of possible letter combinations, and kerning needs to be done in others) have gotten together and come up with OpenType, mostly to context of whole words, not just letter pairs. Not to be confused with answer font problems on the World Wide Web. The OpenType specifica- tracking, which is universal adjustment of space between letters (mak- tion allows for the compression, embedding and decompression of font ing words tighter or looser overall). information so it can easily travel with a document and display properly on any computer platform—sort of where TrueType and Type 1 put aside their differences and unite for the common good of all documents. Don't 1 worry—your current fonts should be compatible with the new format, which will take a while to catch on and be supported.

Ligature You know this is when two letters are combined to form one, Ornaments As opposed to pi characters, which generally serve a specific like in fi or fl. But did you know that all type that is connected, such as purpose, or picture fonts, which are drawings set in a font format, orna- most scripts, is said to be ligated? ments are typographic devices that are used to embellish text. There are many types of ornaments. (see pages 95-100)

fififfiffidft Orphan When you're setting a book and the first line of a new falls at the bottom line of a page, or the last line of a paragraph winds up Lining Figures are numbers that all have the same optical baseline— at the top of a page (also called a page widow). Either way, orphans are to that's the opposite of oldstyle figures. be avoided.

Outline This is the part of the type software that actually creates the printed characters. It is, technically, just a description of the type's out- 23456 line—it would take up too much space to describe all the solid stuff in between—that's done in the PostScript interpreter during printing. 2 3 4 5 6 p

Parts of a Letter Apex: The point where two diagonal strokes meet, as in the top of the uppercase A or M.

Metrics All of the information about how a font fits together, like kern- Arm: Horizontal strokes on letters like T or E. ing information and character widths. Bar: The cross horizontal piece connecting two strokes. Microtype A font compression/format technology from Agfa that is used to make fonts very, very small in equipment that ships with built-in fonts, Beak: A serif at the end of a horizontal stroke. like laser printers. It's part of Agfa's Universal Font Scaling Technology which is used by many printer manufacturers for handling internal font (Continued on page 104) c stom Letters 101 HANDY USES NEW distinctive ITC typefaces spring from the imaginations of commercial lettering artists

Type designers further treatments such as drop-shadows, cola who specialize in creating custom logos, commer- gradation, and distortions that when applied, cial lettering and corporate identities often find re-create the effects prevalent in many horror dress it up! seeds of inspiration in their purpose-driven pro- movie titles of the 1950s. jects. While working to meet specific client needs, designers may discover that a single, eye-catching ITC Obelisk logo, word. or phrase provides an opportunity to According to Grimshaw, ITC Obelisk might be experiment with a treatment that can be expanded classified as "glyphic" in style, meaning it is chis- into a full-fledged typeface family. The six type- eled, rather than calligraphic in form. Grimshaw faces shown on these pages—ITC Caribbean, ITC was on his way to creating a medium-to-heavy Jaft, ITC Jambalaya, ITC Klepto, ITC Obelisk and ITC informal display face when curiosity led him to Ellipse—were created by four designers who spe- redraw some of the characters in a much lighter cialize in custom lettering. Each typeface reflects form. This new lighter version proved to be attrac- the distinctive style of its creator. tive, especially when set at small sizes, and thius became his focus. While refining the design, the ITC Klepto light weight was born, still retaining some of ITC Klepto and ITC Obelisk, by British designer the original casual features, as seen in the lower- Phi11 Grimshaw, are two examples of commer- case h, m, n, q and the tail of the capital Q. cial design projects that took on a second life. ITC A set of small caps soon followed, together with Klepto has its origins in a series of 22 headlines a complementary italic. The bold weight was (some with accompanying body copy in a lighter then fashioned and used with the light roman weight) that Grimshaw created for an ad cam- in order to interpolate the medium weight. paign. An eclectic, rough-edged sans serif face in ITC Obelisk is available in Light with Small Caps, the 1950's vernacular, ITC Klepto is well suited to Light Italic, Medium and Bold weights.

ABCDEFGHIJKLMNOPQRSTUVwxyz abcdefghijklmnopqrstuvwxyzefin take it to new heights! V#VoStEVVVECE11(1?"- 1 • • • ) [tt§»«]1234567890 L

32 AVAILABLE IN 4 VERY SMART WEIGHTS

ITC Obelisk ITC Obelisk ITC Obelisk ITC Obelisk LIGHT LIGHT ITALIC MEDIUM BOLD

ABCD

-- I T V I aV - EZT EZ D EZ Dt ,.:0[ - EF St St 14 170 Z9SP GHI DJUG - 4,§ L9 L9 »«112 068 IIH II119 JKLM X I 06 S I 068 34 WI 56 NOP NW ON O 7890 0d QRST tNI 21 g

S TII UVW A IAIlIS M XYZ ZAX/V ZAX

a good salary a ban account a nice home a new car < ci ft" for pleasure and for profit

A13c.DEFGHiJKLAINOPQR5TUVWXyzabccie 13e an 7014fNc0 Artist! fghijklinnopqrstuvwxyz&fifig*# ABCDEFCHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz &fifl©#%$00/ECER ("!?"--- 1.:;)[#§»«1 1234567890

IEEWM. ABCOEFCHIJKLMNOPQRSTLIVWXYZ abcdefghijklmnopqrstuvwxyz &V 1 ©*#%$ fY(0/REf 0?"-----,4[731 §»q 1234567890

ABCDEFCH IJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxgz Sififl©iP/oScEY(MCEK ("1 '"-----, .:;)tft§»«1 1234567890

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz &fiji@*11%$cfl(COXCE:13 ("P"----4f1-*§»«/ 1234567890

Roman Italic 1 Bold t3ctits. 1 Bold Italic teems; Hold A New World In Your Hands

34 AD“IgYG,11843‘11NRIOrtZIOTOV ai3c4ehlhiPintairibrvuirO cyi 11234M6718330

ABCPETGIEJIKIL NWC4RITUVIN a6eGilTf buijk mptopNolitiivOlaKyz 11234M671890

IB MIPPEP P1 111J1IFTandlitplintilt ITC ELLIPSE began as a small piece of lettering for which the are adventurous and energetic display designs from is a typeface that reflects a contemporary esthetic, California designer Jill Bell wanted the feel of some- the hand of Frank Marciuliano, a New Yorker with explains designer J.R. Cuaz. Cuaz, who specializes thing organic and earthy, yet exotic and tall like a an extensive background in commercial design for in creating visual identity programs by combining palm tree. Bell's experimental nature comes through consumer packaging and corporate identities. ITC graphic and typographic design, contends that the in ITC Caribbean, where she combines angles and Jaft began six years ago when Marciuliano created ellipse has become prevalent in current design as a curves, pairs heavy lines with open work, and evinces a series of posters for the New York Times. The letter- result of new graphics software that makes it easy the sway of the palm in an island breeze. The typeface ing was drawn with a bamboo pen and then filled to manipulate the circle. The ellipse has even moved includes both uppercase and small caps. The design in to form the unusual angles that give ITC Jaft its beyond print and has come to be integrated into is informed by Bell's broad artistic background, buoyant tempo. many other facets of design, just as the trend of which ranges from portrait painting to . For the very spirited ITC Jambalaya and ITC any era reverberates through architecture, fashion, She has pursued many lettering forms and meth- Jambalaya Too, Marciuliano decided to treat each interior design and lettering. ITC Ellipse holds its ods, including Eastern calligraphy, Chinese painting letter as an individual piece of art. The result is at own as a display face, yet its classical structure and and Kanji. Eastern styles, she says, incorporate the once an eclectic assemblage of graphic elements familiar proportions allow it to be used across a natural flow of the hand. This approach has a special and an effervescent typeface that holds together broad range of applications. ITC Ellipse includes appeal to Bell, who feels clients now desire a more for upbeat display uses. alternates for several characters including A, l< human touch in their designs. "About five years ago, I and R, and is available in four weights: Roman, Italic, noticed that requests for lettering design were veer- Bold and Bold Italic. ing away from tight, perfect letterforms and moving toward a looser, hand-drawn style she says.

Just what You Need to Get the Job Done Right!

ITC Caribbean, ITCJaft, ITCJambalaya, ITC Klepto, ITC Obelisk and ITC Ellipse will be available to the public in various formats for the Macintosh and PC on or after August 26, depending on each manufacturer's release schedule. Only ITC, ITC Subscribers and ITC distributors are authorized to reproduce and manufacture ITC typefaces. gib e 0'01 MAN CANNOT LIVE OFF TYPE ALONE. IF THERE WERE ONE POINT OF UNANIMOUS AGREEMENT AT A RECENT U&k ROUNDTABLE ON CONTEMPORARY TYPE ISSUES, IT WAS THIS: THAT DESIGNING ORIGINAL TYPE- FACES RARELY PAYS ENOUGH TO BE CONSIDERED A FULL-TIME JOB. GEORGE RYAN FELT SO STRONGLY ON THIS MATTER THAT HE TOLD THE ROOM FROM THE OUTSET HE WAS NOT A TYPE DESIGNER, BUT RATHER "A PERSON WHO EXECUTES TYPE:' OF THE NINE PEOPLE AT THE DISCUSSION WHO "EXECUTED TYPE;' THEN, ONLY ONE TRULY QUALIFIED FOR THE TITLE OF TYPE DESIGNER. THIS WAS MATTHEW CARTER. "FULL-TIME PROFESSIONAL TYPE DESIGNERS WHO DON'T HAVE A PROPER DAY JOB ARE VERY FEW AND FAR BETWEEN,' HE AGREED. "BUT THEY ALWAYS HAVE BEEN. NONE OF THE GUYS WHO DESIGNED , , AND PEIGNOT WAS A TYPE DESIGNER. EACH DID ONE TYPE- FACE IN HIS LIFE:'* WITH THIS, A LIVELY DISCUSSION KICKED OFF. THANKS TO DIGITAL TECHNOLOGY, THE TYPE PROFESSION HAS CHANGED DRAMATICALLY OVER THE LAST 10 YEARS. BUT, IN ESSENCE, HOW IS IT DIFFERENT? EACH DESIGNER AT THE TABLE HAD A DIFFERENT PERSPECTIVE ON THE TRANSFORMATION. DIGITAL TECHNOLOGY HAS BROUGHT INCREASED FLEXIBILITY, PRODUCTION AND OUTRAGEOUS DEMAND. THE BUSINESS OF DESIGNING, CUTTING AND DISTRIBUTING TYPEFACES, ONCE THE DOMAIN OF A SELECT GROUP OF PROFESSION- ALS, IS NOW WIDELY DISPERSED. COMMISSIONS FOR NEW OR CUSTOMIZED FACES, ONCE CONSIDERED AN UNDER- TAKING "ARCHITECTURAL" IN SCALE, ARE NOW PART OF THE TYPE DESIGNER'S STAPLE DIET. THE FONT BUSINESS, SAID JAMES MONTALBANO, HAS COME TO RESEMBLE THE MUSIC BUSINESS, RIGHT DOWN TO THE FICKLE FASHIONS, UNEX- PECTED HITS AND INDEPENDENT FOUNDRIES. "EVERYBODY WANTS TO HAVE A BIG H117 HE SAID, "AND IF YOU HAVE A BIG HIT, YOU CAN MAKE A LOT OF MONEY:'* CLEARLY, THE "FONT PHENOMENON" HAS BENEFITS AND DRAWBACKS. THE ESCALATING INTEREST AND AWARENESS OF TYPE HAS FUELED DEMAND FOR PROFESSIONAL SKILLS. "AS GRAPHIC DESIGNERS BECOME AWARE OF THE [FONT CREATION] TOOLS, THEY REALIZE WHAT THEY CAN'T DO;' SAID MONTALBANO, WHOSE STUDIO HANDLES CUSTOM TYPE WORK FOR LARGE MAGAZINE PUBLISHERS. "1 GET AN AWFUL LOT OF WORK FROM THOSE DESIGNERS:' IT HAS ALSO RESULTED IN THE ARRIVAL OF A FLOCK OF NOVICE PRACTITIONERS UNSCHOOLED IN THE BASIC RULES OF TYPE DESIGN AND TYPESETTING. FOR THE MANY DESIGNERS AT THE ROUNDTABLE WHO UNDERTOOK LONG APPRENTICESHIPS IN PHOTOCOMPOSITION AND TRADITIONAL TYPE SPECIFICATION, THIS WAS SOMEWHAT UNSETTLING. "EVERYONE'S WANT- ING TO BREAK THE RULES:' SAID DENNIS PASTERNAK, "BUT THE TYPE- SETTERS AREN'T READING THE CONTENT ANYMORE AND IT'S GETTING HARD TO READ THE STUFF AT ALL. IT FEELS RUSHED:' MONTALBANO, WHO WAS SCHOOLED IN WHAT HE CALLED THE NEW YORK STANDARD, FOUND SPECIFIC IRRITATIONS. "THERE'S BEEN A SHIFT OF MODELS BASED ON WHIM,' HE SAID. "NO ONE WANTS TO USE HYPHENS. I SEE MORE AND MORE HORRIBLE RAGS AND UGLY COLUMNS:' * EITHER STANDARDS ARE DROPPING OR THE RULES ARE CHANGING. MONTALBANO CONCEDED, "IT MAKES ME QUESTION THE RULES THEMSELVES. 41114, W THESE A SET OF TYPE RULES THAT A GUILD PUT DOWN?" DANIEL PELAVIN MORE FORCE- FULLY RIDICULED THE NOTION OF ESTHETIC LEGISLATION, SAYING, "I DON'T SUBSCRIBE TO THE DESIGN POLICE:' PERHAPS THE DIFFERENCE NOW IS THAT THERE ARE MORE RULE-BREAKERS USING TYPE AND THEY ARE MORE NO EMPOWERED BY THEIR COMPUTERS. BUT, 44, AS CARTER •t*

,„„litho

MATTHEW CARTER, CARTER & CONE (ITC CHARTER, ITC GALLIARD) • GENEVIEVE CERASOLI, GENEVIEVE CERASOLI HANDLETTERING (UPCOMING ITC SCRIPT FACES) FRANK MARCIULIANO, MARCIULIANO DESIGN (ITC JAFT, ITC I AMBALAYA) JAMES MONTALBANO, TERMINAL DESIGN, INC. (ITC ORBON, ITC FREDDO) DENNIS PASTERNAK, GALAPAGOS DESIGN GROUP (ITC STYLUS, MAIANDRA GD) DANIEL PELAVIN (ITC ANNA, ITC KULUKUNDIS) JOE PEPITONE, ARCHIE COMIC PUBLICATIONS (UPCOMING ITC SPOT FONTS) GEORGE RYAN, GALAPAGOS DESIGN GROUP (ITC KRISTEN, KENNEDY GD) STEVE ZAFARANA, GALAPAGOS DESIGN GROUP (ITC BACKYARD BEASTIES, ITC GARGOONIES) ffickM/01'.' PETER HALL

HEADLINE: ITC EDWARDIAN SCRIPT, CHARLOTTE SANS MEDIUM SUBHEAD/BYLINE: ITC EDWARDIAN SCRIPT TEXT: ITC STONE SANS BOLD, BOLD ITALIC, SEMIBOLD, SEMIBOLD ITALIC 36 FOR TWENTY-FIVE YEARS INTERNATIONAL TYPEFACE CORPORATION HAS INSPIRED VISUAL ARTS PROFESSION-

ALS WITH ITS CREATION AND REFINEMENT OF BEAUTIFUL, FUNCTIONAL AND DISTINCTIVE TYPEFACE DESIGNS.

NOW, FOR THE FIRST TIME, ITC PRESENTS ITS LIBRARY OF MORE THAN 1000 DIGITAL TYPEFACES IN A COMPRE-

HENSIVE, 64-PAGE U&lc SUPPLEMENT, PROVIDING AN EASY-TO-USE VISUAL REFERENCE TO ITC'S BROAD

RANGE OF SERIF, SANS SERIF, DISPLAY, AND ORNAMENT & ILLUSTRATION TYPEFACE STYLES.

From the Dutch schreef (fine line in writing), serifs are the little vertical and horizontal lines at the end of letter strokes. These seemed natural for early type designers trying to mimic hand lettering, which was usually done with a broad-tipped quill. ® r •

ite abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ r

ew 1234567890(".;:, * t t"?!$&){ACEasce&fiflf6aceifio -C1.}[] p

Ty Excellence in typography is the result of nothing more than an at Excellence in typography is the result of nothing more than an att n titude. Its appeal comes from the understanding used in its plann itude. Its appeal comes from the understanding used in its plann ica

r ing; the designer must care. In contemporary advertising the per ing; the designer must care. In contemporary advertising the perf

Ame aA aA aA aALight Light Italic Medium Medium Italic ITC aA aA Bold Bold Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".,:,*tr ?!0){/ECE.Tce8efiflU,Oitiötn[1 Excellence in typography is the result of nothing more than an attitude. Its appeal co Excellence in typography is the result of nothing more than an attitude. Its appeal c mes from the understanding used in its planning; the designer must care. In contem omes from the understanding used in its planning; the designer must care. In conte porary advertising the perfect integration of design elements often demands unorth mporary advertising the perfect integration of design elements often demands uno

aALight aA aA Medium Bold

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 123 21567890(".;:,""I't"?!$E){7ECEce&fifltageffiatI}C)

Excellence in typography is the result of nothing more than an att Excellence in typography is the result of nothing more than an att itude. Its appeal comes from the understanding used in its plann itude. Its appeal comes from the understanding used in its planni ing; the designer must care. In contemporary advertising the per ng; the designer must care. In contemporary advertising the perf aA aA aA aA aA Book Book Italic aA Medium Medium Italic aA Bold Bold Italic aA Heavy Heavy Italic

® • lle i abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890

kerv C.; :,*11:"?!$£){/ECExo&fifiBaceffiCifi} [ABcDEFGHIJKLYINoPQRsTuvwxYz12345678901 Bas Excellence in typography is the result of nothing more than an attitud Excellence in typography is the result of nothing more than an attitude. Its appe e. Its appeal comes from the understanding used in its planning; the d al comes from the understanding used in its planning; the designer must care. I esigner must care. In contemporary advertising the perfect integration n contemporary advertising the perfect integration of design elements often dem C New IT aA aA aA aA Roman aA aA Italic aA Semi Bold Semi Bold Italic Bold Bold Italic aA Black Black Italic • abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:,*ft"?!$&){1ECEoe&fifli3aceiii456}[]

Excellence in typography is the result of nothing more than an attit Excellence in typography is the result of nothing more than an att ude. Its appeal comes from the understanding used in its plannin itude. Its appeal comes from the understanding used in its planni g; the designer must care. In contemporary advertising the perfect ng; the designer must care. In contemporary advertising the perf aA aA aA aA Book Book Italic aAMedium aA Medium Italic Bold Bold Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:,*ft"rni)OECExce&fifli3aceffiefill()

Excellence in typography is the result of nothing more than an attitude. Its app Excellence in typography is the result of nothing more than an attitude. Its app eal comes from the understanding used in its planning; the designer must car eal comes from the understanding used in its planning; the designer must car e. In contemporary advertising the perfect integration of design elements ofte e. In contemporary advertising the perfect integration of design elements ofte aA aA aA aA Book aA Book Italic aA Medium Medium Italic Bold Bold Italic

38 Serif • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ a El all

1234567890(".;:,*"?!$01/ECExce&fiflgAceitiOid [1 A al

Excellence in typography is the result of nothing more than an attitude. Its ap Excellence in typography is the result of nothing more than an attitude. Its appeal co peal comes from the understanding used in its planning; the designer must car mes from the understanding used in its planning; the designer must care. In contemp Aa I 0 e. In contemporary advertising the perfect integration of design elements ofte orary advertising the perfect integration of design elements often demands unorthod I s P Al l a aA aA aA aA aA aA a aA Black Italic aA Medium Medium Italic Bold Bold Italic Black Book Book Italic •

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 D_LI

( 6`.,:,*11"?!$E){./ECEce&fiflBhceirititi}[ABcDEFGHIJKLmNopoRstruvwxyzi23456789o] °9 ucT Excellence in typography is the result of nothing more than an atti Excellence in typography is the result of nothing more than an attitud !

tude. Its appeal comes from the understanding used in its plannin e. Its appeal comes from the understanding used in its planning; the S - g; the designer must care. In contemporary advertising the perfec designer must care. In contemporary advertising the perfect integrat x! aA aA aA aA Bold Italic Book Book Italic Bold

• I

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 JJ_ 9

(".;:,*11"?!$E){1ECEaeoe&fiflBaceifioil}[ABcDEFGHuxuallopoRsTuvwxyzi23456789o] 0 P 0 u Excellence in typography is the result of nothing more than an attitude. It Excellence in typography is the result of nothing more than an attitude. Its ! s appeal comes from the understanding used in its planning; the designer appeal comesfrom the understanding used in itsplanning; the designer mu

must care. In contemporary advertising the perfect integration of design st care. In contemporary advertising the perfect integration ofdesign eleme ^^1- a aA aA aA a^l aA Bold Bold Italic Book Book Italic

•• abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ all ll

1234567890(".;:,*f 1:"?!$g){41ECEoc&fiflf3A.ceitioil}[] oi o

Excellence in typography is the result of nothing more than an a Excellence in typography is the result of nothing more than art atti ttitude. Its appeal comes from the understanding used in its pla tude. Its appeal comes from the understanding used in its planni nning; the designer must care. In contemporary advertising the ng; the designer must care. In contemporary advertising the perfe .uPwl aA aA aA aA aA Bold Italic aA Bold aA aALight Italic Medium Medium Italic Demi Demi Italic Light

I abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ

1234567890(".;:,*ft"?!){./ECEaoce&fifli3aceitiOil}[] sPD JJ_ oI

Excellence in typography is the result of nothing more than an attitud Excellence in typography is the result of nothing more than an attitu u e. Its appeal comes from the understanding used in its planning; the d de. Its appeal comes from the understanding used in its planning; th N esigner must care. In contemporary advertising the perfect integratio e designer must care. In contemporary advertising the perfect integr .0 ZZ aA aA aA ®17 aA aA aA aA aA Black Italic Book Book Italic Medium Medium Italic Bold Bold Italic Black • abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".,:,* -14"?%)VECEwce&fifligaceitioilll]

Excellence in typography is the result of nothing more than an attitude. Excellence in typography is the result of nothing more than an attitud Its appeal comes from the understanding used in its planning; the desig e. Its appeal comes from the understanding used in its planning; the d ner must care. In contemporary advertising the perfect integration of d esigner must care. In contemporary advertising the perfect integratio aA aA aA aA aA aA aA aA Ultra Italic Light Light Italic Book Book Italic Bold Bold Italic Ultra abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".,:,*1t"?!$S){/ECEce&fifilgaceiriOil} []

Excellence in typography is the result of nothing more than an attitude. Its appeal Excellence in typography is the result of nothing more than an attitude. Its appe comes from the understanding used in its planning; the designer must care. In con at comes from the understanding used in its planning; the designer must care. I temporary advertising the perfect integration of design elements often demands n contemporary advertising the perfect integration of design elements often de aA aA aA aA aA aA aA aA Ultra Ultra Italic Light Light Italic Book Book Italic Bold Bold Italic

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Serif 39

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 ".;:,*t$" ?!?!$ JECExce&fiflUiceffi0ftHABcDEFGHIJKLmNoPQRsTuvwxyz123456789o]

Excellence in typography is the result of nothing more than an attitude. It Excellence in typography is the result of nothing more than an attitude. Its ap s appeal comes from the understanding used in its planning; the designer peal comes from the understanding used in its planning; the designer must ca must care. In contemporary advertising the perfect integration of design e re. In contemporary advertising the perfect integration of design elements oft aA aA Book Book Book Italic Book Italic Swash Medium Medium Italic aA aA a.21 aA Bold aA Bold Italic .rcu • abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 0 7—* cd (".;:,*-1-t"?!$E)VECEwce&fifl1gkeffioft} [ABcDEFGHIJKLmNoPQRsTuvwxYz123456789o1 —C U Excellence in typography is the result of nothing more than an attitude. It Excellence in typography is the result of nothing more than an attitude. Its appea s appeal comes from the understanding used in its planning; the designer l comes from the understanding used in its planning; the designer must care. In co )14 must care. In contemporary advertising the perfect integration of design ntemporary advertising the perfect integration of design elements often demands aA aA aA aA Book Book Italic Medium Bold - r

te abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 r

ha (".;:,*1- r?!$E){JECEce&fiflgkeitiiial [ABcDEFGHinumNoPQRsTuvwxYzi23456789o] C Excellence in typography is the result of nothing more than an attitude. I Excellence in typography is the result of nothing more than an attitude. Its a ITC is appeal comes from the understanding used in its planning; the design ppeal comes from the understanding used in its planning; the designer must er must care. In contemporary advertising the perfect integration of desi care. In contemporary advertising the perfect integration of design element aA aA aARegular Regular Italic aABold aABold Italic aA Black Black Italic

® • m abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ ha n 1234567890(".;:,*1- 1:"?!$S)VDCEce&finaceilloill [] lte

he Excellence in typography is the result of nothing more than an attitu Excellence in typography is the result of nothing more than an attitude C de. Its appeal comes from the understanding used in its planning; th Its appeal comes from the understanding used in its planning; the desig e designer must care. In contemporary advertising the perfect integr ner must care. In contemporary advertising the perfect integration of de ITC aA aA aA aA Light Light Italic aA Book Book Italic aABold Bold Italic aAUltra aA Ultra Italic ® d m abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ ha n

dense 1234567890(".;:,*11:"?%){1ECEwce&fiflgaceffiiiil}H lte he

Con Excellence in typography is the result of nothing more than an attitude. Its appeal c Excellence in typography is the result of nothing more than an attitude. Its appeal co C omes from the understanding used in its planning; the designer must care. In cont mes from the understanding used in its planning; the designer must care. In contemp emporary advertising the perfect integration of design elements often demands un orary advertising the perfect integration of design elements often demands unorthod ITC aA aA aA aA Light Italic aA aA Light aA Book Book Italic Bold aA Bold Italic Ultra Ultra Italic

® • abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ face r 1234567890(".;:,*ti"?!$X){1-ECEwceSzfiflSaceitio11}[1 lea C

C Excellence in typography is the result of nothing more than an attitude. Its Excellence in typography is the result of nothing more than an attitude. Its

IT appeal comes from the understanding used in its planning; the designer mu appeal comes from the understanding used in its planning; the designer m st care. In contemporary advertising the perfect integration of design eleme ust care. In contemporary advertising the perfect integration of design ele aA aA Regular Regular Italic aA aABold aA aA Bold Italic aAHeavy Heavy Italic aABlack Black Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (".;:,*t t"?!$£){fECEeece&fiflSaceilioil} [1

Excellence in typography is the result of nothing more than an attitude. Its a Excellence in typography is the result of nothing more than an attitude. Its appeal ppeal comes from the understanding used in its planning; the designer must comes from the understanding used in its planning; the designer must care. In con care. In contemporary advertising the perfect integration of design element temporary advertising the perfect integration of design elements often demands u aA aA aA aA aA aA Book Book Italic aA Medium Medium Italic aA Bold Bold Italic Heavy Heavy Italic

40 Serif A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234 567890(".;:,* tt"?! E)(ACEceb -fifIBAceitioilll]

Excellence in typography is the result of nothing more than an attitude. I Excellence in typography is the result of nothing more than an attitud ts appeal comes from the understanding used in its planning; the design e. Its appeal comes from the understanding used in its planning; the er must care. In contemporary advertising the perfect integration of desi designer must care. In contemporary advertising the perfect integrati aA aA aA aA Black Italic aA Medium Medium Italic aABold aABold Italic aABlack Book Book Italic

rn abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 US E • (".;:,*t t"?!$E)VE(ExceEtfifligaceifioul[ABcDEFGHinumNoPQRsTuvwxYzi23456789o] 3

Excellence in typography is the result of nothing more than an attitud Excellence in typography is the result of nothing more than an attitude. Its appeal e. Its appeal comes from the understanding used in its planning; the de comes from the understanding used in its planning; the designer must care. In cont signer must care. In contemporary advertising the perfect integration emporary advertising the perfect integration of design elements often demands un aA aA aA aA Book Italic Medium Bold Book abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".,:,*ft"?!$£){1ECExce&fiflgaceiiiiiii}[]

Excellence in typography is the result of nothing more than an attitude. It Excellence in tgpographg is the result of nothing more than an attitude. Its app s appeal comes from the understanding used in its planning; the designer eal comes from the understanding used in its planning; the designer must care must care. In contemporary advertising the perfect integration of design e In contemporarg advertising the perfect integration of design elements often de aA aA aA aA aA Black Italic aA aA aABold Book Book Italic Medium Medium Italic Bold Italic Black

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ D11

1234567890(".;:,*ft"?!SE){IECExce&fiflBacefiloillt1 uad

Excellence in typography is the result of nothing more than an attitude. It Excellence in typography is the result of nothing more than an attitude. It aaD! s appeal comes from the understanding used in its planning; the designer s appeal comes from the understanding used in its planning; the designe must care. In contemporary advertising the perfect integration of design r must care. In contemporary advertising the perfect integration of desig aA aA Ultra Italic aAUltra aA aA aARegular Regularltalic aABold Bold Italic aALight Light Italic abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 (".;:,*t t"?!$£){1ECEce&fiflgaceifibil} [ABcDEFGHipumNoPQRsTuvwxYz123456789o]

Excellence in typography is the result of nothing more than an attitude Excellence in typography is the result of nothing more than an attitude. Its app Its appeal comes from the understanding used in its planning; the desig eal comes from the understanding used in its planning; the designer must care. I ner must care. In contemporary advertising the perfect integration of de n contemporary advertising the perfect integration of design elements often dem aA aA aA aA Bold Book Book Italic Medium

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 d zp (".;:, * t r?!$S){ACEoe&fiflf3aceitioC11[ABcDEFGHIJKLmNoPQRsTuvwxYzi23456789o] unO ip

Excellence in typography is the result of nothing more than an attit Excellence in typography is the result of nothing more than an attitude. It e. - ude. Its appeal comes from the understanding used in its planning; used in its planning; the designer s appeal comes from the understanding pa the designer must care. In contemporary advertising the perfect in must care. In contemporary advertising the perfect integration of design aA aA aARegular Regularltalic aABold Bold Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ aLl

1234567890(".;:,*tt"?!$.£){./ECExo&fiflgaceifiöil}[] PD

Excellence in typography is the result of nothing more than an attitude. I Excellence in typography is the result of nothing more than an attitude. Its ap le!II ts appeal comes from the understanding used in its planning; the designer peal comes from the understanding used in its planning; the designer must c ®P must care. In contemporary advertising the perfect integration of design e are. In contemporary advertising the perfect integration of design elements o aA aA aA aA aA aA Bold Italic Black Ultra Ultra Italic Roman Italic Bold aA Black Italic aA

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Serif 41

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 (".;:,*f t"?!$£)VECExcetkfiflElaceiiio [ABcDEFGHwumNopQRsTuvwxyz123456789o]

Excellence in typography is the result of nothing more than an attitude. Its Excellence in typography is the result of nothing more than an attitude. Its app appeal comes from the understanding used in its planning; the designer m eal comes from the understanding used in its planning; the designer must care ust care. In contemporary advertising the perfect integration of design ele In contemporary advertising the perfect integration of design elements often de aA aA aA aA aA aA aA aA Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic ®

d •• n abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ

amo I 234567890(" .;:, * tt"?!$S)VECExce&fifigaceinotl} [1

Excellence in typography is the result of nothing more than an attitude. It Excellence in typography is the result of nothing more than an attitude

C Gar s appeal comes from the understanding used in its planning; the designer Its appeal comes from the understanding used in its planning; the desi IT must care. In contemporary advertising the perfect integration of design gner must care. In contemporary advertising the perfect integration of aA aA aA aA aA aA aA aA Light Light Italic Book Book Italic Bold Bold Italic Ultra Ultra Italic ® d d

n abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ nse de amo 1234567890 (".,: ,*t "?!$1) IACExce&fiflgiceffioill [1 Con Gar Excellence in typography is the result of nothing more than an attitude. Its appeal comes fro Excellence in typography is the result of nothing more than an attitude. Its appeal corn m the understanding used in its planning; the designer must care. In contemporary advertis es from the understanding used in its planning; the designer must care. In contempor ITC ing the perfect integration of design elements often demands unorthodox typography. It ma my advertising the perfect integration of design elements often demands unorthodox

aA aA aA aA aA aA aA aA Light Light Italic Book Book Italic Bold Bold Italic Ultra Ultra Italic ®

d 3' n 0 abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ mo et! 1234567890(".;:,*tt"?!“){1ECExce&fifl8aceifiofi} El ra z

Ga Excellence in typography is the result of nothing more than an attitude. Its appeal comes Excellence in typography is the result of nothing more than an attitude. Its appeal corn from the understanding used in its planning; the designer must care. In contemporary a es from the understanding used in its planning; the designer must care. In contempora ITC dvertising the perfect integration of design elements often demands unorthodox typogr ry advertising the perfect integration of design elements often demands unorthodox ty aA aA aA aA aA aA Light Light Italic Book Book Italic Bold Bold Italic abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ12,34567890 ".;:t * tt"?!$ ) 1ACExce&fifliAceifitift} [ABCDEFGHIJKLMNOPQRSTUVWXYZ I234567890]

Excellence in typography is the result of nothing more than an attitude. Its ap Excellence in typography is the result of nothing more than an attitude. Its appeal c peal comes from the understanding used in its planning; the designer must ca omes from the understanding used in its planning; the designer must care. In conte re. In contemporary advertising the perfect integration of design elements oft mporary advertising the perfect integration of design elements often demands unort aA aA aA aA Book Book italic Medium Bold abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 rd 0 ".;:,* t t"?!$£WECE2ece&fiflgaceitioill[ABcDEFGHIJKLmNoPQRsTuvwxyzi23456789o]

Excellence in typography is the result of nothing more than an attitude Excellence in typography is the result of nothing more than an attitude. Its appe Its appeal comes from the understanding used in its planning the desig al comes from the understanding used in its planning; the designer must care. I ner must care. In contemporary advertising the perfect integration of de n contemporary advertising the perfect integration of design elements often de aA aA aA aA aA aA Book Book Italic Bold Bold Italic Black Black Italic '

l • re abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNONZRSTUVWXYZ1234567890 ke (".;:,*tt"?!$i)VECExce&fiflBaceitioul[ABCDEFGHIJKLMNOPQRSTUVWXYZ] Coc Excellence in typography is the result of nothing more than an attitude. Its Excellence in typography is the result of nothing more than an attitude. Its appeal come

lden appeal comes from the understanding used in its planning; the designer m s from the understanding used in its planning; the designer must care. In contemporary ust care. In contemporary advertising the perfect integration of design ele advertising the perfect integration of design elements often demands unorthodox typog C Go IT aA aA A Roman Italic Titling

Serif • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION 42

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 ("•;: ,* t"? !SE) VECExce8EfiflSiceiiiiiitl [ABcDEFGHIJKLmNoPQRsTuvwxyz1234567890

Excellence in typography is the result of nothing more than an attitude. Its Excellence in typography is the result of nothing more than an attitude. I appeal comes from the understanding used in its planning; the designer mu is appeal comes from the understanding used in its planning; the designer st care. In contemporary advertising the perfect integration of design eleme must care. In contemporary advertising the perfect integration of design

aA aA aA Original Bold Black • abcdefghij klmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ

123456789o(".,:,*--tt"?!$E){1ECExcefifigaceitititil} C 3 Excellence in typography is the result of nothing more than an attitude. Its app Excellence in typography is the result of nothing more than an attitude. Its appeal E eal comes from the understanding used in its planning; the designer must car comes from the understanding used in its planning; the designer must care. In co e. In contemporary advertising the perfect integration of design elements ofte ntemporary advertising the perfect integration of design elements often demands aA aA Light Light Italic aAMedium aAMedium Italic aABold aABold Italic • aichigilijkimnawstuvwxyA13CDEFHIJKlivt.N01)(171/4Y14/NYZ

(XCE-ftct&cfigc101)375-a) [] C 1234S-67g9c 3 Excellence in typography if the remit of nothing more than an attitude. 10 appeal coiner from the Excellence in typagraplig if the remit of nathing more than an attitotie, ltr appeal comer from underrtand ing area in itr planning; the flefigner Wirt care. In contemporary atIvertiring the perfect the iintlerrtatul ing aced in itr planning; the tlefigner mart care. In contemporary affrertifing integration of herign el anentr often deniande unorthodox typography. It may reguire the are of the perfect integration of tlerign el menu often hematitic unorthodox typography. It may L/1 aA aA aALight Medium Bold abcdefghijklmnopqrstuvwxyzABCDEFGHI)KLMNOPQRSTUVWXYZ

1234567890(".,:,*tr?!$E){/ECEEece&fiflBaceifilii1}1) tT 7 Excellence in typography is the result of nothing more than an attitu Excellence in typography is the result of nothing more than an attitud de. Its appeal comes from the understanding used in its planning; th e. Its appeal comes from the understanding used in its planning; the d e designer must care. In contemporary advertising the perfect integr esigner must care. In contemporary advertising the perfect integratio aA aA aA aA aA aA aA aA Heavy Heavy Italic Book Book Italic Medium Medium Italic Bold Bold Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(" .;:,*tt"?!$E){./ECEaece&fiflBaceffloil}[]

Excellence in typography is the result of nothing more than an attitude. It Excellence in typography is the result of nothing more than an attitude s appeal comes from the understanding used in its planning; the design Its appeal comes from the understanding used in its planning; the desig r must care. In contemporary advertising the perfect integration of design ner must care. In contemporary advertising the perfect integration of d aA aA aA Bold Book Medium

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ n tv 1234567890(".;:, * -r"?!$E)flECEce&fifli;aceiiiiifil[] 3 Excellence in typography is the result of nothing more than an attitude. Its Excellence in typography is the result of nothing more than an attitude. Its a appeal comes from the understanding used in its planning; the designer m ppeal comes from the understanding used in its planning; the designer must ust care. In contemporary advertising the perfect integration of design ele care. In contemporary advertising the perfect integration of design elemen

aA aA aA aA aA aA Book Book Italic Bold Bold Italic Black Black Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:,*W?!$,E)(ACEce&fiflfaceifiait)[] 0 A Excellence in typography is the result of nothing more than an attitude. Its ap Excellence in typography is the result of nothing more than an attitude. Its appeal peal comes from the understanding used in its planning; the designer must c comes from the understanding used in its planning; the designer must care. In con are. In contemporary advertising the perfect integration of design elements o temporary advertising the perfect integration of design elements often demands u aA aA aA aA aA aA Book Book Italic Medium Medium Italic Bold Bold Italic

A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Serif 43 44

ITC Modern No. 21 6® ITC Me ndoza Roman® ITC Lu balin Grap h® ITCLeg acy® Serif ITC Leawood® ITC Korinna® Serif • • • (".;:,*t*"?!$£,)VECExce&fiflgaceifibill[ABcDEFGHIJKLmNopQRsTuvwxYzi23456789o] abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (".;:i (".;:,*tt"?!$f)VECEacce&fiflEaceffioill[ABcDEFGHIJKLmNoPQRsTuvwxyz123456789o] abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ aA Ext aLight * abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 tt"?!$S){ ontemporary advertisingtheperfectintegrationofdesignelementsoftendema 1 comesfromtheunderstandingusedinitsplanning;designermustcare.Inc ng; thedesignermustcare.Incontemporaryadvertising theperfe itude. Itsappealcomesfromtheunderstandingusedin itsplanni ust care.Incontemporaryadvertisingtheperfectintegrationofdesignele nning; thedesignermustcare.Incontemporaryadvertising Excellence intypographyistheresultofnothingmorethananattitude.Itsappea s planning;thedesignermustcare.Incontemporaryadverts n Excellence intypographyistheresultofnothingmorethana ust care.Incontemporaryadvertisingtheperfectintegrationofdesignele appeal comesfromtheunderstandingusedinitsplanning;designerm Excellence intypographyistheresultofnothingmorethananattitude.Its Excellence intypographyistheresultofnothingmorethan anatt appeal comesfromtheunderstandingusedinitsplanning;designerm Excellence intypographyistheresultofnothingmorethananattitude.Its ttitude. Itsappealcomesfromtheunderstandingusedinitspla Excellence intypographyistheresultofnothingmorethanana r mustcare.Incontemporaryadvertisingtheperfectintegrationofdesig s appealcomesfromtheunderstandingusedinitsplanning;designe Excellence intypographyistheresultofnothingmorethananattitude.It attitude. Itsappealcomesfromtheunderstandingusedinit abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ Extra Light Oblique 1 ECEceo98(fiflBaceilaal (ABcDEFGHinumNopQRsTuvwxyz123456789o) aA aA aA aA aA aA aA Regular Light Book Book 1234567890(".;:,*tt"?!$f)VECF.xce&fiflgaceiribfill] Book 1234567890(".::,*1 1234567890(".;:,91:"?!$£){1ECEcece&fiflBaceitioia} 123 4567890(".,:,*11"?!U)VECEce&fiflf3aceitioill[] aA aA Kursiv Regular • Book Oblique aA Light Italic Book Italic Book Oblique aA CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS Book aA aA aA Medium aA aA Book Italic Medium Medium Medium Bold Book - aA Medium Oblique Medium Italic aA aA Medium Italic Medium Oblique *"?!$1){/ECEww&fifliSageffielil}H Kursiv Bold aA aA planning; thedesignermustcare.Incontemporaryadvertisi Medium g; thedesignermustcare.In contemporaryadvertisingtheperfect Excellence intypographyistheresultofnothingmorethananattitude.Itsappeal Excellence intypographyistheresultofnothing comes fromtheunderstandingusedinitsplanning;designermustcare.Incon attitude. Itsappealcomesfromtheunderstandingusedinits Excellence intypographyistheresultofnothingmorethananattitude.Itsappealco tulle. Itsappealcomesfromtheunderstandingusedinits plannin Excellence intypographyistheresultofnothingmorethan anatti Book contemporary advertisingtheperfectintegrationofdesignelementsoftendema al comesfromtheunderstandingused Excellence intypographyistheresultofnothingmorethananattitude.Itsappe Excellence intypographyistheresultofnothingmorethananattit Excellence intypographyistheresultofnothingmorethananattitu temporary advertisingtheperfectintegrationofdesignelementsoftendemandsu orary advertisingtheperfectintegrationofdesignelementsoftendemandsunorthod e designermustcare.Incontemporaryadvertisingtheperfectintegr de. Itsappealcomesfromtheunderstandingusedinitsplanning;th mes fromtheunderstandingusedinits the designermustcare.Incontemporaryadvertisingperfectint ude. Itsappealcomesfromtheunderstandingusedinitsplanning;

Italic aA aA aA Medium Italic aA aA Extra Bold F Bold Demi Medium Bold FONTEK COLLECTION Demi aA aA Kursiv ExtraBold aA Demi Oblique Bold Italic aA Medium Italic aA Demi Oblique Bold Italic Bold planning in its planning;thedesignermustcare. the designermustcare.Incontemp aA aA aA aA aA Bold Heavy Heavy Black Bold Bold Bold Italic more aA aA aA aA Bold Oblique Kursiv Heavy Heavy Italic aA aA Black Italic Bold Oblique than Bold Italic Ultra an In aA ttitude. Itsappealcomesfromtheunderstandingusedinitspla aA gner mustcare.Incontemporary advertisingtheperfectintegrationofd e. Incontemporaryadvertisingtheperfectintegrationofdesignelementsofte peal comesfromtheunderstandingusedinitsplanning;designermustca peal comesfromtheunderstandingusedinitsplanning;designermustc aA aA Its appealcomesfromtheunderstandingusedinitsplanning; thedesi Excellence intypographyistheresultofnothingmorethan an attitude designer mustcore.Incontemporaryadvertisingtheperfectintegrati e. Itsappealcomesfromtheunderstandingusedinitsplanning; aA peal comesfromtheunderstandingusedinitsplanning;designermustcar aA re. Incontemporaryadvertisingtheperfectintegrationofdesignelementsofte Excellence intypographyistheresultofnothingmorethananattitude.Itsap are. Incontemporaryadvertisingtheperfectintegrationofdesignelementso Excellence intypographyistheresultofnothingmorethananattitude.Itsap s appealcomesfromtheunderstandingusedinitsplanning nning; thedesignermustcare.Incontemporaryadvertising Excellence intypographyistheresultofnothingmorethanonattitud Excellence intypographyistheresultofnothingmorethananattitude.Itsap r mustcare.Incontemporaryadvertisingtheperfectintegrationofdesig Excellence intypographyistheresultofnothingmorethananattitude.It Excellence intypographyistheresultofnothingmorethanana aA abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopgrstuvwxyzABCD (fi.,:,*t "?!$£){./ECEoe&fifltaceifiiiii}[ABcDEFoHinumNopoRsTuvwxyz123456789o] abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPORSTUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (".;:,* ( 1234567890( ".;:,*tt"?!$£){/ECEoe&fif1Bocerrie30}[] 1234567890(".;:,* 1234567890(".;:,*ft"?!$£){/ECEoe&fiflf3.iceffiE50111 1234567890(".;:,*1 Light Book Book Book Light n Book Light .;:,*f f"?!$012ECEoe&fiftBaceilioill[1234567890] aA aA aA aA aA Book Italic Book Italic Book Italic Book Italic Light Italic Regular Book aA aA aA aA aA aA aA Medium Medium Medium Medium Bold Bold Book - 1 - - 11"?!$E)VECEmce&fifIBaceitioCil[] • 1 -"?!$,£) {iECExc&fifigaceffion} [] CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS - aA aA aA aA Medium Italic - Medium Italic Medium Italic Bold Italic Extra Bold $"?!$E){, Book Italic Bold ; thedesigne aA aA aA Black Heavy Regular Bold Bold Bold 1 ECEaece&fif1135.ceinoUllE1 Excellence intypographyistheresultofnothingmorethananattitude.Itsappe Excellence intypographyistheresultofnothingmore Excellence in s appealcomesfromtheunderstandingusedinitsplanning; the designe Excellence intypographyistheresultofnothingmorethanan attitude.It ng; thedesignermustcare.Incontemporaryadvertisingperf itude. Its comes fromtheunderstanding advertising theperfectintegrationofdesignelementsoftendemandsunorthodoxtypog s fromtheunderstandingusedinitsplanning;designermustcare.Incontemporary r mustcare.Incontemporaryadvertising theperfectintegrationofdesig esigner mustcare.Incontemporaryadvertisingtheperfectintegratio e. esigner e. Itsappealcomesfromtheunderstandingusedinitsplanning;d temporary advertising n contemporaryadvertisingtheperfectintegrationofdesignelementsoftend al comesfromtheunderstandingusedinitsplanning;designermustcare.I Excellence intypographyistheresultofnothingmorethananattitud Excellence Excellence intypographyistheresultofnothingmorethananattitude.Itsappealcome EFGHIiKLMNOPQRSTUVWXYZ Its appeal aA aA aA Regular Italic Bold Italic Bold Italic Bold Italic Black must core.Incontemporaryadvertisingtheperfectintegrotio appeal comes in typographyistheresultofnothingmorethanonattitud comes fromtheunderstandingusedinits typography F FONTEK COLLECTION aA aA aA the perfectintegrationofdesignelementsoftendemands Black Black Demi Ultra

from theunderstandingusedinitsplanni used inits is theresultofnothing aA aA aA Black Italic Black Italic planning; thedesignermustcare. Demi Italic than an attitude.Itsappeal more planning; than anaft In con the d u Serif A • • 0 3 0 7 - 45

®113P9 w!I SJ 11 ®3! 1-110D41-1aS J11 1 (s)P I la)Ed aLl PuR3.4-0ail .aSaleA0 NJll .1xa1mo N J_LI 46 Serif 0 _ o_ 0 0 E o 0 ITC Stone Serif® ITC Sto ne In fo rmal® ITCSouve n ir® _c '47) cd 0 C U • • (".;:,* abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ12345 67890 abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ - 1 - abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ t"?!$f){7ECExoe&fifiSkeitioil}[patacecO3(py4turijIAluirplArRtfuoixApea„-1-: esigner mustcare.Incontemporary advertisingtheperfectintegratiogner e. Itsappealcomesfromtheunderstandingusedinitsplanning; thed Excellence intypographyistheresultofnothingmorethan anattitud gner mustcare.Incontemporaryadvertisingtheperfectintegrationof tude. Itsappealcomesfromtheunderstandingusedinitsplannin must care.Incontemporaryadvertisingtheperfectintegrationofdesign s appealcomesfromtheunderstandingusedinitsplanning;designer Excellence intypographyistheresultofnothingmorethananattitude.It care. Incontemporaryadvertisingtheperfectintegrationofdesignelements peal comesfromtheunderstandingusedinitsplanning;designermust esigner mustcare.Incontemporaryadvertisingtheperfectintegration ng; thedesignermustcare.Incontemporaryadvertisingperfec itude. Itsappealcomesfromtheunderstandingusedinitsplanni Excellence intypographyistheresultofnothingmorethananatt g; thedesignermustcare.Incontemporaryadvertisingperfect Excellence intypographyistheresultofnothingmorethananatti Its appealcomesfromtheunderstandingusedinitsplanning;desi Excellence intypographyistheresultofnothingmorethananattitude Excellence intypographyistheresultofnothingmorethananattitude.Itsap e. Excellence intypographyistheresultofnothingmorethananattitud Its appealcomesfromtheunderstandingusedinitsplanning;d a bcdefghijklmnopqrstuvwxyzABCDEFGH1JKLMNOPQRSTUVWXYZ12 34567890 a bcdefghijklmnopqrstuvwxyzABCDEFG ("-;:,*tt abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPORSTUVWXYZ aA aA n ?!$f){/ECExce&fiflgaceinoCi}[ABcDEFGHiJkLAANoPQRs aA a Light 1234567890(".;:, *t"?!$i)tiECEce&fillBaceffioil H Light Bo A ail 1234567890(".“:"4"?!$E)VECEwce&fiflBaceifitifill] 1234567890(".;:,*1 aA Light Italic 1234567890(".,:,*14"?!$£)(7ECEaece&fifIg6ceinoCOH 1 234567890(".,:,*f • Medium Light Italic Book Italic CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS Phonetic Medium Medium - aA aA ea aA aA aA aA Medium Medium Medium Boo Medium Italic Medium Italic aA Medium Italic aA Medium Italic Medium Italic aA - Book Italic Book Italic Its appealcomes Excellence intypographyis peal comesfromtheunderstandingusedinitsplanning;designermustcar Excellence intypographyistheresultofnothingmorethananattitude.It Excellence intypographyistheresultofnothingmorethananattitu gner mustcare.Incontemporaryadvertisingtheperfectintegrationof designer mustcare.In de. Its e. Incontemporaryadvertisingtheperfectintegrationofdesignelementsoften Excellence intypographyistheresultofnothingmorethananattitude.Itsap comes fromtheunderstandingusedinitsplanning;designermustcare.Incon Its appealcomesfromtheunderstandingusedinitsplanning;desi must care.Incontemporaryadvertisingtheperfectintegrationofdesigne s appealcomesfromtheunderstandingusedinitsplanning;designer er mustcare.Incontemporaryadvertisingtheperfectintegrationofdesi temporary advertisingtheperfectintegrationofdesignelementsoftendemandsu Excellence intypographyistheresultofnothingmorethananattitude.Itsappeal Excellence intypographyistheresultofnothingmorethananattitude is appealcomesfromtheunderstandingusedinitsplanning;design Excellence intypographyistheresultofnothingmorethananattitude.I *"?!$E)VECEoe&fiflgaceirioill[] must care.Incontemporaryadvertising theperfectintegrationof appeal t"?!SE)/-ECFce&fif13aceinotAi aA aA aA aA aA aA Semi Bold Demi aA comes fromtheunderstandingusedinitsplanning; H II Semi Bold F Medium Demi Bold Bold from theunderstandingusedinitsplanning;desi FONTEK COLLECTION KLMNOPQRSTUVWXYZ contemporary aA Semi BoldItalic Demi Italic aA aA aA the resultofnothingmorethananattitude aA Semi BoldItalic aA Medium Italic Demi Italic Bold Italic Bold Italic - ruvwxYzi23456789o] advertising theperfectintegrati aA aA aA aA aA aA Heavy Bold Bold Black Black Bold Bold aA aA aA aA aA aA aA Heavy Italic Bold Italic Bold Italic Black Italic Black Italic Bold Italic Bold Italic - ]

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ au

1234567890(".;:,*tt"?!$£){/ECEce&fifinceitioil} sn aLi Excellence in typography is the result of nothing more than an attitude. I Excellence in typography is the result of nothing more than an attitude. Its a is appeal comes from the understanding used in its planning; the design ppeal comes from the understanding used in its planning; the designer must ooNu er must care. In contemporary advertising the perfect integration of desi care. In contemporary advertising the perfect integration of design element .p aA aA aA aA aA aA aA all Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:, * t *"?!$q {JECExce&fiflf3,Aceifioilill

Excellence in typography is the result of nothing more than an attitud Excellence in typography is the result of nothing more than an attitude. Its e. Its appeal comes from the understanding used in its planning; the de appeal comes from the understanding used in its planning; the designer m signer must care. In contemporary advertising the perfect integration ust care. In contemporary advertising the perfect integration of design ele aA aA aA aA aA aA aA aA Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic

au

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ

1234567890(".;:,*W?!$,£){1ECEwce&fif113aceilioti}f] am l Excellence in typography is the result of nothing more than an attitude. Its appe Excellence in typography is the result of nothing more than an attitude. Its app al comes from the understanding used in its planning; the designer must care. In eal comes from the understanding used in its planning; the designer must car rewap contemporary advertising the perfect integration of design elements often dema e. In contemporary advertising the perfect integration of design elements ofte .ut aA aA aA aA aA aA aA Black Italic aA Black Book Book Italic Medium Medium Italic Bold Bold Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ DII

1234567890(".;:,* -1- $"?!$£){1ECEwce&fifl1!Aceilitifi} EZ 4d 9

Excellence in typography is the result of nothing more than an attitude Excellence in typography is the result of nothing more than an attitude. It 0 0

Its appeal comes from the understanding used in its planning; the desig s appeal comes from the understanding used in its planning; the designer 1 ner must care. In contemporary advertising the perfect integration of d must care. In contemporary advertising the perfect integration of design ® 3 aA aA aA aA aA aA aA aA Light Light Italic Medium Medium Italic Demi Demi Italic Heavy Heavy Italic •

abcciefa hijkimnop qrstuvwxyzAB CD EFGHIJKLMNO PQRS TUVWXYZ Dll 890 (".;:,*t ?! $ L) fiECEcem&fiffpicafibill 1234567 deZ

Excellence in typography is the result of nothing more than an attitude,. Its appeal c Exce[knce in typography is the result of nothing more than an attitude. Its appeal Di omes from the unders used in its planning; the designer must care. In conte comes from the understanding used in its planning; the designer must care. In con PLI mporaiy advertising the perfect integration of design elements often demands unort temporary advertising the perfect integration of&ignekments often demands un apu l aA aA aA aA aA 0 A- Light Light Italic Medium Medium Italic Demi Bold

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ D i!

1234567890(".;:, *`*"?!$) fiECExce&fifliSAceiribill dez

Excellence in typography is the result of nothing more than an attitude. Its Excellence in typography is the result of nothing more than an attitude. Its uu appeal comes from the understanding used in its planning; the designer m appeal comes from the understanding used in its planning; the designer m ust care. In contemporary advertising the perfect integration of design ele ust care. In contemporary advertising the perfect integration of design ele ewal oR aA aA aA aA aA aA aA aA dru Light Light Italic Medium Medium Italic Demi Demi Italic Heavy Heavy Italic

ACUTE GRAVE CIRCUMFLEX TILDE DIERESIS

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Serif 47 48

Charlotte Sans'" ITC Be ngu iat Gothic® ITC Bau haus® ITC Bailey Sans'" ITC Avan t Garde Gothic® ITC Avan t Garde Goth ic® r Sans Serif Co n densed • • • • • • • ig a in i8i6.Sansseriffacesdidn'treallyappearuntilaroundthattime—ithadn'tseemedrightthen (".;:,* aA Extra Light to chopoffthealways-presentserifs.Typeofthissortisoftencalledgrotesque,orgothic. am isFrenchfor"without: abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 n abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ appeal comesfromtheunderstandingusedinitsplanning;designerm Excellence intypographyistheresultofnothingmorethananattitude.Its al comesfromtheunderstandingusedinitsplanning;designermustcare.I eal comesfromtheunderstandingusedinitsplanning;designer mustcare titude. Itsappealcomesfromtheunderstandingusedinitsplan appeal comesfromtheunderstandingusedinitsplanning;designerm ust core.Incontemporaryadvertisingtheperfectintegrationofdesignele t care.Incontemporaryadvertisingtheperfectintegrationofdesignelemen n contemporaryadvertisingtheperfectintegrationofdesignelementsoftendem In contemporaryadvertisingthe perfect integrationofdesignelementsoften ning; thedesignermustcare.Incontemporaryadvertisingp Excellence intypographyistheresultofnothingmorethananat ust care.Incontemporaryadvertisingtheperfectintegrationofdesignele Excellence intypographyistheresultofnothingmorethananattitude.Its Excellence intypographyistheresultofnothingmorethananattitude.Itsappe Excellence intypographyistheresultofnothingmorethananattitude. Itsapp ppeal comesfromtheunderstandingusedinitsplanning;designermus Excellence intypographyistheresultofnothingmorethananattitude.Itsa - ft"?!$£.)fitECEce&fiflg5011 - aA Extra Light Oblique c gar abcdefghijklmnopqrstuvwxyzABCDEFGH IJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGII1JKLMNOPQR5TUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ aA aA Book Book 1234567890(".;:,*1 1234567890(".;:,* tt"?!$f)VECEaece&fifliSaceinou}[] 1234567890(".;:,*tf"?!WIKCEeeoe&fillBacein4501[] " aA BookOblique William Ca- • 1234567890(".;:,*ttfi?!$£){/ECEcece&fifIngeffitiO} [] CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS Book Italic 1234567890(".;:,*± t"?!$£){/ICEoe&fiflBacèiiiii6}[] - 1661[ABcDEFGHipamNoPQRsTuvwxYzi234567890] aA Medium Medium s posedlycoinedthetermasitrelatestotype - Medium Oblique aA $"?!$S){/ECEcece&fiflBaceinO0}0 o aA aA Medium Italic s are. Incontemporaryadvertisingtheperfectintegrationofdesignelementso peal comesfromtheunderstandingusedinitsplanning;designermustc porary advertisingtheperfectintegration ofdesignelementsoftendemandsunorth omes fromtheunderstandingusedinitsplanning;designermustcare. Incontem r mustcare.Incontemporaryadvertising are. Incontemporaryadvertisingtheperfectintegrationofdesignelements Excellence intypographyistheresultofnothingmorethananattitude. Excellence ust care.Incontemporaryadvertisingtheperfectintegrationofdesignele appeal comesfromtheunderstandingusedinitsplanning;designerm Excellence intypographyistheresultofnothingmorethananattitude.Its Excellence intypographyistheresultofnothingmorethananattitude.Itsap Excellence intypographyistheresultofnothingmorethananat Excellence intypographyistheresultofnothingmorethananattitude.Itsap peal comesfromtheunderstandingusedinitsplanning;designermustc arming; thedesignermustcare.Incontemporaryadvertising titude. Itsappealcomesfromtheunderstandingusedinits appeal Light comes fromthe in aA typography aA aA aA aA F Demi Medium FONTEK COLLECTION Book Bold Book Book is understanding usedinitsplanning;thedesigne the aA Demi Oblique an aA aA aA result Book Italic Demibold Bold Italic Book Italic Medium of nothingmorethananattitude. the perfect aA all oR aA aA aA Medium Bold Heavy Bold Demi Bold integration ofdesign aA Bold Oblique aA aA Its Heavy Italic Bold Italic Heavy appeal c Bold Bold pl It

• abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPORSTUVWXYZ rn 1234567890/".;:,*1- $"?I$EHRCEce&fifI13aceinOulfj

Excellence in typography is the result of nothing more than an attitude. It Excellence in typography is the result of nothing more than an at s appeal comes from the understanding used in its planning; the designe titude. Its appeal comes from the understanding used in its plan r must care. In contemporary advertising the perfect integration of desig ning; the designer must care. In contemporary advertising the p aA aA aA aA Light Book aAMedium Demi Bold

• •

a bcdefghijklmnopqrstuvwxyzABCDEFGH IJ KLM NOPQRSTUVWXYZ aLl

1234567890("•;:,*tt"?!$E){/ECEce&fifIgaceifiO0}H IJ uP-

Excellence in typography is the result of nothing more than an attitude. Its Excellence in typography is the result of nothing more than an attitude. its upl appeal comes from the understanding used in its planning; the designer appeal comes from the understanding used in its planning; the designer

must care. In contemporary advertising the perfect integration of design e must care. In contemporary advertising the perfect integration of design e co a DN ® aA aA aA aA aA aA aA aA Bo Book Italic Medium Medium Italic Demi Demi Italic Heavy Heavy Italic

Ll

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ oj u 3 J_ 1 1234567890(".;:,*tf"?!$i)VECEce&fifIBAceirioul[1234567890] ap uE- N ∎ Excellence in typography is the result of nothing more than an attitude. Its appeal come Excellence in typography is the result of nothing more than an attitude. Its appeal corn pasu u s from the understanding used in its planning; the designer must care. In contemporary es from the understanding used in its planning; the designer must care. In contempor

advertisingthe perfect integration of design elements often demands unorthodox typo ary advertising the perfect integration of design elements often demands unorthodox OJ DiLp aA aA aA aA aA aA ® Book Book Italic Medium Medium Italic Demi Demi Italic

a bcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 0 3 aLl 1234567890(".;:,*f f"?!$£)1/ECE&ce&fif1BaceititiOnl Y le- CM Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the u Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the u a_ u!pp nderstanding used in its planning; the designer must care. In contemporary advertising the perfect nderstanding used in its planning; the designer must care. In contemporary advertising the perfect

integration of design elements often demands unorthodox typography. It may require the use of co integration of design elements often demands unorthodox typography. It may require the use of corn oD i DN aA aA aA aA . Book Book Italic Demi Demi Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".,:,*trn$£){kffve&fifinceitio1}11

Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding u Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding sed in its planning; the designer must care. In contemporary advertising the perfect integration of design elements used in its planning; the designer must care. In contemporary advertising the perfect integration of design elem often demands unorthodox typography. It may require the use of compact spacing, minus leading, whatever is nee ents often demands unorthodox typography. It may require the use of compact spacing, minus leading, whatever aA aA Book Demi

ROM THE EARLY SCRATCHING OF MANKIND the alphabet did not have serifs. A teacher's inting on the blackboard with chalk, the scrawled 'Kilroy was here' graffiti or even the stop sign are all in the style of sans serifs. That sans serif is the common phrase is based on conventio letter should be 'avec serifs; leaving the 'sans' to cooking.

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ J11

I 234567890(".;:,*tr?!$£){TECExothfifInceifioal[] c0 ri Xp Excellence in typography is the result of nothing more than an attitude. Its app Excellence in typography is the result of nothing more than an attitude. Its appeal eal comes from the understanding used in its planning; the designer must care comes from the understanding used in its planning; the designer must care. In cont In contemporary advertising the perfect integration of design elements often d emporary advertising the perfect integration of design elements often demands un .sues aA all a A aA Book Book Italic -Medium Medium Italic Bold Bold Italic Black Black Italic

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Sans Serif 49

- abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 der (".;:,*14"?!$OVECEzece&fifl135ceiii60[ABcDEFGHIJKLMNOPQRSTUVWXYZ1234567890] hlan ig Excellence in typography is the result of nothing more than an attitude Excellence in typography is the result of nothing more than an attitude. It H Its appeal comes from the understanding used in its planning; the desig s appeal comes from the understanding used in its planning; the designer

ITC ner must care. In contemporary advertising the perfect integration of d must care. In contemporary advertising the perfect integration of design

aA aA aA aA aA aA Book Book Italic Medium Medium Italic Bold Bold Italic

" • ns abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ Sa 1234567890(".;:,*tt"?!$01/ECExce&fiflg6ceitiOCOU

mana Excellence in typography is the result of nothing more than an attitude. Its app Excellence in typography is the result of nothing more than an attitude. Its appeal eal comes from the understanding used in its planning; the designer must car comes from the understanding used in its planning; the designer must care. In con Hu e. In contemporary advertising the perfect integration of design elements oft temporary advertising the perfect integration of design elements often demands u ITC

aA 19A aA aA aA AA Light Light Italic Medium Medium Italic Bold Bold Italic • • abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:,* -4"?!$£){/ECEwce&fiflf3aceifio0}[1

Excellence in typography is the result of nothing more than an attitude. Its ap Excellence in typography is the result of nothing more than an attitude peal comes from the understanding used in its planning; the designer must c Its appeal comes from the understanding used in its planning; the desi are. In contemporary advertising the perfect integration of design elements of gner must care. In contemporary advertising the perfect integration of aA aA aA aA Medium Demi Bold aAUltra

® • ns abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 Sa (".,:,* -1- f"?!$£){/ECExce&fiflgacelt -i0C1}[ABCDEFGHIJKLMNOPQRSTUVWXYZ12345678901 acy

Excellence in typography is the result of nothing more than an attitude. Its a Excellence in typography is the result of nothing more than an attitude. Its appeal comes Leg ppeal comes from the understanding used in its planning; the designer must from the understanding used in its planning the designer must care. In contemporary a

ITC care. In contemporary advertising the perfect integration of design element dvertising the perfect integration of design elements often demands unorthodox typogra

aA aA aA aA aA aA aA Book Book Italic Medium Medium Italic Bold Bold Italic Ultra

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1 234567890(".;:,*tt"?!$£){/ECE ae ce&fifl(3aceinou} []

Excellence in typography is the result of nothing more than an attitude. I Excellence in typography is the result of nothing more than an attitude. I ts appeal comes from the understanding used in its planning; the design ts appeal comes from the understanding used in its planning; the desig er must care. In contemporary advertising the perfect integration of de ner must care. In contemporary advertising the perfect integration of de aA aA aA Book Italic aA Book Medium Medium Italic Bold aA Bold Italic Black aA aA aA Black Italic

abcdefghijklmnopqrstuvwxgzABCDEFGRUKLMNOPQRSTUVWXYZ TZ34567-ag0(".;:,*t f"71SE){1ECEaace&fiflaagairida}H

Excellence in typographg is the result of nothing more than an attitud Excellence in typography is the result of nothing mare than an attitud e. fts appeal conies from the understanding used in. its planning; the d e. fts appeal carves from the understanding used in its planning; the d esigner must care. in contemporary_ advertising the perfec t integratio esigner must care. lit contemporary advertising the perfect integrati dA aA aA all aA a-A a_A Light Light Italic Medium Medium Italic Bold Bold Italic Ultra "Sans Serif is the Type for the Present Day!'

For me this still remains true today. JAN TSCHICHOLD, So much of what we see today is confusing, lacks focus and integrity. Die Neue Typographie,1928

DAVID QUAY There is far too much visual noise in design. Good design is about the presentation of information in its purest form. Sans serif fulfills this ideal.

50 Sans Serif • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

Par ts of a letter

AMC

EYE 1p BOWL

COUNTER BAR

TAIL w

• •

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ au o 1234567890(".;:,* 11"?!$O{7ECEaace&fiflnceitio0}[1234567890] 4

- IJ. D Excellence in typographyis the result of nothing more than an attitude. Its app Excellence in typography is the result of nothing more than an attitude. Its appeal uu!

eat comes from the understanding used in its planning; the designer must care comes from the understanding used in its planning; the designer must care. In co s In contemporary advertising the perfect integration of design elements often ntemporary advertising the perfect integration of design elements often demand ixe s ,„ aA aA aA aA Book Book Italic Bold Bold Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 DII

(".;:, * f +"?!$f){/ECEaeoe&iiiflSaceilioCillABcDEFGHIJKLmnorQRsTuvwxyzi23456789o) ed ell Excellence in typography is the result of nothing more than an attitude. Its ap Excellence in typography is the result of nothing more than an attitude. Its app peal comes from the understanding used in its planning; the designer must c eal comes from the understanding used in its planning; the designer must car ealR are. In contemporary advertising the perfect integration of design elements e. In contemporary advertising the perfect integration of design elements ofte aA aA aA aA aA aA Book Book Italic Bold Bold Italic Black Black Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 J11

(".;:,*tt"?!$E)VECEmce&fif1BaceilioCi } [ABCDEFGHIJ KLMNOPQRSTUVWXYZ12345678901 nO he

Excellence in typography is the result of nothing more than an attitude. Its appeal Excellence in typography is the result of nothing more than an attitude. Its appeal comes from the understanding used in its planning; the designer must care. In con comes from the understanding used in its planning; the designer must care. In cont ups temporary advertising the perfect integration of design elements often demands emporary advertising the perfect integration of design elements often demands un _s aA aA aA aA aA aA Book Book Italic Medium Medium Italic Black Black Italic

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890 aLl ("-;:,*ft"?!$£){7ECEce&fifIllaceffio0}[eabc`c634)yghmtjAXI-uiropirgSttoixX3aua_4'-'il uoiS a Excellence in typography is the result of nothing more than an attitud Excellence in typography is the result of nothing more than an attitude. Its e. Its appeal comes from the understanding used in its planning; the appeal comes from the understanding used in its planning; the designer m sups designer must care. In contemporary advertising the perfect integratio ust care. In contemporary advertising the perfect integration of design ele . aA ea aA aA aA aA aA Medium Phonetic Medium Medium Italic Semibold Semibold Italic Bold Bold Italic

♦ CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Sans Serif 51

g and thought provoking, display faces contain letterforms

th • designed to be vi = at large settings (generally above 24 point), and often feature a ternate characters for ogo design, advertising work and other special treatments.

_c abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ U 1234567890(".,::"?!SE)/Mme8fiflflaceifititill F Type gives body and voice to silent thoughts aA aA Medium Bold

abcdefghijklmnopqrstuvwxyzA3CDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 ('°,*"?!$E)i.ECEEecek fifIlBaceifibil Type gives body and voice to si_ent thoughts

abcOefohijkimnopqrOuvwxof2WEVZFZM3113i 3) 1131ZZIZITIOEW 1254567890(".;:,*"?!$f)xtr&fifilaciiiiiiti[aef€Pal eirype givo boby anti voice to iletit W*0 '

m 41,cciefa h;i on,no rl uft4vwx y zAF,c126F4viurcimNopQRsTuvwxyz

trea 12.34547g90(ii.,:,"+7711$,Exita,12,6(filuoi.F,8c4}0 irs A

ITC Tyrepicsi)04 A yoke +0 .filch fii0143iifs AA ®

ines MICDEFGHIJKLMHOPORSTilVyax 12345678901 11 .;:,•"VSLIREOELBRcE111011 Aki L

ITC TYPE GIVES Y AN VOICE T I T THOUGH TS d e ABCDEFGRIAIKLMNOPQRSTUVWXYZ. dens F IA34567890 " ;.: ? t$ g) & 01 141151 Con

ian TYPE GIVES BODY AND VOICE TO SILENT MMUS er Alg

52 Display A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

ABODE GHQ D-3 a 1254567890("4:t"?!$E)ACE&H U) CD TYPE GIVES ODY AND VOICE TO SILENT THOUGHTS

• 2 ea@caGglIA MinLY_E(D3cRoimwwmTNaMIZEDINEEMIEEZZWS- dOln)fagUT VM`EN ng3341(5'Mg0C"q8 9'''''Vg§4CockIlciliftZSO cD

UT, Iw@g3 ICAT Ml1C 1@1 g3An@YO: SMCDTD1,&*3

1443(DIM.11141lffiNOPQA5TuvwxvztEDITGIlli4I Lill NOPOSTUVWXVZ 12 4ce 7090 (". ; :,*tt"9 !S 0{-fiffkflflfigt1[100)[] 1.1)P1 GIVES -DON) 11111) VOIU TO MIR II-100(11Tc 411

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:, * "?!$ -E)AGXce&fffiffifiifiPceifioit[bhkCythTh] F Type gives body and voice to silent thoughts aA

by

ABCDEFIGHIJKLMNOPQRSTUVWXYZ193456Z890 n El! (".;:,* ► 9!WRCE&ErLFIAAAAAB ClE6EIFOlifitilaMNINI/QKKR,S671.111741 au! , ui

TYPE GIVES I7ODY AND VOICE T > SILENT THOUGHTS l! e! si

alcd6/941himg/peaffveozpx ecOrC e era,/ r9/roV;, * "?,/,94el as d/f/i/dr&tideit/

n6cAeigkijic6innertrltuvwxvz.V3VDEMG741417110/iINCVGI7tSVrAVWXY212345673941 (".;:,*"11$g)ASGmtvergiqilf4iaiiiiirCitetatOVfbijklurirstiay;;AZU6)EZZIEZERHErd F mrtra giva$ 6eclv vitt veica ie s■Itairt fieutgft$ aA

A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 53 54

0 ITC Bai ley' Quad Bo ld Augustea Ope n Arriba-Arri be Display F IF F lF lF • t6iceztehilkij6.(vivinervAulvmqz.VV;T,F.,-#6"atkiKI-AMIXtert TYPE GIVESBODYANDVOICETOSLENTTHOUGHTS tiW2 r.::,*"MgMtkr-w,toze abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ riTS Type givesbodyandvoicetosilentthoughts xy triVe zA [30C) 123 eff;S:$46.1v116CittcattArOfili - 1:1BCDtl4IJKLMI10PORSTUVWXYZOD(DUCHIJKLMMOPOI?STUVWXYZ At4B)?@LT;iWi'l*F&WgT•tint2471-1.47'S* 1234567890(".;:,*P"?1$E)fECEiTaWictfri0Ei23456789o1RS tSV7 AltV,S:IgTSg:larr TIAStRiATg ck CZ 1 g 1567890(".;:,*-1-t"?!$£HECEmoe&fiflilacifiiiiiill] ♦ t ,,,L3EfJC 9C32,100E; iVg$ CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS LI&DJOC)9BC)01°0$8 3 TYPE GIVESBODYODVOIC{TOSILPITTHOUGHTS Gleettli - 4 C4(956/9Eck ABCDEFGHIJKLIVINOPQRSTUVWXYZ C),C22 ti 1231567890(.;:, tvitti voice t ilkivatilirst‘ay.z gipp 1234567890(".;:,*"930AEGE&H 9(grce (5)citl40 1 0 2,0120Yt7G002361JY 3 0 y F ,L , am4 advoiee FONTEK COLLECTION *"9 , VerAWWXY212,2,4567 ‘tty. 9 !$(1)teuectigifietfeiketi[bytjy1 4..ASEJ.6412222rEERPAti - ), 059 Atevit, QaY2LIVW 3VS yto,3),n - 4004i5CerCZ tam vetivglitk.$ thou# a CA t a . . 5 .39e fin A A

16d&ig lohmiop eelavvIaN g,AgestleppopezeAivopc2RsTaYWX1,3 Y224537090 t ai.3D Q W 4) CgaaanitAosg;g OCge? I F

*p& ggv&d 1,ocelp &INS! VOgS& CSLM al6d3glS

LI

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ D_

1234567890("4:,*ft"?!$L){11ECEaeceiffifl1aceliiiiii}[] nv9 I m-

0 n

Uwp@ evulco CcAT QMe WED°a P,® 2 as

allHeavy HeavyOutline

abcdefghijklmnopqrstuvwxyzAVCDEFGH1.7KLMNOPQRSTUVWXYZ

12.345078901 - .;:,'71SELIECEcecegfifil5lic lF Type gives body and voice to silent thoughts aA

•

oescrempieu4sepeerrvvwsvziME RE F41111110411110PORITVIMMYZ au

12,4561640(11.;:,*t*"11,ge){ICCIEicect4gitieiin saag

TYPE (IVES SODY 4ND WHIM TO MEW THOWIIIITS ,saaul AA

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ

1234567890(".;:,•"?!SWECEceezfifiBaceffie5a [] lF Type gives body and voice to silent thoughts

a.c45- MonoqA

a6ciefg6Okrinfterlrsfr4 vwxyzAt azzfo;":”.KANINC7s01.1CIA1M/XYZI234367590 , (".;:,*" VSL).*TAmaesrirgforgAticeiii 64' ic.)?e.rikr,,,,,,--6-I415.--ft-vrrz,N4473yzy6ffp--,.,,------lF Cy fie 5ive$ 6otij ahivoice to urea{ t6ott16ts vat a,12celeq/litldwoomfdavwx3zAC))6cf-54tDKtiltkKOPQR67-2.004-1X'9,Z co coco 123/061-S90 (".;:,*"?1$1)aece&iiiiiip4e1ROti [ad lF T9Fe ,1015{,9 Avd voice o 4evd- Tko-44 AA

A CYRILLIC VERSION AVAILABLE RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 55

® abcdeighijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:,*"?!$i){./EfIceoe&iietceiiioill[] Roman

rnase Type gives body and voice to silent thoughts C Be IT aA

abederghijklinnopqrstuvwxyzA ClIDEFG iIJKLMNO STUVWXYZ F 1234567 I) 90(".;:,*"?!$E)1LCOSaa ° Ty dy IT t S tit Cli [its

Ageograntoimitmopctasrvvwxrz F 1214507890("ituW"MtlitcScli TIFPC CIVICS Boar AMD VOICE re moor rooticars

hes abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ12345678904 is "?! f)/faCece&(Zfi riii a LA--oe arrt-t-myLAA‘BeD (Efc901431/89Qk`R,S1/WIt'lcrgcT6fkth lour F & t Type gives body and voice to silent thoughts ip r ' Sc aA Bible

a/6 ode, 1„7/, ,%6 cy---g4(,727K/07/72A9- TWQPCS5Y("00 X z(c,i' F 1023456M0 r.; ; , * "?,(-S4),,zzce (C, G a,7)

a,kt.ci ()ace/ .5,de,kti&

ABCDEFGHLIKLMNOPQRSTUVWXYZ F 1234567$90(",;:,*"?!$E)ACE8tn TYPE GIVES BOOY AND VOICE TO SILENT THOUGHTS - a k c defy hn 0, yrs t u v-w acy .46"C15 ,71/Tho -s0,&:17-tePliFT;(1,2" dder

ka 1234,5678y o (". ; : , t7t " 7.4 L) te ce 00:P4c-611i F. idte--,tAt P7Azy-z-6Ftg:a lac B ype jives &cry and voice to silent thoujas ITC

a

♦ 56 Display CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

g

abebetsbiihimuopqr$tutittrxgzABCIDetF6AldilL111110PQR5TillniagZ -ei 1234567890( 4%,:,*"?t$E)/ECExtt&ftfOiciitliftEr141 ) oowl l . .. Tgliesitits bobcg aui voice to silent thoucsigs. „, aA

,erdtq, illt/reovh

t2395678 o ( ". ; 7%L - ){mil -itee lio- grkee 6o* /Yid voieee. de/et* Re

#'74

APMFM1KOINOPOR$111VWXYZ C 12M478#0(".;:,*"?!$1)A141.1616.1 IF tyrt 1Vt$ POW AO VOIO r¢ SIONt MOOTS

abctiefghijklmoopqrstitywxy2ABCOEFGH1JfiLIVINOPQIISTI/VWXYZ LI

1234567890 (".;:,*f t"?!$X) tiEffmcg&fifigitceitiOisi [i 09 J_ op u Type gives body and voice to silent thoughts ! srue aA _Li

abcdefghijklmnopqr stuvwxyzAB CDEFGHIJKLMNOPQRSTUVWXYZ 12345 67890 (".;:,*tr ?! $k){./ECExce&fif113hceinoillli23456789oABcDEFGHIJKLmNopQRsTuvwxYd4XCeD6T 71/pe gives body and voice to silent thoughts aA aA a aA aA a Book Book Italic Book Italic Bold Bold Italic Bold Italic Swash Swash co ABCDEFGHIJKLMNOPQRSTUVWXYZ O 1234 5 6 78 9 0 (".;:,'"?!“)/ECEVE,3 F TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS A

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ aLl 9 0

1234567890("4:,*"?!$C)FECEcecortalitceiiiiiii 1 1 °9

Type gives body and voice to silent thoughts aPI a A

• CYRILLIC VERSION AVAILABLE S RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 57

® n eabacl;ff FacIlflaEnaomwct,guiTmsr2,1_1nE)Tia')(11QMISIMCMDc)EMUTTMEM

kma agE41 ,C5WOOCDQ6608,9'6MAVX(0m),E;c:&131AIMV31.1kk,(rafgungoyr C Boo

IT e gives bo a y d voice to silent you

abedefghijklm opqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWX11 123H678901".;:,'"?!StlAlhm&EMIBioitiookhdifl F Ty le gives body au( voice t silent thoughts aA aA aA a tit Roman Italic Roman Bold Script Display ' '" d bc,o(efgkii 2Lvvti&cipatysti4vwxtzAP>C1:=.EFFV1)K.LMNOPC2R-STLAVWXyZ, Han 1234507-U0 ( u ;:, * tt"? ) { ,ECEaiceft- -FL-fp4 .6 a} ley ad gi,ves boo , a IAA voice to si.Leok tkot,tg kits C Br IT A aA Regular Bold

abcdefshijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 (".,:,"?!$E)1ECEa2ce&fiflgaceifibii[KLRkt] F Type gives body and voice to silent thoughts aA aA aA Light Medium Bold

C et--4e-rie-/p4VWfo-ktr-teitt 1.-1-tuzi-ui-x-rp a 2Y C71tXcl-17/1a7/11tapare-s_ruziwzy? 2 n34-5 67e90 its F 1pp 0-o-dy

C 0 inidikhnnop q rstuvwx y zAIRCDEFGELIKLMNOPORSTIVWXYZ C 1234567890 (". ; :,*"?!$i)Affeetre& c= F Type gives booly and_ voice 1® silent IlacnaglAs (NA ® a k3OEFGHIJIar0P0 - CT_AAPWZ6130CFGHIJ -qY'0PQST_WWZ ram 1934567890( - .;:,*t"?!S06!ECX&Mci'02}[] so Bu

ITC TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS M M Light Medium Bold

58 Display • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

ABCDEFGHIJKLMNOPQRSTOVWXYZ 1234557890(".;:,"?!$f)CEEtS[CEQSU4] TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS A

tibCtiti n

]F (t) &ad 44k4 Q.26

ep rg-SdefiffiykliffitopTr5-tavwvz,..4,3C,..1 CTG4-1011 d1111109)QW4141034 ,8 - 1234567890* (" ? !SO w(x eq ar E nj

gy (i and tiViki Silera SJ PAI a‘4

ABCDEFGHIJKIANOPQKSTUVWXY1 n 3 1234567890("4:,:"Mafie&D CrQ TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS A

a fc e/ebp litiz 1201yrXill v wxyz,}fff OM 8,1 Cl :PYP. CYY-

123 . -6(7890 ; ?!$f ce Xdcein aDuED

f04 and:voice fo 6-14niflogyAies' epsateli : , a iduas

MELECI1111111\101112STUWWXYZIEMICHjELIVIEORPSTUVINXYZ

1234561100(".;:,*t1"?!$L)1 Effra&wrissictifitifilll xeD J11 ! cl eaci

TYR CITES tOri AND WOW TO SILENT BIOUCI-113 L Ail

dbcclefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 12,34.5-6789o(".;:, — ?!$E)tECEToe&filf3aoinoo [AJPTTI 0 Type gives body and voice to silent thoughts dA

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 59

abcdufgkijkliuneplistuvwxyz-AVDETHIJKLm NOP4RSTuVVVXYZ E s_ 1134567 G90 " ifilMTVX23500-Af4"-.3] td U ictit itovots Type gives body and voice to s ► - s Atc>sCi-triitt.:P4 cA? 4M.1. T ti V WX YZAt E IF CM 9 g LIMMIPAUTUVWXYz Cap

t 1z34567L90 (" ;:,*"?!4i).4tE,saE4kciNot [E,ITTR4$stlzu5914] ]F Ho

ba s ayslrec?›y AN> yeAcs Tc) tTLS.NT rum

Ca A

abedefghijklinnopqrstuvwxyzylBCDEFGHIJKLMNOPQRSTUVWXYZ1234567890(".;:,"?. /W yECEtew&fillsyftilflaceififitikifBCCI)e-Tgcgilf7,71(WMIW 7T-CIVTIW:Z1 Wipe gives body and voice to silent thoughts ally

0 abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".,:,*"?!$a/ECExoeStedffffififflnaceitioti[lh] U IF Type gives body and voice to silent thoughts aA aA aA Roman Light Light Italic Roman Book Roman Bold

-0 • abedefghijklmnopqrstuvwxyzA I1CDEFGHIJKLMNOPQ STUVWXYZ 0 0 1234567890(": 9 *t "?! WIIECEEece 11234567890j -0 cd U Type gives body and voice to silent thoughts aA aA Bold Bold Italic

bA abedef,g1tijklmnopqrstuvwxyzA8C0Ef GI fIJKLMNOPQRSuivwxrz C (1) rC1 1234567890 (".;:,"71$1),Effsestifitlfliceiiiiii -C F U Type gives body and voice to silent Mouglits aof 110,1 Bold Extra Bold -

ers abcdefghijklmnopq rstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ mp 1234567890 (".;:,*"?!SWECExce&fiflfiaceitioitil IF ha C Type gives body and voice to silent thoughts aA

6o Display • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

arbccleffighlljkilmanDpcp-MllvwxygABCDEFGEILIKLKINOPQRSTUVWXYZ • Di! p

1.234667890C.;9r731)-11-Mo0aincel.h7 CT

I aii e gives body and voice to silent t oughts all wrip a AA z a Contour Outline OutlineShadow

abcdefghijklmnopqrstuvwxyzAIL CDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:,*1"P"?!$1)VECEzece fifIZficeitioill 1234567890] Type gives body nd voice to silent thoughts A aA Bold Bold Italic

2bctrefIllijkitrrGrqrstuvwxyzAECDEFGNITKLIIN0P0.RSTuVIA/XY7 n (1) 123+567690 ("., * " ffif)kT2emafiffric'efFc4f0,TTIV —s Tyre gives fitly and vbice thoughts sA

abccl f3AiiklmnoPclistuvwxyzABCDEFGHLTKLMNOPU5TUVWXYZ1234567890 ■ TS ( ",- ;:, *" N$L )/ICEwcedfvfMacii iia[affftgikitstt]O 'ac:0 F 2 y,an. s,itent:tliPUStits.

atte‘teisAiiktopftopoctkvwxyz4RCDEFGHt/k1.14NOPQRSTUVWXYZ O ??3 1367?10(".;:,"?ifthECEAtoetkiiP3aiciisiiiiti F ISOM SiVef Go4y Awl voice to ci Cott fAotisAtf 414

p ItSTUV X i ait.

la 45 7890("t,"'"? E))ig w lF wri! , .5 tir tL T OUG ITS „, auo

AlE3CDEFGH14KLMNOPQRSTUVWXYZ 1234507890 C,;:,..*"?1 SE)..CE- TYPE GIVES ODY AND VOICE TO SIREN THOUGHTS

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 6i 62 U rd E )-1 0 0 rface® Claude- San s

U 0 ITC Clea Co rin thian- ITC/ LSC Co ndensed® Co mmercial Sc ript Display lF • lF IF lF lF (".;:," ?. abcdefgbrailmmoycintmacpABCDEFGHIJKLMAWQRSTUVWXYZ tz-S-clie174-1/46frtipaprotittifax7zretOCOZTVIUKLIfilla:PQRSTI/VNXYZ 1 $L)IECEce a C deb' abcdefghijklmnourstuvwxyABCDEFGHIJKLMNOP.QRSTUVWXYZI abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ Type givesbodyandvoicetosilentthoughts c &NIP eceifie fifpe 94;1kW' Type givesbodyand voice tosilentthoughts Type givesbodyandvoicetosilentthoughts ahede 1234567390('.;z 4 ./ 7234567890 (".;:,* ft( A r trxy Yylter41,e4eccilerialiviceleavyrithe CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS Type giveshockadvoicetosilentthoughts L04/a/fraifro4;ae taodaltta,04 Type givesbodyandvoicetosilentthoughts 1234567890(".;:,*"?!$E)/ECE ycAB Ej 1234567890 ( abcdefghijklmoopqrstuvwxyzABCDEFSHIJKIMNOPORSTUVWXY1 opqrstuvwxyzARCHF Tqe% i2313678901".“,"?!$0LEffpaliActhliiiill 9 *V13g)1 6 1 . rg 12345878901".;:,*"11SERimm00flOaciiiiiiiil ( 6,169,Xere/11,4 4 '.;:, 7(c W * "?./ aA aA F 3\C(1)9___ FONTEK COLLECTION 7 Light $4)44 (KT: aA 0/1 - 64 aA b Contour Pil11NOrttiSIMHZ eeoece Regular Medium ce LUMINA aA Regular , mce&fiflBaceffiiiiiH V] asdfigyIIn,t4

46SM4cifiiiiiii /I . 5 ail aA 0 , 0- fw Outline Italic al aA Roman Bold Italic - 2 v9/tp) 345 afs‘ 1 Outline Shadow -6 feet 7 Bold Italic ,4& ta .-0 Condensed 8 ,Y; aA aA 9

Italic Bold us Bold 0

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 2. 12345678 9 0(".“, * "?!SVIECEmce&fifinaceilie n F Type gives body and voice to silent thoughts aA aA aA aA Italic Italic Bold Italic Extra Bold Italic Inline Shadow abcdeOlijklffitioticirstuungz/ciBcDeFgHIKLMNOPO,TRSTUVWXYZ 12345'67890 ( ll .;:,"?! E)/(=COPSITC14McEilidii[tifigil]s F TOE giuEs body and nicE to silEn±thoqiits A

obcclefohijt9iInnopqr6furvox9zM3CIDEOfinV.91,4NOPCASTOY14-XYZ1234567890*>,4 0 c" .;:,*"?! 447.CEQace&-a-f7.114 ,501acaeoiTora9AZfirlit+NOTUDa000-0- :10 5 frppe oidng bocip oncl voice fo thouohfg

abcdefghijklmnopqrstuvunigefii3COEFOHLIFILITMOPOFiSTLJUkIJHY2 0 rt P.) 123456189 ❑ [".;:,*"?1$i]FECE22[Eetill3Oceirliftu [.1 ■.1 F 0 Type gives body end voice to silent thoughts

NOP2Is7'Gi (.7 3 1254,5678eoc".;:,*"f/5Wit- p cfxzkivi,Jrgogl1 F 70e fires hody (Wee to syleitt a/mike wAr a4 Regular Bold

abcdefghijklmnopqrstuvwxyz BCDEFGHIJ k 1,11 NO PQ IIST N. IN X Y Z (-)1 0 1234567890(".“,"?!$X)VECEwce&Diiciqiiotill] 0 Type gives body and voice to silent thoughts aA

A • D IIIMEMENCIEME P EMEGWEIMEIEE1

4 8 Cl DII 6 9 a - OBE E E ( 11 .;:, * terigni){ g! vi!-- [3 a U 0 A U 0 Ki 13 a °Emma maw i oom ipp r sa Open Black

A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 63

abChiihrild ifioomistuitult08CDMIIIJII110II818IISI08U18V1

1P

.11)E gives bodg and Voice to Sileg th0091ItS a 11 - ls AECDeri-IVIKSLAANOPQRSTUVWXYZ-1234 - S678051 ia it

in 0 EIRI NAM s 'IMMO C D IT TYPO clves BODY AMU, VOICE TO 51-„zEMT THOUGHTS

Positive Negative

C abcdelf4hilldnuncopeprstuvwxyzABCDEFG111/14LMISIOPQRSTUVWXVZ cj E 0 1234567890 (".;:,*"t!Sf)AECEoevealhilaaceliiiiii 0 F Type 4:vcs body and voice to silent thon4hts

c32)dcigcjIlgt2t1tww®s-xjvhuvw2g13L3tLAtUnJ2TRMaX)40VWLI/t3 dow _1- , c:4ti{fIG3a)c..511'tLIJ

ha U€3UZVF.)0(1("t4°"`'DC

S F

mo qc) tilc4F.1611 na Vuo j5\17G boc2g c3a1c3 vionG Dy

abcdef8hijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:,*"?!“)/ECEwoeerfif1SAceifiOCIH F Type gives body and voice to silent thoughts aA " t

ip a 4 (, r/e/i) I iy4 tin n o 7,4 tit -Vi(- ;(47(460V__Valle)iffOiVa',679/0/, 0717P4pqt2,31,56F. 7890

Scr ;/-T ":).!)(*(ia.-a-ee6/(,(, (10,4.77/A nr5..N glq3CP,(6)/6"e n ia d elelthed 44/ a/rat/Nee ae/nt dtottatko dwar E ITC

Bold

a bcdefghijklmnopqrstuvwxyzABCDEFCHIJKLMNOPQRSTUVWXYZ 1234567890(",;:,"11:"?1$0{/E(Exce&fifig5ceinadH F Type gives body and voice to silent -thoughts

Romann) aItalic q Italic

64 Display • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

AtiVilDERSEUELNWPQR:1111 - Var OVii45f7RS0)("4;:9*"11$4)411:Egii TYPE alTWER fit 11Di ASO MOE TO WET TEPTIZNIV 141

AbCPE_fci_i1J4LMNOPG212.5TUVA/XyZ 1234567890(".::.*":7!6f)/E_GLEll TYPE caLa bop)/ AND VOICL TO al LLNT TLIOLIP-IT6 A

ABCDCFGHIJKLNNOPQRSTUVWXYZ m 0 X— 1234567890 ( n .,:,*"?!SE)ACIESICEGILX/Y1] lF TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS A

abcdefgbijklropopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ _cm C 1234567890 (".;: ,* "? 1 $0/ECEmcetScfillBScelijoa[abcdefgbpqsty3AB6KIPRYZ351 F 0 Type gives body aod voice to sileot tbougbts a A

• abcdefghijkImnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ

11234567890 r-h.:, * f$"3:$ elf/ECEmce&fifIBaceifioillin Type g4es body and vcplee to !Alen@ thoughts

aUltra Contour Outline

m r-r abukfchijktnopirstuvuxt/A3OFF6 U

lF niva 6:yg OOPY ANP Iowa if'heR)Ghl

A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 65

- s obcclefihijklmnopirItuvwxyzABCDerGH IJKLMNOPQRJTUVWXVZ 12.345b789or;:,*t*"?!.tc)(46COEctc:eci-{ifleaseiiiii0}0 Farm hau voice to Silent thought) ITC Type give' body and alot Normal ► aANot So Normal

C O abcdefghijklmllopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ LE at 1234567890(".;:,*"?!$t)/(Eww&tifIliacefilofill U- F c gives body and vo'ce Jo SI en: tough ,s aA Compressed Engraved

® • ce abederghijklmnopqrstut LABCDEFGHIJIIIIXOPQRSITVWX14 Fa

t 11134367S9411".“ Fa

ITC Type gives body and voice to silent thoughts aA -

d -1-10k,L,A4N01 )Q1ZSTUVWXYZ 12,34-5678303/40 n abodzighfikLnunopqrstu,vwxezABCDEF1 Ha 2,1$,6)xxSE- Oitiazga,ii-Ortjc_CCD (Y.;:/1 F ine F Topc,q Ives boc(f and voice to stiont thou@hts aft

® 10 Z

nze abedefghijklmnopqrsturirxyz tBCDEFGHIJKLMIMWORSTI1 N1

ire 1231567$90(".::."?!Sitn/Effitrottkjlac#Iniiii ITC F

Type gi 'res body and voice to silent thoughts aA

abcdefgh3iklmnopqrstuvwxyzelBCDETC111,1111MNOP TIIVWXYZ line

In 1234567890(".;:.*"?!S_ViEffeete&fi daLl F

menco Type gives body and voice to silent thoughts Fla

6bccleigkijhentnerphtuvwxyzA3COgfp1hmentnovkasTuvwxyz E 1234567890 (".;:,'"?!$£)gigMxtar U- F 1:ypeoive4 W1,43 and voice to, silent titionoitts

66 Display A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

a6(- j nfh_rtuviAJAK7A0 C A cF G .‘411}<1_.i/t.) \co? zr<_,T1-14yyrxy7 1246789co ( 4 .;:,*'?!sz)/Ecitctk:; lF Yy \ 6.()-Jy 4/1-J w;cc tty 4A

caefq LEnirvop (pm aem n' 011.- .,be, &Tql-H 11 &CLAM CPac. R.3 cilic\VWZITY 2345 (378 9 0,, (" ; : , " ? ! $E) cf'T cukkitiff tIceirio Ct. [a 74 k..ALQIr'iLst_.,9e4115a.g 01-0792.1250`te` 3] F cCripe que5 Gthay aria voice to amt. tho tiq fits

• abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;:,"?!$E)/ECE,Fece&Eo4einOCI Type gives body and voice to silent thoughts aA aA Medium Bold

m-1 ABCDEPGHIJKLMNOPQRSTUVWXYZ 0 ri v 1234567890 (".“ 9 " 9 71$01ECIEStiN1 lE TYPE GIVES BODY AHD VOICE TO SILENT THOUGHTS

• abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".;: t *tt"?!$£H/ECEcece&fifIBaceitiOull] J11 uoj ool u Type gives body and voice to silent thoughts ., aA

aiD@&044gIcilawcIAf?gettww2LrELDCLAn'iaallyELEMOYQ,EgtUV'Mnff oj saJ ii18 ,5C)T836("'cv,4"`tU, „,2,(ac3gffaire5viiiikat, a _

F S tyLDo cpeg &D6y &La violas Cc, 83tteL0 dtc,ttcgtCg ELI pap

aBcoefgHijkLmNopQRstuvwxyzi2,34567890

(";:,*"?!$L)xcekfifjfLftfg[ohilc,LLT_prytt]W - F

type Oyes Roby aNO voice to siLeNt tHouqirts un rep a

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 67 68 Gi ll D isp lay Comp ressed ITC Garamo n d® Freestyle" Script ITC Fran klin Goth ic® Fran kfu rter- 73 • 0 0 Display F T F F Letters arethings, notpicturesofthing onlybecauseit islikethatofanappleor agirl'sbreastorofthefullmoon. tal reminiscences.Noonecan saythattheO'sroundnessappealstous he shapesoflettersdonotderive theirbeautyfromanysensualorsentimen- abcdef hijklmnopqrstuvwxyzACDEFGHIJKLMNOPI)STUVWXYZ TYPE GIVESBODY 1234567890(".“,*” abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ e,seizitAjnii„1,61) 7ype J 1 1. Type givesbod .;:r111 . 1234-567890 7234567890r. ; (4. 1Shritri.Oplj.f:;n.1 1 ives bodyandvoicetosilentthouzhis T y abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ vtokor4Ayx1 etiedgitaixxo, e4tfrai pe A 1234567890(".;:,*"?!$£)/ECEaeoe&fiflaacein80[] AND CYRILLIC VERSIONAVAILABLE 99 ZiLY€4 nWPECEzece fifl1aceifloilii[123456789o] , +"?! i 1/ti) iferxtetrOga.pialti VOICE TOSILENTTHOUGHTS 5 Type givesbodyandvoicetosilentthoughts 1234561890 (".;:,*"?!Si)Afface&fiflBaciiiiiiii ,7u6 mug y 6 In 6 kit-6/141(6kee-6 )Act cie4.i RELATED STYLESINOTHER SECTIONS and voicetos p eyz'oes aidoaCeAce vzlige0i10/J)ra/(70PqRSrM/AW F qediunA, • FONTEK COLLECTION t radee4iairiwtmax#6.govaaNJ A/WO a 4itiGYr4A64Agitif4 Contour I ert thoughts Bold ni, Outline A tief a4 Regular Highlight NtbC7 g rAe V JJS (kvi -67 aA Outline Shadow G tbq dl V/Z Bold Italic , f..--??4 aA 'LZ Bold /A Inline t4 ,

abcdefahijklmnopqrstuvwxyzABCDEFGHIJKLPINOPORSTUVWXYZ D H 1234561890(".;:,*"7?$ lF (p>1 oi oi Type gives body and voice to silent thoughts u ap

aA pasu

a li;e:Ydig,Z04..iime,ii ad 1. C3 a gl) e g? CV te 20 12 Y !1/ D

Y-,V41e, ,z.MJP6 ",,J4 4 1? .MUb. t.2,Sti PG40)37iW,746) sam oD i

7lbA 4'04 acd ("GI' diJ Qo elLA c?c3 oN

a .6c defggijilmnofiqrstuvwxyvf15- (65-gfirsysicefiic re _E ample gyfy.s- 1234567890 (".;:,*" ?!$.1').xix& fipdceindii[q67 0 lF Cr 970e gives gody anivoice to silent thoughts

• — ABCDEFGHIJKLMNOPQRSTUVWXTZ +0+t9+5)±*Alyillti4 = LI p

c.7 oD J_

TYPE GIVES BODY AI\ D VOICE TO SILENT THOUGHTS 0 uaPl

3 ID°D rD ) la

cri a- A ,d

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ DII

1234567890(".;:,*"?!$£)./ECEceoeapaceifititiji °D I !- .ell Type gives body and voice to silent thoughts . aA

(dae§ Li' M 6C, ttAVCeCOS 0 e .5)e4 p9i,edegcvo oze,Q.,Efg-qtoyoNww 192345 6789 0 ( "?/ktreece,w6Afixci,ocf-Iii:a,/,wci-vm 7o C F uotee la/ 40,,efd Iji&lij"6.

abcdefghijklmnopqrstuvwxyzABCDEFCHIJKLMNOPQRSTUVWXYZ rD 1234567890(".,:,"?!$-£)/ECExoeGfiflNicifiiiiei [1 F Type gives body and voice to silent thoughts aA

A CYRILLIC VERSION AVAILABLE RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 69 70

M 0 Han d Drawn ITC Grouch® ITC Grim shaw Han d- Greyton- Script Display F F F F abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ WiedeigiWimnoftgatuvwxyzat114MWT abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ e2A acW0AykintA Type givesbodyandvoicetosilentthoughts TYPE GIVES ciefg Type - 1234567890 (".;:,*tt"?!$E){2ECEmoe&fif113ficeiiiiiii}El 41/1.40A op gives bodyandvoicetosilentthoughts tbeNtYW4pe " 12545 djpegives bod#andvoice tosilentthou8h.t6 4116t BODY ANDVOICETOSILENT abeclefghijklinnopqrstuvalku • CYRILLICVERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS 12345678900.;:,"?!$£)ACEazez&Baceitiou Vioiey24 Toe - ‘7(f90 (".;:,*ft". fivef hayafrLdvoleeofi(efriaoktfAL r ie: e ggegyormwo,vVR8q9AVVATT1284567890 (C (, MeldiljWiteetdCeQCe CD & 123415678POr - pe,gives bodyandvoicetosilentthoughts Al3CDEfV4IJKLINNOPQRSTUVWXYZ 12345678901 .-. 0,}-6 2

12345675 - EIBCDE3 . 1 ke) anciveim toalert i F ,i„" FONTEK COLLECTION (76 l - of/1N ,;:,"?!$E) gl ? - f5jUillTIOPQRSTUPW3ENZ Pli2ificaefifihcloimali 4 40(".;:,*"?!$£)4ECESU CPQk PtWO92 , 4e - ffffxx6 0:1 THOUGfITS j 1 le , 11; - V fif113dOirtofin 6 VW v t

aA 474 aA 4 Y afi A j, c aA Type gluesbodyandvoice tosilentthoughts Tgicac. siv rfPg IlYggaDdy aA Type givesbodyandvoicetosilentthoughts afl Type givesbodtjandvoicetosilentthoughts A TYPE GIVE,POrrANDVOICETO'LENTTHOUGHT, TYPE GIVESDY 1234567890(".,:,*"?!$£)fiCENIattariiiiiii 123/4567896(".;:,*"?!4x)„,E0gxcrAfififii g234667090 Dbecio."0(ptImzopivrgegymmygAtOOffegt70,MANOPQRa'rvYM/XYZ Medium abcdefghijklmnopqrstuvwxyzABCOEFOHIJKLMNOPQRSTUUWXYZ a1ocaesO 1234567890(".;:,*"?!$£)/Eamce&fifIBace A8CDEFGHLIKLA11410PQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPORSTUVWXYZ 1234567890r.:::"ME1ETeaceafifl8aceifidillgrofigdOnillM1 abctiefghijklffinopqrstuvwxyzlifiCDEF6HIJR111110PORST111111111 12345678901" ;:,*"71$XIIECEgyf ArGVErGt1l,114LIVNOVOUTUVWXYZ 1254567890 (".;:,*"21f)/(1&[LF1-111[P79] t ijklitoke.pqrstatyw7 Bold . c,s '64 ma A "°MgM'ac:AONSe,p4i1224'hr) CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS aBc7 YeiCe to v4k$CIATI-F441(44111,01 = 13 yoke ec)glOgeegoogghe 1 Sikkt VOICE c iii ;.iiiFit[0‘4- 0/C1 F FONTEK COLLECTION T *U 1 n SILENT >LIGHTS 3 * ,Q1Z3VWVIYXIAZ f -t )

* 6 11 . 1/ - , CIA I Display F F lF lF lF F

ovp uoH 311 0 paSU ap UOD PDliaAl a H

abcdefghijkfunnopqrstuv -wxyzABCDEFGHIPKLMNOPQRSTUVWXYZ 1234567890 (s%;:,*"'fl$E)AECEaece&fifigficeinoidil F Type gives lbodv and voice to silent tliitoughts auk

abcdefghijklmnopqrstuvwxyzABCDEFGHIJR111110PQRSTWIJILEHYZ E 1231567890[".;:,*"?!$f1fE[Emmitfiflflacèiiiiiir[251 F Type gives body and voice to silent thoughts aft

U

4-1 aidedyhykilltlfrggark tap II B CD EFG HIJI(1,0 /VO PQRS TU VWXVZ1234567190 * 71$Z)/ECEetr&-W6da'iltiglifffheP Vkinvo -fr44.1, vwx/E 714 91 VW yim o/N9tartri C F Tre gwa (7,d, and vt,‘ce- fiy- agukottiha a4

c2hcdo fg-h Z aria zz o p .1- ,s? -w- C .4.31.4V0 PqR rUVWX man (a v zy4z4 Oefalif,14 1 yz

Ro 1234567890 ; * " 7/$42/ 4-2Y,ffedriziozi - l F

rma Typo giros body cV2c1 voico o,sz702 fo 2(- (hotz00 In cvl

alehiyLVLinuto-firJ tit JO X,c7 cib CD et at2 _z2*RoStY)62k4)Y7(11/11 xy2 1230567890 (".;:, '"7.1SZ)A -CExce&Aft 4,01fieliAj t F

gift e It 1/ VaCe

a Of iinnamommoi F inosimr;::".osmn[i iVPE GRIN 1101111 1111111101CH0 fl ' aAcckfgkijklaraap q rs,tritutaxy/z4 73 CD cul---G M ?1/41-0 7P QKSTU V'wxyz dora 1 2 3 4 5 6 7 8 9 0( ; , " ? ! Isa ITC Type ba4and agice tad/dent t, atilt

00 a/c

72 Display A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

ABCDEFGHIJKLMNOPQRS UVWXYZ 23456n390f";:,"?!$E11ECE vepEy, F TYFF GIVES BODYANID VOICE 0 SILFN HOUGH S A

abcdef9hijklmnopqrStuVWXyzA13CDEFGHIJKLAINOPQRSTOVIATXYZ 123457E3 q0 C".;: ,* ±*"?!$1){/ECExck&fifi8Acein6a}tacdehnors-EAKV] F Type gives body and voice to silent thoughts aPt

Q 113c 4 eTlhijkamititir91qNvwxyzADAL,GMUAIIIRIBMO1ftuti LI

(YZ J_ 11 g 34 “ 7185' 0 (".;:, * tt"Pi$E---){/10EacceltralliSAcehri6a}iaTE0::tallstlYznil lF WEI P9

TypT3IIM 6@c11 V011eT t )111CM thOV hZ) AEI

@g,' Too

ca_LbcdefghijklnunopqrstuvwxyzABCDEF63 -11JKLMNOPQRS _ UVWXYZ 1234567 90("e“,"?1$E)Af.ffeefifiliViceifaefifi F Type gives (body and voice to silent thoughts

4-c• 16 14 kii44-1-.-71v,rt v i-v7-fLA3C-1, EF 414 (1K-i-AA-11/41 07kg,f T1A A.17‹ yZ 2-3tr‘glOCI. f:,'?!tvt F

-1:/r-63-1-1/Ki tA7-44j A4,4,4 'voice tkv-pilitrt,r A-A

alecdefghijklrattopqrstuvw*jrABCDEF'6111JKLMNOP(aSTUVWXYZ12345678q 0 (".“ ,* "? 1 $E)ACEctoe&fishill3Scilliiiii% rabtdidoosr,stakrri*,10'0'0'4* F Tve gives laod9 and voice to silenf thoughts oA

abcclefgh13k1m DO pqrstavwxgzABCDEFGNIA LM OPQRSTO1AXYZ 1234567890i" 't "?1$0bHo■ ce&ftf Riceff)663[gil Tipe gives bock, and yoke to silent thouchts uA

• CYRILLIC VERSION AVAILABLE S RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 73 • abcciefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 ".;:,*1- "?!$E){/Eaaace8te keit164M Type gives body and voice to silent thoughts

aA a Outline Ultra Contour

C ABCDEFUill:TICLMNOPQRSTUVWXYZ

C cd 1234567890 C.;:,+"?!$£);ECE& [APRU] F TYPE GIVES BODY AND VOICE TO SILENT THOUCiliTS

.-vq2M2,1,2,34,567g90 tiG t44 4,f,vvvr,,okcf,tstfit,,,,,,o045AA C,Z.. 8 5.7 9,i 6Thr2 C.,Sx(res,<4.-ilj-t.44ci,C11:64',EaN,tee-.'aWtjikeim, oc(1,491,4 str:vtloc-oWf132/3't 67 4j10 teivf/s, 4.A4)4 v/46 "vv6co to 5/6/1/(A trovIrrits,

k PIA/ P4m.srci/A6ty, U .<1 tett,-,04',:i 4 tss-t•41*, t,4 —,1/ ii/A•ypt tit 2" 121456npooC.;:,*1- t"?rftlteptt- ctitita‘i, ivpi-iii-J17 ryrt,01/t/s Aetty t.,fttive4ty-te 40,tera-Mett,Us #440

rrd erb fgkij ilvit-a ly lifL r.t v rik oz.A .C it7 E.Faiii,310.,,WILN O PaliLS Tra V[141XYZ "710‘') me6fittlIAM IEbil.g6oq F Tyyg givg gEivoicglo ilattinigit

abcdefghijklmnopqrstuvwxyzABCDEFGHDIUMNOPQRSTUVWXYZ 1234567890(".;:,*tt"?!$£){/ECEwceEriffifliniceitioil}Etittttilbl F Type gives body and voice to silent thoughts aA

ml,@d@ffgliafthaant©pcgobEww3uNADCFDEPONEJELKHOPORVIrEYMM 1122,6nOW6390Vor8,'M'NOMAE0Ang- GONBA8IMMI MD@ emo gd7 mid wok@ dIlad RL©mgrMo

74 Display A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

abcdefghiimmnopqrstuvwxYzABCDEFGHIJKLMNOPQR

4CTOWNYZ au

1234567890(".;:,ktt"?!$£){NEEcE4-fificAceifioCl}CJ m sy _uai -we gives boDy anD voice to sicent tHougHts A N orm al aNot So Normal abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXY71234567890 (".;:, * "?!$i) /EC 1 ttlibrfnflitILVPITOPfttllilvfVfl type gives body and voice to silent thoughts aA

abGdefghijillmnopqrstuvwxyzABGDEFCHIJKLMNOPQRSTUVWXYZ 1 234567894(".;:,*"?!$E)AEEEmee&fifelgiceiniii[DT169 'Type gives body and voice to silent thoughts

ad 4e-f4f/kitn4-kap,p-oAkvwy.i.71,6 CP4 -ra 471(1,14701We577/ r 111 CD 7234 567590 (1. ; * fr,p1 —1 F r ei(frwivokigo detirWatow ,k71 iff-"

abcdefghijklmflopqrstuvwxyzABCDEF6111JUMNOPQRSTUVWXYZ ei

12345678901".,:, - ?! ouR

lF ,,, 3

Type gives body and voice to silent thoughts 2uo1 p aA pal

ahcolef:ghtejkimflopffTtarwxyzABCPEF011filriNNOPQRS'revwxrz 1234567890 (".,,v, *WSIVefaauelfitleiceiliti lF gives hod/ and voice to slie t thoughts

FIBEDEFGHILIKLIVYOPORSTLIPLIXYZ 123LIS67890(".;:,•"Pl$E)FE1E&fl lF TYPE 611,'ES BODY RP 10 1,1010E Ti) SILENT "rhIOLIGHTS rit

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 75

aiciefgkiiitimnorgrstuvwxpAcBCDcE(6401 MNOTQcf(scrucvc-wc-x(1,1 ,234567890(.;,,,.-?/$0 xtrg)filficiceitliiii[v6cfcArix-ijk4(nvitxrc cc -vvfit)cucvx)9 ,z.?$cfiAT9741 V02 \(STI F tie gives an/voice to silent tkolkts a2

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKANOPQRSTUVWXYZ 1234567890(".;:,*"?!$£) ■ECERce&finaciiii60[] F Type gives body and yoke to silent thoughts aR

abcclehhijklmnappJtuvvvxyzA93eouskihmLN IYOPCAST119/(W9((YZ 7234567890(a.;:,"?RE)leacem&iitieciceitiou irswi F Type gives body and voice to- silent tho-ughts aA

t ip

r abccletjkijktm,Kopcvstu,vtoqzfigcpcIgolJVLAIJOPOVSTG(VorY2 Sc

'" 1234.567g90- ,,,*-nsootece,y,cesqljtga, ci[ii,8a[Ektv]

se F

hou Tgpe jives but,y and voice is sant tkouijkts Lime

abcdefshijk. • opv4stuvwxyzileesAiEF 1,11KLAINOPQRVIIVWXV 1254567690('.;:,*'4EMageoe64/1466 f a7aii lF ripe siVe4 body' and ,voi%ce to 447- ent though&

0 rstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ s— abodefg hijhImnop g rd 1234567890('. ; :,*'?!$.EVECEaeceStfinaceinoid] 0 F Tine gives bod'y and to silent tAousAts aA a ItalicA Light

® ABCDEFGHIJKLMNOPORsTuVWXYZ hine 1234567890r.;:,"?!$C)/ECE&BACEMOOD Mac

ITC TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS A A Regular Bold

76 Display • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION AA TYPE 09 aA lypt kivusbodydndvticctcsiltntthtuthts a type givesbodyandvoicetosilentthoughts 4A Type givesbodyandvoicetosilentthoughts AA 12315678900' .0.44o TYPE DIVESBODYoVOICE;SILENTTil°UCTIIT5 1Z212ggint114411131110M2gtil NO224121/JUSAingt23 1Z14561890[".:::ttl!UnithceHillaceiriddll abcdefghOlmnopqrstuvwxyzABCIIMIIIIIMMASIOVICIll 1234567890 C`.;:, abcdefghijklmitopqrstuvwxyzAl3CDEFHIJKLMNOPQRSTOVWXYZ - A 1 AbCDUCTIEIIJKLMNOPYRSTUVWXYZAbCDNMIJKLMN9PQRSTUVWXYZ:::: 06 i1 414iki Light n (DCf 4567, GiVCS ODYANDVOCE10511Civ1 itIOUGHIS - Gliik11

abcdefghijiilmoopqrstuvw0BCOMME111110PORSTIIVIIII4i 12345678901° .,:, — ?!SEHEffmehfilWitioillflmEEPATZI F Tape gives body and voice to silent thoughts all all Regular Italic '

no abedefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ la i 1234567890("4:,*"?!$t)WErece&Bitceiiiiiii/11 M TC I Type gives body and voice to silent thoughts aA

O 4-hrefelehOlminztp,fr,ilavwx,yz worry,, fiffirt #fliVP ,VAVrWV 12845678,00 r ;:, " A/ WIT ca',-e 2 F gTIJ ives DrIg Varr ft SikNic h a Xs -

ka cil3cDErqhipdm.NopqRsiroviocunBCbefahrikLmnopqRstuulaxYZ

ins 1234567840( m .,:,*ts"?!$E)(zeoereoEuririBlIgEN$56111 M

ITC iljpe gives isonu 1;1ND VOiCe TO SRENT TbOaPTS 1.1 1.11Z 1:11A Light Medium Bold

4tzittg444144,444+14414,4 3,AReD EF GNI Pa 1'1 NOP 42 RsTwitoen 1234S09/0(". ; :,*")!ft)(ECE4tiv9ANIO'i.4i(c.49.1,0 ,531,,At41 F Tye z4 LOA, 44,41 4/4,,:Ze xa Ide44 14414 4A - abcdefghijklmnopqrstuvwxyzABCDEFG HIJKLMNOPURSTUVWXYZ hras

it 1234567890r , t*"?!$£Y{ZEEEce&fif_MAcifibfi}Li M C IT Type gives body and voice to silent thought's aA ' h Li3GDNFOM4B191V11014 0E5T1,71/V7Z123567890(".;:,"TI$E) Fres igCggIiii3GDEFOHI6KLMNOPQMOYEIXYZ - / -,--=-- *> — &e170-;#",ra

ky F n

' Fu TYPN MTN* BOW LIV VQ YGN TS *719IIT T 9tt01TM Mo

78 Display A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

abcdeighalmnop,st., , ,,,ABCDEFGHIJkLMNOPQRSTUVWXYZ au

1234567890(".;:, * tt? 1 9,){40ce&fi{lRaceifion} [123456789o] ovv Pu • pe gives hoc and II 1 voice to silent thoughts ES1

▪ o a,A 1011.,A Recut Solid

012 00 iXt1060 0 Vion*If t Igl9 w C41,41 O F CD

0)-Pg`u X(100 tA)*403 eit ^ 1 E iT faitoot cogAtilef

abcderghijklmnopqrstuvwxyzABCDEFGHLIKLMNOIPQRSTUVWXVZ all 1234567890("4:,*t*"?!$1){/ECEsemikfilleaceilliiii111 oV\I

Type gives body and voice to silent thoughts Jall hoj aA aA snc Bold Condensed Bold z a bcd efg hij rtopq rstuvwxyzABCDEFGNIJKLMNOPQRSTUVWXYZ CD 0 123456789o(" "?!$f)/exceOftrOceiiiiii:1[1 z F 0 Type gives body and voice to silent t h_ou hts A A I N • P IRST z 9 64 ;:*"? SE) 0 3 y

abcdefghijklinnopqrstetvwxyz096ARW 614soliF18 67re6ii2611(0046114676116116WPCVS O CD 1234567890("...,"?1Q)c4Axoe y if fidceifidetildikfouvavAyk§Ai 0 lF %Ix gives hod* and voice to silent thoughts

abcciefghijklmnopqrstuvwxyzABCDEFGHIJKL 1NOPQRSTUVWXYZ O 1234567890(".,;:,*"?1$0/Eatm.ce&fifilBacèih6C1 F Ty pe g i ves bod yang voice to ent thoughts a A

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 79

abrbefcthijkinutopqrotublup)7TAC)11 Cif11.1 TPIPtaiiiillsigi xpz 1234567890(".;:,*"?!$VOECterce&firtOiciiiibil[] LU 0 Type gibe5 tiobp aub boite to itrnt thougbt4

t

ip abcdefghijklmnopqrstuvwxyzABCDEFGI-IIJKLMNOPQRSTUVWXYZ 1234567880(".;:,*"?!$£)/ECEwm&fifigiciiiioaD Scr - ke

Stro To4 ev4 bac17 d VCA4 oegC)P *A2iWa'

e On aA aA d; Regular Bold Shaded

(1) b.() abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTLIVWXYZ C 1234567890(.;:,*"?!$£)/ECExceEtfiftf3ceitio6H O lF Ty pe gives body and voice to silent thoughts a A - n abcdefghijklmnopqrstuunvill3COEFGHIJKLMIIOPORSTLIEUHVZ bo 1234567890 (" ,;: ,"*"?! SUIFICEww&fiflIN'ceinti011] Or ITC Type glues body and uoice to silent thoughts aR afl- aR an Light Regular Bold Black

0 1:3 RE3CORFSEEMILMHOM12211TVVI7/11234567090Q"ov ,„'" MP C cd T_ MOZUMCOSTVE11ZUVerg/OCUTOVW2MIC 4Q-4'..&41k,sV,aba.cce) 0 lF 002 SNIB2 300 AHID UCTAR EILEXT n=llousms

aiit.40414efailliiiklualacolpqrstaw-sw-xwzA.RZCINEVGIIIIeffitiLLIVitl%4701Pcp S@VANi91111(`'..;=,"?. 2)(iLglEaecle ■SAItiic O irtftrriuvwxivAr 234 die al‘res body and lvcolie to silent thoughts atiAk.

0 0 ,-gr.5t-uvwxv. A#C.PetyttykLiktioPakst-Vvwxyz cd .ife_46P4iki—. 12.345676yac.;:,"71i.4)/Vefictitlkfiftaa-pi-i-ziaLt-e-tz/(-gL-stt'* y--1 tipz, , ZsEpt..5 b-04 0,4 vim:et re- 5 C.-iv.: t-L41:45

8o Display • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION TIPtIP/B O[it fl TYPE tVGL EL1SLLLL?LLDITOIELfVL aA Type givesbodyandvoicetosilentthoughts aA 1J345 11pe gives6o*andyoketoRiadthoughts Type yive4196clyandvaCef6 libOffG aA [ OLLLLIILLLLLM..LLiliLLLLEtJt'LLLLtfiti T9pe givesIDociand Mt4titt 12 >234567890 (" abedeigh 6kImaop9fsturmyzABODEIVII/dlaNNOPQRSTilnarZ ficflbCgDtflOt a (".;:,*"? icto.t),T(ExcePfifteAcei,16d[A g 0:t.t /ECLatce&fifir abccief bcdefghijklmnopqrstuvwxyzABCDEFC HKLMNOPQRSTUVWXYZ /9 345 ccief9PAN.,pro, , 3:10 6 7 . 111.':1111:4:11(0...ITP 'J4.11IP/rti g 8 11 6i 9 IJKL/V1OPQRSTUVWXY71234567890(".;:,*")!SOftad . 9 jk 0 bODY firlDVOICtT051[011"THOUUTS (".;:, : L6 l mnopcirstuvwx,9zABCDEFGHIJKLMNOPQRSTLIVWXYZ1254567890(". 3 a4&inoCilAAbt5CCDF , )LC - ;;, 1 * 4 "?3£)/ECExof'GThfiR6c 1 * q)91CVVAilq1P u vwxyzA "7/$,€) '40 ?1 A 7)Iq CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS .1 %.r.q..11 "(LI:04bLVE[Cill ,, 6 g OPE Grdw&nlidrebiotiZ 11 voice ( PQR 1111M` c'e9'ijklin Milic71CLAIN ( PSIAJNVACci] - to silentthouglits eirioü[ijrtGOS123456789] UTG 1 i )1 M6ayht ,,r 1 )L stiv - 11J KKLMN0PraQKKSTUVWXY7 voiffitj - A] F - FONTEK COLLECTION e 7 lJ PA6TVv c%' !Allan! Vt10111aLV 42) • WXY2/23+5678 ® ,67.771 ; :,*"?!$£)

Display lF F lF F F F

8i papPg s Rog _ainspaid elaau°!d J11 rt P.)

ABCDEFGHI1KLMNOPQRSTUVWXYZ 1234567890(".;:,*"71$,E)4TCE&H F TYPE GIVES ODY AND VOICE TO SILENT THOUGHTS A

ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890(".,:,*"?!$)1ECEC] F TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS A

d 6 C '9„! M n 00a I Li \ \Ai Z j OPOUT_VWXYZ 1)45(11) 7 890C aeoe6V 3aceirib0 [tswA P5\)V] F ype Bivef body and voice to ii e tn ouBnti a It A Shadec Lightline - n &DCIDEPEITIMEILINMPCILAUTIT INEITE w

to "?11MANC31111 e 112@z3015DOMQ".m7 ° c F in Pr 77PE (METRO [30MY &MB WORE EMERT UllgOMEETV

a6edef:36,9-kirnnopqrstuvwx3z.gegZ(F67-1991

OB(DEKHIl8lffiNOPHSHIND1 123`1561890(".;:,*"?!$HMll F Type glues body and uoice to sillent thoughts dQ Regular Line Out

1 OPORSTUVWXYZ E abcdefghijklmnopqrstuvwxyzABCDEPGIIIIJIRMI 1254567890(".;:,"?!SEDECEccoMHBaciiiiiiiiin F Type gives body and voice to silent thought

CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS IF FONTEK COLLECTION 82 Display A

EigILMALAIMYMAIDD2272 0 H ,1 4 MV liqV°.,"V`Ig111.811C1,, lF C 1-7,P2 (MV2A EihT AM IME2 MMAI IMITOMMIA

L114

abcdef9hijkImnopqrstuvwxyzAl3CDEF6 H KLMNOPgRSTUVWXYZ 1 234567890V.:::"?!$£)/fCfcm&fiftgacthiot1H Tape gives body and voice to silent thoughts aA

4004/,41:4124,e"..0,,ort vl.ta 623 977V2Kii4 ? OPC157-2trleXF (Z3it567efo(".;:, " CD, lF 7w- a* 41,7 00,et a- a

A5(DEIVIIIKOIN0P0UTUVWXY1 11254561890('.;:,"?/$1)1Q16111 TYPE GIVES 809/AA/0 VOICE TO SILENT ritommrs A

a e6- 49-4//kiiit/twpstoptv-w/i tg C z7 74 AilM PQRt:57- 7/1/XV /234156 7890 (`. * ,/$

9/PeC AA4 a / elpa-Arl.We./itv/ia-ye/It-c

ABCPEIFONIJK14010PQRS11111P/IY1 7P14,1378910( j?Mikcff171 TYPE WM 110/1 iliIP VOICE TO 1111911 . 111001171

abcdefghijklmnopqrstuvwxyzABCDEIGHIJKLMMOPORSTUVWXYZ 2a 1234567890(".“," 71 SE)fiffece&fitleiceiiiiiii[1] -e

F p1l „,

Type gives body and voice to silent thoughts uoj aA pasuap

A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 83 abotetgliqtaffmopqrtnowtpAteDEFOffilliaMNOPORIMVWXYZ 123067890(%;:t 4"'.?"/SibrEffee84ffeaciiiiii11) F roe o ten boo ant rota to 4Ent thogitti

fIBCDEFGHIJKLIAN9PQRITUUWXYZ123 LIS 67890

(".;:.*"?!SEDECERECEFGH{Lr1ffir1110 o ClORISTUVWWXXHZ33'17] 0-' - F TYPE GIVES BOY fiND VOICE T9 SILENT THOUGHTS 11 Bold Bold Condensed

a.15 t(0.; wo 6ody eoca to the(e0tA ce,A, abcdefghijklinnopqrstuvwxg11111CDEFG111J111,111110PORST1IVIIIIM 0 12 3 4 S 6 7 9 0 r.:::"?!$£11EfEfflifihfilllia0iiiiiii[gilisuwxvfaMMNNS111111XY1 0 F Type lives My and VOICE te silent thellghts all all Regular Italic

E abcdefghijklmnopqrstuvwxyzABCDEFG1 -11)KLMNOPQRSTUVWXYZ 1234567890(".;:,*"?!$E)/ECEce&tiflf3AceitioUrfl F Type gives body and voice to silent thoughts aA aA Light Light Italic ®

da abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ n 1234567890(".;:,* -r"?!$£),EECEoece8cf36, ceino0

ITC Ro Type gives body and voice to silent thoughts GA QA aA Light Regular Bold

ABCDEVGRUIKLMICTOPQRSTE-TVWXYZ 1234567890(".;:,"7TSWECECtilltg (ntii 0 F CL TYPE Gni-Es BODY AND VorCE TO srLENT THOUGHTS

• RELATED STYLES IN OTHER SECTIONS IF FONTEK COLLECTION 84 Display A CYRILLIC VERSION AVAILABLE

abcciefghiAtorfrwiscirstpvwxyzA13C1)6YefElYkLAINOPORStMilluXtiZ 1224567‘00 (".;: * "?!$,C)XX,xer157. 710.4Wiiiiiti,P-IKeldfosj type give g body and voice -to ,t`tent thoughtv aA

EVER fast-moving world of fashion provokes the need for a continuous flow of new display typefaces. Creating these demands a sensitivity to anticipate and respond immediately to the very latest trends. Whatever the required mood or effect, today it is vital that the type harmonizes perfectly with the whole, ideally to the point where it looks as though it has been custom tailored for the piece.

ABC1)EFGHIJK14MNOP0RSTUVWXYZ 12345678 90(".;:,*"?!$E)A3M8d1 F TYPE GIVES BODY AND VOICE TO SILENVIROUGHTS A

abeleigkildninopqroluvwxyzABCDEFLIIIIIINNOPIIIISTUVWXYZ 123455189 01 " .“: " ?!ffinteceA11litlitvehiodulf11111111.1 0 F Type gives Lotly and voice to client thoughts aA

ab d6iq hijklnuz-op 0.ituataxyg.gg CO e}' Qf/9f gawcr?n2 qsruo w2/qz 11) rt 7234567890 " . , * " ? RfIgSath"iiii -r1 CD 7P6g1.1(6.5 b04 and tole-6 to 6 lialt th.0 Ugh&

abcdefghijklmnopqlstavwxyzABC2e70J1_9 09Y-CMTIOPQRS711VWX92 1234567890 ; : , * "?! $E) xce&-fillgaceihod 5y-pe gives body and voice to silent thoughts aA

Li) 4bcdefghUklmnopqrstuvwxyzA5COEFOIIIKLMAIOPQRSTUVWXYZ C*1 p 1234567890 (".;:,*"?!$Qi.)/ECEaece&ICR13,4ce iiiejetraegkqW>4710A•.%/1=> rt lF Type Ives body ,and voice to silent thou,:hts

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS IP FONTEK COLLECTION Display 85

kL3WA§VVAVeSnaKOPUMQVU ,KWV 'f'S ,(TOTt3W(` 0 "tPlaPaCMCY F TWg eseff aVW ka) V6e6g atr6 gE,56CYTUCUATV

4cticiapikfrozwatievfevlart" e01619099C1X1M9lfegVVT9ral7 tapaC78po1.".;:,*"?1149.11i07,, meWIA4fithhil 1 F oe alva6,14 I9Z1 mice dad do2o004

()

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890[".;:,* ?!$LiIE EE m F Type gives body and voice to silent thoughts aA aA Regular Italic

rroopqrstuvwxvx.,z4k3CID-c- 41*EJIKLMNO9Q„2TLIVWDCV% 1,ti. ACagilf1136;1';')Oan ]F ltrpe Qi'ves d voIce to sltevt thou t2- Fits i

tt ABGDUGHHEMHOPQRSTUVWXYZABCDENHIJKLMNOPQRSTUVWXYZ e

ng 1234561890(".;:,*tt"?!SiNGAthrtssActiHoliill re Se

TC TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS I AA

® • abcdefghijklmnopqrstuvwxyzADCDEFGHIJKLMNOPQRSTUVWXYZ hic t 41234567890(".;:,*trUSOVECEcece&fifI13aceiiiiialli Go if r Se ype ©y and v©© th©h ITC aA a Black Bold Outline

COEFOINIOSPAILIRAMOIMIRSITVIVOMVZ11234,1567699 "" „ "" [WZ OTE 1 Pr5Ori t1).W WI( 4: 141T F TVIPIE OLIVES 113(0) ill Ann VOICE ir(0) IlLtElkirir TINIOUGHirS /41

CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION 86 Display •

abcdelghijklranopqrstuvwxyzA8CDEFGH/JKLMNOPORSTUVWXYZ 1 234 567890(".“1"?I$E)1ECEEece/ifitif3Sceino00 F Type gives body and voice to &tent thoughts aA

A3CDE-FCEIML MOPOlrarif`VIIMV'N- dmng(pmgia*e1".;:,*PPP•rc$Aff 0 F ro, TV ei7E B•DV A D VOICE_ TO fiLAN -T- T. MUM C

A8COUGHIJKLI#44■10PQRSTUVWXYZ 1234567890 (** 4; ** "9141)4(E0 F /1) ry E GIVE ► 0 IC T stonr rH a

a6cerefghijklmnoppftivwxyzARCDEFg-IIIJKLMNOPQRSTUVWXYZ 12345- 7(00(".;:,*fif7,17gf){,zECERce40134ceinerV0 Type lives body and voice to silent tholkh RA

A CD FirrN/IXZWAIOPORS TO WX 121454 7,90 f f"?/ AriECE* 1 7 F TYPF CIWIS 2ODYAND 1101C, 70 511.7Aff 1W0114W75

/e/iii:il,Phi /7 016.97'570:W27Z. ,41 C:1_).Ec11111.lif IVVO$ -rrtettyrz'

7,7,c Q./ 1/0/c- ri7e/i/ 4014/r

q74

adcdef5hijk(ArnoprstuvwxyzA/3€DEF4ff/J -K01440P6OzSTOVWX111-72-31-567t90 )ittfoecafffiftft13.42iiiiititieihkprs)(7—tt6PErqH4OKrt/WXY3. Type 5iVes body and voice to sdentthoujhts OA

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 87

CL ra abedefghijklmrtopqrstuiniqxgzAISCIAEFGKIJKLPINOPlikRSTUVWXYZ a 12345674690(t,:,"t*"?1$0111EGEniaabfifleleiceiii 0iiiWitA44M14009,1 reps gives bodg and voles to silent thoughts aA

ABcperciihnamNoraksruvwxYzABCDEFO -H1JKLMNOPQRSTUVWXYZ 1234567890 ( a . ;:, *tt "?!$E) i'VCri°6 ■X&FT FLSSAcerKloN 'tyre GIVES BODY AND VOICE TO sitevrr-Houcrurs AA

Octi eflhijkitinoptirstywxyZABCDEFCMIJ KLMNOPQRSTVVWXY11) 34107890 O O (" ;:r?!$.0,1ECEs.0e0-fififOckiA6i:( [EA,- -0,°9/1*1*§-#3 4***IiitksitO0i46(M4010,;-111-4- '1--1 F Type iyes 004y art4 voice to si tett tilo .v0-t-s a A

abedefghijklmnopqrstuvwxyzABCDEFGHLIKLMATOPQRSTUVWXYZ 11244567190(".;:.* 99nSWIEWEP0ACIffillac 6ifititilli F Type gives body and voice to silent thoughts aft

abcdefghliklvviviopqrsttAvvvxozA3C 9EFGH17KLMNOPQRSTMVWXYZ 1234567890 ("*"?110/ECEaece&fifISa01061A [NWzLNZ.2] F Type gives body and voice to silent 'thoughts aA GA Regular Extra Bold

0 ABCDEFGHIJKLMNOPQRSTUVWXYZ 0 0 4., 1234567890 r . .; 4.r) F TYPE GIVES BODY AND V ICE TO SILENT THOUGHTS ® t • DegQ Oc7T‘CCl/nOt TQWET2(q/qt/cX21219 8456 7 890 r 7 ip abcdefgAgkilwropvgitivwx8211'S O( L-1171 ) r o] Sc 06Ea4a&g6goingeciceiliotiVaa&badoe4ghvbenvomopurA4 tt7ii0109Z0ETrai(1/Lkel)101Avwx1f12845 6789 dio

Stu Type gives) body aid voice to gifenif tkagAto ITC 04

88 Display A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION abcciefhuklmnopoirstuvwxyzABCDEfG1-11JKLMNOPQRSTUVWXYZ I 234567890(".; :, * tf"?!$, E)PECESfif1133cernOt9}[] Type gives body and voice to silent thoughts aA aA Regular Bold

abcdefg iij_cimnopqrstuvwxyzABCDE -:G_ JK \OPQRS UVWXYZ 123z_:567890(".;:,'T?11$ I)(2ECE ce oe&F3atqino -ci: /J11

hype goes body a-d voice o A3S Y81 Loug-ts w a! !EH GA 1 gau!I- ABCDEFGHIJKLMNOPORSTUVWXYZ CD 123456789 0("4:."?!SWEIMI US lF TYPE GIVES BODY AND VOICE TO SILENT THOUGHTS A

ABCDEFDH1.3KiMNOPORSTUULJ X 9 ZEMENCEMEMMENESIMENEM 1234 56789, 13C.;:,'?!$E)fECEG[ACDGOWYS69] F THPF F=IUFs BODH AND UOIt:E TO !=a1.5NT THOUGHTS A Regular Reversed A '›E.F1%"<111VWXYZ12V--7`e<> A.*W44 lF TYPE i VE .<>17Y. \-1>Y i E TO 1.L_E.\-r

•

abcdefghij kt trino pi rstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ UUEL

1234567890(".;:,*"?!$L)/ECEzoe&fiftgaceln.oft[e] LI F aSrIE l Type gives body and voice to silent thoughts „f aA abcdefghijklmnopgrstuvwxyzA COF 6111J111,111110 PORS11V11111YZ 1234567890 [".::,`"?!S£] [dguAllUn] IF Tope gives body and voice to silent thoughts all

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 89

iE cd q1DcclefghijktnnopIrstQvwxyzABCDEFG1 -111KL.MNOPQRSTUVWXYZ 1234567890(".;:,*" .?ISE)CE-1- -- Mcifiaa H F Tylp 51vs Ipodyqncl voic to si-lt.thot_15hts qA

al)cderghilklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ 1254567890 C.;:,*1- fil n$C) fiNECEm&gilfAceiliOill[ABcDEFGHIJKLmNoPQRsTuvwxyzi2345 67890 ] Type gives body an cl voice to silent thoughts aA aA -

ns bcciefy h itkimnopqrstuvwxyzABCDEFGH I) KLMNOPQRSTUVWXYZ1234567890 Sa

s Cil[ABCDEFGHI ) KLMNOPQ RSTUVWXYZ12345678901 ( n 1156 u .;:,*tt il ?!SE)1AECEce&z6flPce mp

Te Type yives body and voice to silent thoughts ITC

A aRegular aAItalic

aactleigh.tyklmoopetpeavtogroU&PEFGITGANOPQerta/tow (23f5671rf Ol". ;:,'"fi0e).VEzetalleit'ili‘iiabodttieltqlofitttuw0441dkLiftitmt,srrarkiv IF rifpe 9iVe5 ha* and voice to filen/WO ktf aA d

li abcdefghijklmnopqrstuvwxyzRGBCOEFge -Cgq0C.04c9V006 6PLI GVG-00(TZ,

So fiklyerrozspelicifitklirblOht& fafi] - 2 1$,L)cece &fiRdceinoil

i 1234567890 (". ; ": t n a

Tir Grype gives body and voice to silent thoughts agt

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ E 0 1234567890(". ; :,* -1- "?!$t){/E(Exo28AaOitiOill E Type gives body and voice to silent thoughts aA abcciefgliijklmKovcirstuvwxyzABCDEFG)-(1.11<1.1`11•1 0PQRSTVVWXY7 1234-567890 (".;:,"71 $£) XCEKCC&fifi [ °Y] F Tyl)e gives bovty ails( voice to silevathoughts RA

90 Display A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

a6a stgkiikiinnaprizteare, pAz C,23efVf/J1(Z/110POWariakl 11 7231567890 (".;:, ' 971$E) am efilfi igiailifakorexcita ttsJ d0. eDl F : ,„ ft6 aadroieetoydientthoash& DS idIA

a8cceefghifhtmnopqrstavwxyzABCD63531.15XeMNOPOISg1tinv,xyz LI J_ -84feineaJ[J hype gives 8o4fp and voice to sitent Mon its aA

ALCCI0f84;1Mr/dpirititViVNyZAF'eVerl'aj 012,0■ 11-1-1VWXY12-14567E9‹) k •; y 11 ? .$1 )41E stAti 4". fflU c *0 [nte9iri0Co pSfAACPEP/41.H

ahedefehijklmnowstuvrtay2A8CbtrallIIKLM1JOPORSTUMXY2 US US CD 12g#567810 (".;:,* "? 1$Z)1Eageafifi4dceMaarts] (/) lF Type ive hay an4 1/01Ce to- silent the Gets all

abcdefghijklmnopqr8tuvwxyzAbCDEFGHIJKLMNOSTUVWXYZ1234567890 R. • C * ?! 60.xcEacoc0fiflf3acaffioid kq_act:8U1c_Likuqicstvvivz,AjcileJKNIJDQ6TUY\XTX\rl- CD lF

Type give8 body and voice to 6ilent thought6 0 3 aA aA aA Roman Roman Italic Roman Bold

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPORSTUVWXYZ DII 1234567890(".. *"?1$5,),LECEcece&BocOillO011 pdn 2

Type goves body and vooce ro sollenr rhoughrs 34 12a - r

re ..

akcdefghigMilloprottfvwxyzA3CDfrq/1/71(LAANOPQ7<07-avwxyz 1234567890 ("„v,*"7/,,WCExteckftfAki/Tfoati F Type gives body awd voice to slleMt thoagbts a74 a74Regular Bold

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 91

st:14 abcdafghijklmnapostuvwxy;OBCDETWILIIUMNOPQRSTUVWXYZ al 1234567890 (".;:,*"?!$f)1ECEnat&filifiaciiiiiisill ]F Type gives body and voice to silent thoughts ag

rd eit..41iifekilkiazie)AgrAsivei tirezitaaor.poxooni:ort: Ar2dP0:4°,0rievwzro

/23#561'liie) 14 4 04 44 4) *PiSeiolaa.4.4 10,Zeipiri,84t PX) F (le aA ei&vel -

hr abcdefghijklmnopqrstuvwxyzABCOEFC1111111MNOPQRSTUVWXY1 11234561890(".;::tt"?!St){1fhdfifliliceiiiiiii}[] Verke

ITC Type gives body and voice to silent thoughts aA

4-) 0 tItchicilljlannatNtaitwvayski3tDrYtENIEIE1161.P112t1M17VITI E anatva9or"fltaZilaGtAitilltIOISStitt/D F

-%A *C4t Vtit(4 elbta 110S4hit

abedefghijklmnopqrstuvwxyzABCDEFGHIJRLIVINOPQRSTUVWXYZ 1234567800(".“,*"?!$R).2ECED2ce&fiflijaceiiiaiilnpm1 1 F Typo aim bed and votes t st1sit thoughts aA d

d E2) ED GI IICJL__ I' L__)\/ \,/>

e 'T C ffiDCIDCD, /N\ N/C—DICT 7—CD n n \--7 —1-1 IC) L_J 177Y-- Vie /°\ "" d

n c0flkijictlnnoyErst -t4-042xlizA-73, G1'1T91-f-IIKLIANO71.4257u Allv,01Z

Ha r 1,Z4•,n7870 [1 ine V 'Tripe lilies 17 0 (:11 NviAiloice to silent tkou kts TC I NI+

92 Display • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION abcchaf3bijklm tl prsfuvwxyzAIMcfGHIJKLMNOPORSTUVWXYZ

1739567890t" , ;;,*fr7ISMCCCeacafift6ictifitHill) 5 Typs 3ivss bo4y vtl Inks sitstpf firrqhfs 7 aA @A aft uh Black Outline Sawtooth Sawtooth Black Outline a-bodefgh,OlinnopyrstunrxyzAceoc,,,cco(yie7di(Jzi ,co- a.(_3.3( crc-wc9ccrc-, /224s-67890 ( din die idg-h,L3C-6)0191V s),--c F

(-C,vte. Aires bod,v and role' to- silent thouxhts a-A

akcclefgkijklmnopqrstuvwx y zABCDEFGHIJKLMNOPQRSTUVWXYZ em ap

1230.567890(".;:,"?!$,E)/ECE02&fitAa c einou[R] _ F es

Type gives body and voice to silent thoughts su itAi aA abcdefghijklmnopqrstuvwxyzABCDEMIJKLMNOMSTUVWXYZ

1134587890(".;:,*"?UnacaftfilliceiriiiiI1 lF Type gives body and voice to silent thoughts aA

abcdefghijklmnopqrstuvwxyzilBCDEFOIHJKLIINOPQRSTUVWXYZ em

1234567890("4:,"?!SE)1NEwce&fifiDaveiiiiiial na F 00i Type gives body and voice to silent thoughts ,, nog all

abedet .41tionnopqrstuvwxrizABCOLFGAIIKI.MINOP . 11 170V VZ 1234561890r* lF Type gives body and voke to silent thoughts nA

12345678 0 (" ; "?! lF Type g/A(e, Cody a.ta yoEceo ydewttltiawgltity

A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Display 93 94 X a N N N a 0 F td ca b):1 0N a) 0 s O _ Yo u ng Baroq u e- ITC Wisteria- Display F F F F TYPE GIMESBODYAND VORCIETOSIIILIENTTHICIUGIEITS abcdetohommnopqrstuvwxyzAnciarammutNopcuRsTurvwxYz hedefghijhbnitep ( Typg Qhtq$bodyand**kgto 11 .*"?V$19AECEtkigi.i'OTwit""""A'k-* ah; elOcelc(94;j4(4,holsgppitivivxyzASCOEFYIJWGMIVOPQRSTGIVWXYZ 7 01y//77 1234567890 Tfrite Wu(-5held!, 1 abccief9hijklmnotgrAuvwxwiACOEfOlitInAINJWASq`IITVXYZ A / Ty/t kwawi tir.5 ?234 ABCIDEPG11-13j1KLMNOPQRSTUVWXYZ112341-561890 fuvwxyzAMOID±reygoto9ornalWO.P,McST , eri ( ;:,*?.rc„$_. ACHT[AA0oiliiISCAGICKCIMTLAItINNIGHPFRAMA65TrITIZ23 i , 567390 (".;:,*"?!$4)7Sazgz,474 TYPE GIVES139DYANDWIGT.SILENT119UGMTS -Olae., / 1234567690 (' , =?J' 1l34567890(".;:,*"nsoircEteartfrioniceinoidi A 1 CYRILLIC VERSIONAVAILABLE •RELATEDSTYLESINOTHERSECTIONS ABCDEMMIJKLIIN9PQRSTUVWXYZ1231567890 (".;:,*"?!$1) 5• 6 76°(', r190qiv abodyandvoice 6oet , XL„ ±0" y and 4 -- erheivok7 , ffir &ff Pelee le . flflf3 reiiiihrimatrfich,towarcrctri .4-weviAreaoxxv4 F (ore O FONTEK COLLECTION silent 1 6 atii7 r7e ',Client . 7949z;ivia CY to 7 ***'<>0***()C“q &fJi/Jdceinour Ailed ittoagh,6 zY-7'4,,crr*Pr thoughts x7/ 1 6 fitelighti 11 7 i 1 6 :J.14.(,7,e 4(o4 11 6 11ia' 4 14-571iii y aA 4,4 z 9 a g c ,7 6 47

Y2 [] 1

s .

can be made into fonts. Ornaments and illustration fonts can be used to add typographic embellishments and digital artwork to text settings with the stroke of a key.

11 J

Al\• st (ifr m)), t -Pz.% 4 pOg 10 1.

414 vris AO- A „ti. * + O 1 WPW 1a 1.

*** S1 DIC „,

* + A pg )) )1- *W)

441

• 0 it

CD aei uu . y: •• E:::• rt •••• ...... • m •• • tri a! ilk •••• . ■IN • ■• Ilmsll IYI„ii 1,i'li •.•••• .■ •••••••• ••••• • ::::.... ••••. ■ • • • ■■ • II utAi

o upp yi tilli]3121 ■. ;0 AJEE111111 sol

D Iiiiii0NEENIEW 9 Pi :15/11111111201;111L4 _ti 0 -orD (22,n CD LA . . •••. rn 4*- 3 CD (e' Jz,•- _drbo 411> t+, • 0„0,0 d4.1 c&3 cvvw> CD rt

rt. rn F 3 t7" .4 rs? tit, F.7)

ro3 11L, t)'fI'3" CV‘s 6Vss..9 rt Clikh .1:4- 546, 'c3 10 <1,1)-1 ki>

(1) (6- fD S rn F 3 o— a) JeD CC 0 1-, 3 **-"--40 0 co rt

**".1 0 ■--43 A P"0"°"4 ;7; 4.--""

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Ornaments & Illustration Fonts 95 ® ts

ba ••• i ng • LI f D 4:*•0•710A•*+++*0* -*** Zap

ITC *)*(1.5.-- Tr Air •. ti X + =it e..":2ri5c11©@TO • of ›- 17), r7> 4> =--■ Pt÷

Cartouche Coin Technically any oval or oblong figure, From the Latin cuneus, which means wedge. generally with space inside for a name or Fillet The term has come to represent any corner letters. From the Egyptian practice Any narrow decorative line, usually with a wide center device, often designed as left and right sets. of marking graves, urns, etc. with some that tapers to pointed ends. These were traditionally pressed Pharaoh's symbol. into the top and bottom of the back cover of books.

°R.NALIENT TERMS A 111 Pointer Flourish Hands, arrows or any design with the Any ostentatious embellishment, often very "frilly," purpose of drawing your eye to a specific Fleuron with lots of encircling curves. thing. These have recently become A decorative device used very fanciful, and often evoke the look to embellish type, it should represent of circus posters and promotional a flower or plant image. handbills from the past.

0)

3 F

Yid' tfilT61411, DipcdP- 0+A*201. if 9. t < °FY y Ai- °!. flP 41 - ies ast d Be r a ky ITC Bac

ts n

me F Orna hic rap llig Ca

ions t

bra F le Ce

9 6 Ornaments & Illustration Fonts A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION

o3

F iaww ■ *1 . vi..44 A '40.4‘ • -•" uip. 2-4 0 sl r FIP 1111 1. 13.w

tv 1k* 7 40, 1\t_ At 2i. ' 1 Irtt• 1L

oj

'\& 4re ir :k Dauu r*.loavi• -e WI 4 OW imi

il

FoN sa ITDIP g SW t4 rg Ea *11 111 I UM HI AA= E21. EC lit VP 1E1

atvea c 0 CV *WI !FE:C-:z 3 TOUr Iii -"forK

666!OX19/cM20017**W VA" *17'ildr* s auo

*600 cV iiit4SM -617(11;(10"

eG

a/fiv9 v ai ‘ s zi 0;00.0cD10 i#6O IW tWAt4

CI Or

litio r a Du aAE c S 1 :

C';',;7*-7z91106C`'s 6ad5 , al SaN

1

0,42 fSPISI'fr:021A* 10V:tVi-4014*- -4 1 41. .1)0 .

A-- aa. 4A rts, ")+c-‘{k(Olk“V6fElA 11111*-Q-

r.

0,2-)7 Offe-' aG pai

lF ui saiq roi (()

v•,!.., A To m int) d (') 2ritotraittrfi iI 0 •

IF 0

47 (-et 4; (alai

A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Ornaments & Illustration Fonts 97

F cee .0Af. (47 PZ icTcf&.31A crig4a039- HstIPIC4 cp4ttigi6:>F01 4,0 c,o4) tOt55DOci,(0., AP AA,)s-V- ATS

F

Prfal rt I • r 0401 i *1

. _ 1. bA F

, tlf :tIAAiicdt14.•

C 0 In F Of e)t,- 064 001-0.0(6MO, 1906040()(V) gb 100 4R, 0 tOfietb, 0404Vg65f316- kr064041@OVtt, I gi6oeoo

- ■ • , ies n zi) 74,\ 1-;i • too * n `f °4; 11, ,t ITC Fo 1'4,4 to AV

(e" 4

0 0

In 7a C F * T itop 4*t' 4k (.7) C eer3 Cl ilk P 0 tir nf` IA' 02 `1;111 tWtio torlidrPiwafr-ibilivitch,tkx•IP*

98 Ornaments & Illustration Fonts • CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION F .1,=1 h II fall■ 711 S Asi iii ica

F

•11< (i)(41A.ibb.C. i I *Uri, 44; 40 Ttei •4 per i 0 aPress.

,44 C

fD F VS L

vige ;\& elia

••. ia A4 • (r) • • 30 a • cr -n 4' rttt 4 ‘hgli 0 c F7 3

-n rg (:), GD -141 .44.7 Aitk 414, pot. Ak, 44.p.( r 0 ,44 ep co VS Acr e (*) 6 Pr FEE Q \

WO' 0_ co 2*1 F S'S r"-• CI P Ieti1* Ci'llrIgitlIWA-4- A1\ Q9't .167CO 04" .4f4-1t- *rnt axrigi-vo°1-››>ft,t ccs't,VIIA seli Wu* z 1:U C

F til 1 't7g No t Ai °IN ft 7 0 [- OR Ofk, Ee rUPg.Ritl*44 S'00/::/i/til et411;5t5i2tG

F NpNtfia 441 -1V.-

ma. AIHS) g4' *i_T•te-W7 • 6, D lp*

• CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION Ornaments & Illustration Fonts 99

2 ics n a F Org *it_-sizt,\=.1r49Z-rr 14,47 10e1(.9) ii1418-0Ste1.40P

6,101

4tAt. kr*Aci- 11401-tnii-(*ltsptitir :6) kt Itk-**r44ikt-- *

aia U MIN F Y. t iT _1111.! ikrcii6/10 • P 0 La <14400/CD Ygiabazi, Goo .A90 @IO 0

II IF -SP 41 g6 14M,15M45:34[5k0, , 1 jI BY VI/E11X4g0, C II' . pk, 934*bl/13 04 OOP

F ill 4e14 ,. 90',41.1=L:419—‘4 12/PMF d—g•

F feke 04R * —offt * fp, 1114Y4P41W2D(V*-04'N, L-10"4 filArk,rflPPittit 4/517 1111P4offr es-1111k.it:Z2, 1111*(ifirt`iiifir ioPlOsofr 111104 09-,falitt li lli.. -10.‘ 4 1NS)-44-1011&-flifs-Atac

CH COLLECTION of ornaments and images that are now available to designers are part of the typo- graphic bonanza in this computer era. By merely taking a single poke at the keyboard, we can enrich our pages with a helpful finger pointing the way, the subtlety of an abstract typographic device from the i8th

century hand of Giambattista Bodoni, or a ghoulish specter that goes bump in the night. SUMNER STONE

ioo Ornaments & Illustration Fonts A CYRILLIC VERSION AVAILABLE • RELATED STYLES IN OTHER SECTIONS F FONTEK COLLECTION 111 1996-97 ITC TYPEFACE COLLECTION

Chipper- 61 ITC Golden Cockerel"' Milano'" 78 Skid Row'" 87 Choc 61 Ornaments 95 78 ITC Skylark"' 87 AC, th ,: , 52 Chromium- One 61 ATC Golden Type' 43 ITC Minska" 78 ITC Slimbach® 45 Academy' Engraved 52 Citation'" 61 69 Mistral" 78 Slipstream" 87 Agincourt- 52 Claude Sans'" 62 ITC ® 49 ITC Mithras" 78 Smack" 87 ITC Airstream'" 52 ITC ® 40, 62 Gravura" 69 i+eft4imege 50 Smudge,'" 87 ITC Aki Lines® 52 Commercials 97 Green" 69 Mo' Funky Fresh'" 78 ITC Snap" 88 "' Condensed 52 Commerical Script 62 Greyton" Script 70 Mo' Funky Fresh- Symbols 99 ITC Souvenir® 46 Ambrose'" 53 Com pacta- 62 ITC Grimshaw Hand"' 70 -4.T.G444eelern+lertte-'"' 44 ITC Spirit" 88 ITC American Typewriter® 38, 53 0.4T, ,C*SE-Coatiensecr® ' " 62 .4.Tre.Ertintir•-•® 70 Modems 99 Spooky" 88 ITC American Typewriter® ITC Con nectivities- 97 .-WeCirourktm 70 ITC Mona Lisa® 79 Spotlight" 88 Condensed 38 Coptek" 62 Montage"' 79 Squire 88 ITC Anna® 53 Corinthian- 62 ITC M otter Corpuss" 79 ITC Stone Informal® 46 Aquinas" 53 Crillee" 63 d" 70 ITC Stone Sans® 51 Aquitaine'" Initials 53 Cult" 63 Hand Drawn 70 ITC Stone Sans® Phonetic 51 Aristocrat - 53 ITC Cushing® 40 Harlow" 70 hatuiels 99 ITC Stone Serif® 46 Arriba- 53 Harvey"" 71 Neo Nee" 79 ITC Stone Serif® Phonetic 46 Arriba-Arriba" 54 11M Hazel"' 71 79 Strobos" 88 Artiste"" 54 1n" 63 Heliotype" 71 RC4,441 - 45 ..aToraraisekie4esiaa 88 Attitudes 96 Data 70" 63 Helvetica Condensed 71 ITC Novarese® 45 ITC Stylus 89 Augustea Open 54 ITC Dave's Raves" One 97 ITC Highlander'" 50 89 ITC Avant Garde Gothic® 48 ITC Dave's Raves- Two 97 Highlight" 71 Superstar- 89 ITC Avant Garde Gothic® Cond. 48 ITC Dave's Raves- Three 97 Hollyweird - 71 0bei' On" 79 ITC Symbol® 46 Avenida"" 54 1 Delectables 97 ,ITCHoneke 71 Odessa" 79 Synch ro- 89 Demian- 63 ITC Humana" 43 ITC Odyssee 50 ITC Syndor® 46 ••••11rMr"'"-"` 63 ITC Humana Sans'" 50 ITC Officina Sans'" 51 ckyard Beasties" 96 ITC Digital Woodcuts" 63 ITC Humana" Script 43 ITC Officina Serif'" 45 ITC Bailey' Quad Bold 54 Digitek" 64 Old English'" 80 89 ITC Bailey" Sans 48 1-* ITC Dinitials" 64 One Stroke- Script 80 Tannhauser" 89 Balmoral" 54 Diversions 97 atius- 72 Orange'" 80 Teknik- 89 Bang' 54 Diversities 98 Impakt" 72 ITC Orbon- 80 Telegram- 90 Banner'" 55 Dol men" 64 Incidentals 98 Organics 99 ITC Tempus" 90 ITC Barceforrea--- 38 Dynamo Shadow 64 Industrials 99 Organics 2 100 ITC Tempus Sans- 90 ITC New ® 38 Indy"" Italic 72 Orlando'" 80 ITC Tiepolo® 46 ITC Bauhaus® 48,55 Informal- Roman 72 ITC Ozwald® 80 ITC Tiffany 46 Becks" Script 55 Eiftics 98 I nscription- 72 Tiger Rag- 90 ITC Beesknees® 55 Edwardian- Medium 64 Inspirations 99 Tiranti - Solid 90 Belwe- 55 ITC Edwardian Script" 64 Iris 72 80 ....1•Tre■TerrOrKTIMITN• 90 Bendigo- 55 ITC Elan® 41 ITC Isadora® 72 ITC Pacel I e 45 Trackpacr 90 ITC Benguiat® 38 ITC Ellipse"' 64 ITC Isbell® 43 4Waatamellia 51 Tropics" Script 91 ITC Benguiat® Condensed 38 Elysium" 41 73 Papyrus- 81 ITC True Grit' 91 ITC Benguiat Gothic® 48 "' 65 Italia" 43 Party - 81 Twang" 91 Berger' 55 Energetics 98 Pendry" Script 81 Type Embellishments One 95 ITC Berkeley Oldstyle® 39' Enviro- 65 Pink" 81 Type Embellishments Two 95 ITC Bernase.Roman® 56 Epokhe 65 73 I.T.flote,nea4 81 Type Embellishments Three 95 Bertie 56 Equinox"' 65 J34ambal aye 73 Plaza" 81 Bertram" 56 ITC Eras® 49,65 ITC Jamille- 43 Pleasure"" Bold Shaded 81 Bible" Script & Flourishes 56 ITC Esprit® 41 Jazz- 73 Pneu ma- 82 91 Bickley" Script 56 Etruscan" 65 John Handy- 73 Prague" 82 University" Roman 91 Bitmax- 56 Expressions 98 Jokerman- 73 Premier" 82 ..1•TC-431p4ight-Regtriverft 91 ITC Blackadder" 56 Journeys 99 Primitives 100 Urbans 100 Blackmoor- 57 ITC Juice"' 73 Princetown- 82 ITC Usherwood® 47 ITC Blaze"' 57 I Faithful'3t.' Fly" 65 Pristina- 82 Bluntz" 57 ITC Farmhaus" 66 : Pritchard - 82 ITC Bodoni' Seventy-Two 57 Fashion" 66 4404aber 50, 74 Pump" 82 IV ijk- 91 ITC Bodoni' Twelve 39 4TE.Fttfiltee... 66 ITC Kal los" 43 Varga- 92 ITC Bodoni- Six 39 ITC Fen ice® 41 Kanban" 74 Vegas" 92 ITC Bodoni Ornaments" 95 Figural'" 41 Katfish"" 74 rus" 83 ITC Veljovic® 47 ITC Bodoni Brush" 57 Fine Hand'" 66 ITC Kick" 74 ITC uay Sans- 51 ITC Verkehr- 92 Boink" 57 ITC Firenze 66 Klee- 74 Quixley - 83 Vermontt" 92 ITCBolt Bolcia 57 Flamenco Inline 66 ITC Klepto" 74 ITC Quorum® 45 Victorian- 92 ITC Bookman® 39,58 Flamme" 66 ITC Korinna® 44, 74 Vienna- Extended 92 Bordeaux' 58 Flight- 67 ITC Kristen" 75 ITC Viner Hand'" 92 ITC Bradley Hand"' 58 Fling- 67 Is 100 ITC Vinyl" 93 Brighton" 58 ITC Flora® 67 Rage"' Italic 83 Vivaldi"' 93 Bronx- 58 Follies'" 67 If 75 Ragtime'" 83 Burlington- 58 ITC Fontoon" 67 Lambada- 75 Rapier'" 83 ITC Busorama® 58 ITC Fontoonies" 98 Laser" 75 Refracta" 83 93 Buzzer Th ree 59 Forestt" Shaded 67 Latino- Elongated 75 Regatta- Condensed 83 Wanted'" 93 Frances- Uncial 67 Laura- 75 ITC Rennie Mackintosh"' 77 Waterloo'" Bold 93

Frankfurter"' 68 LCD" 75 ITC Rennie Mackintosh" ITC Weidemann® 47 Cabaret- 59 ITC Franklin Gothic® 49, 68 Le Griffe- 76 Ornaments 95 Well Beings 100 Cabarga- Cursiva 59 ITC Franklin Gothic® Comp. 49 ITC Leawood® 44 Retail"" Script 84 Westwood"' 93 Calligraphic Ornaments 96 ITC Franklin Gothic® Cond. 49 ITC Legacy® Sans 50 Retro"' 84 Wild Thing'" 93 Campaign- 59 ITC Franklin Gothic® ITC Legacy® Serif 44 Riva" 84 Wildlife 100 Cancellaresca" Script 59 X-Compressed 49 Lexikos" 76 Robotik" 84 Willow'" 94 ITC Caribbean" 59 Freestyle- Script 68 Lightnin'" 76 Romic- 84 ITC Wisteria"' 94 Carlton'" 59 Friz Quadrata 41 Limehouse" Script 76 84 Carumba- 60 Lino Cut- 76 84 Carumba Hot Caps" 60 PIS Locarno 76 '8419"atta"Ru'ach'" ' 8 85 94 Caslon 540 Italic Swashes 60 & Rubber Stamp- 85 I ^^alliard® 41 ITC Lubalin Graph® 44 ITC Caslon No. 224® 39 42 fretttrainlararrfrkEena... 44 Rundfunk - 85 Caxton'" 60 -.4T^CCaiaiaia7N, ITC ® 42 94 Celebrations 96 ITC Garamond® Condensed 42 ITC Century® 39 ITC Garamond® Handtooled 68 ine 76 a Fe"' 85 ITC Century® Condensed 39 ..I.T&GewernoseLtaattQw. 42 ITC Rennie Mackintosh" 77 Savoye- 85 47 ITC Century® Handtooled 60 ITC Gargoonies" 98 ITC Rennie Mackintosh'" Scratch"' 85 ITC Zapf Chancery ® 47 ITC Cerigo- 40 Gigi- 68 95 Scriba- 86 ITC Zapf Di ngbate 96 Challenge 60 Gilgamesh- 42 Malibu"' 77 Striptease" 86 ITC Zapf International® 47 Champers" 60 Gill Display Compressed 68 ITC Malstock" 77 Scriptek- 86 Zaragoza" 94 Charlotte" 40 Gill Kayo Condensed 69 4.T€74L4C-114ankmattan'- 77 Scruff"' 86 Zennor" 94 Charlotte- Sans 48 Gillies Gothic Extra Bold Shaded 69 Marguerita" 77 ITC Serengetti" 86 Zinjaro"" 94 ITC Charter'" 40 ITC Giovanni'" 42 Mastercard' 77 ITC Serif Gothic® 45, 86 ITC ® 40, 61 Glastonbury'" 69 ITC Matisse' 77 Shaman- 86 ITC Cheltenham® Condensed 40 ITC Golden Cockerel" 42 Mekanik- 78 Shatter - 87 ITC Cheltenham® Handtooled 61 ITC Golden Cockerel - Initials 69 ITC Mendoza Roman® 44 Sinaloa"' 87 Chiller" 61

101 LICENSEES r,1 Adobe Systems Europe Ltd. FontWorks Ltd. A.B.Dick-Itek Ltd. ' West One Business Park 65-69 East Road 983 Great West Rd. Adobe 5 Mid New Cultins London, England Ni 6AH UK Brentford, Middlesex, England TW8 9DN UK v011-44-181-568-9297 Edinburgh, Scotland EH 11 4DU UK Tr 011-44-171-490-53 90 13' 011-44-131-453-22-11 Fax: 011-44-171-490-5391 A.J. Lincoln & Co., Inc. hhtp://www.adobe.corn http://www.type.co.uk 29 Domino Drive Concord, MA 01742 Adobe Systems Inc. Image Club Graphics V(508) 369-1441 Fax: (508) 371-2287 1585 Charleston Road 833 4th Avenue Southwest, Suite 800 Calgary, Alberta T2P 3T5 Canada Adobe Systems Inc. PO Box 7900 ral V (403) 262-8008 or (800) 661-9410 1585 Charleston Road Mountain View, CA 94043-7900 Adobe Fax: (800) 814-7783 PO Box 7900 13' (415) 961-4400 or (800) 294-1724 Mountain View, CA 94043-7900 http://www.imagectub.com Fax: (415) 961-3769 V(415) 961-4400 or (800) 294-1724 hhtp://www.adobe.com Fax: (415) 961-3769 Letraset Letraset Australia http://www.adobe.com Agfa Division/Bayer Corp. P.O. Box 129 AGFA, Brookvate, NSW 2100 Australia Adobe Systems Europe Ltd. 90 Industrial Way V 011-61-2-99-75-1033 West One Business Park Wilmington, MA 01887 Fax: 011-61-2-451-1815 5 Mid New Cultins IT (508) 658-0200 Fax: (508) 988-9130 Edinburgh, Scotland EH11 4DU UK hap://www.agfahome.com/products/prodfam/type.html Letraset Denmark IT011-44-131-453-22-11 http://www.adobe.com Marielundvej 30 , Bitstream Inc. Herlev DK-2730 Denmark Agfa Division/Bayer Corporation 40 215 First Street 13' 011-45-42-84-93 00 90 Industrial Way Cambridge, MA 02142 Fax: 011-45-42-91-0614 Wilmington, MA 01887 IT (617) 497-6222 Fax: (617) 868-4732 12(508) 658-5600 Fax: (508) 988-9130 http://www.bitstream.com Letraset Deutschland GmbH http://www.agfahome.com/products/prodfam/type.html Mergenthalerstralle 6 Amiable Technologies Inc. Frankfurt am Main 0-60388 Germany E+F Designstudios 6P21.a5za Two Friedensallee 44 V 011-49-69-42-09-94-22 Suite Hamburg D-22765 Germany Fax: 011-49-69-42-09-94-50 Philadelphia, PA 19113-1518 011-49-40-3988 3988 V(610) 521-6300 Fax: (610) 521-0111 Fax: 011-49-40-3988 3999 Letraset Export Kingsnorth Industrial Estate Anagraph, Inc. 4:8} ESSELTE Esselte SA Wotton Road 3100 Pullman Avenue Costa Mesa, CA 92626 192, rue Championnet Ashford, Kent, England TN23 2FL UK V(714) 540-2400 Fax: (714) 966-2400 Paris 75018 France V 011-44-1233-62 4421 Tr 011-33-1-44-85-1759 Fax: 011-44-1233-64 6903 Apple Computer, Inc. Fax: 011-33-1-42 2989 44 1 Infinite Loop http://www.essette.com Letraset Italia srl Cupertino, CA 95014 Via Riccione 8 V(408) 996-1010 Fax: (714) 996-0275 Esselte SA (Division Artes Graficas) Milano 20156 Italy http://www.apple.com Tr 011-39-2-392-16677 C/Tomas Redondo Fax: 011-39-2-392-16135 Apply Design Group Edifico Luarca. Devrientstrafie 12A Madrid 28033 Spain Letraset Nederland BV Hanover D-30173 Germany IT 011-34-91-381-4736 '73'011-49-511-98057-08 Vlierbaan 13 Fax: 011-34-1-381-5120 http://www.tripleclick.de/apply-design-group/apply_(e) LR Capette a/d Ijssel NL-2908 The Netherlands Architext Inc. Faces, Ltd. IT 011-31-10-458-0311 121 Interpark Boulevard 549 Yorktown Road Fax: 011-31-10-4580-610 Suite 208 Collegetown, Camberly San Antonio, TX 78216 Surrey, England GU15-4PX UK Letraset USA Inc. V(210) 490-2240 http://www.atext.com/ 'V 011-44-0276-38888 40 Eisenhower Drive Fax: 011-44-0276-38111 Paramus, NJ 07652 Aston Electronic Design Ltd. 23' (800) 343-8973 Fax: (201) 845-5047 123/127 Deepcut Bridge Road FontHaus http://www.letraset.com Deepcut, Camberley 1375 Kings Highway East Surrey, England GUM 6SD UK Fairfield, CT 06430 II Linotype-Hell AG V011-44-252-836-221 International Typeface (800) 942-9110 Fax: (203) 367-1860 Mergenthaler Allee 55-75 Autologic Information International, Inc. Corporation develops and mar- http://users.aol.corn/fonthaus Eschborn 0-65760 Germany 1050 Rancho Conejo Boulevard V 011-49-6196-98 2731 kets high-quality typeface Thousand Oaks, CA 91320 Fax: 011-49-6196 9 82 19 4 designs that are applicable to FontShop Australia 1T (805) 498-9611 Fax: (805) 499-1167 http://www.linotyperhell.com a wide variety of graphic com- 343 Sydney Road http://www.autologic.com AUS-Brunswick munication needs. As a result, Victoria 3056 Australia Linotype-Hell Co. Berthold Systeme GmbH ITC has established business 13' 011-61-3-9388-2700 425 Oser Avenue Berliner Strasse 27 relationships with many com- Fax: 011-61-3-9388-2818 Hauppauge, NY 11788 Berlin D-13507 Germany V011-49-89-6114-091 panies, known as ITC Partners. 13' (516) 434-2074 Fax: (516) 434-2706 http://www.linotype-hell.com ITC typefaces are incorporated FontShop BVBA (Belgium) Bitstream Inc. into hardware and software Hutsepotstraat 36 Athenaeum House 1 Monotype Typography Inc. 215 First Street products, and are also made Zwijnaarde 9052 Belgium v011-32-9-220-26-20 1 985 Busse Road Cambridge, MA 02142 available directly to end users Fax: 011-32-9-220-34 45 " Elk Grove Village, IL 60007 V(617) 497-6222 Fax: (617) 868-4732 in a variety of font formats IT' (847) 718-0400 or (800) 666-6897 http://www.bitstream.corn through a network of Fax: (847) 718-0500 FontShop Canada British Broadcasting Corporation http://www.monotype.com Resellers. Purchasing fonts, 20 Toronto Street Suite #100 Broadcasting House London, England W1A 1AA UK or other hardware or software Toronto, Ontario M5C 2B8 Canada Monotype Typography Ltd. products, from any ITC Partner 13' (416) 364-9164 V011-44-171-580-4468 Unit 2, Perrywood Business Park Fax: (416) 364-1914 http://www.bbc.co.uk company is your guarantee Salfords, Redhill http://www.type.co.uk of ITC authenticity and opti- Surrey, England RH1 5DZ UK Canon Canon, Inc. mal quality design. 011-44-73-776-5959 16-1 Shimonoge 3-Chome FontShop France Takatsu-Ku, Kawasaki-Shi For further information http://www.monotype.com 6, rue Desaix Kanagawa 213 Japan about any of these companies Paris 75015 France ParaGraph International V011-81-3-3758-1205 or on becoming an ITC Partner, http://www.canon.com Tr 011-33-1-43-06 92 30 32 Krasikova Street/19th Fl. Fax: 011-33-1-43 06 54 85 write or call: Moscow 117418 Russia CART& Carter & Cone Type Inc. http://www.fontshop.jca &CONE 13 011-7-095-129-1500 nffTwc 2155 Massachusetts Avenue Fax: 011-7-095-129-0911 Cambridge, MA 02140 International Typeface FontShop GmbH Berlin http://www.paragraph.com/paratype 12(617) 576-0398 Fax: (617) 354-4146 Corporation Bergmannstrage 102 Cello-Tak 866 Second Avenue Berlin D-10961 Germany Precision Type 35 Alabama Avenue New York, NY 10017 13' 011-49-30-69 58 95 I Nj: 47 Mall Drive Box 120 Fax: 011-49-30-6-9288 65 Commack, NY 11725 Island Park, NY 11558 at (212) 371-0699 http://www.fontshop.de Tr (800) 248-3668 Fax: (516) 543-5721 V(516) 431-7733 Fax: (516) 431-7736 Fax: (212) 752-4752 http://www.precisiontype.com FontShop International Chartpak E- mail: [email protected] Bergmannstra8e 102 TypeUSA 1 Road Leeds, MA 01053 Berlin D-10961 Germany 720 South Dearborn, V(413) 584-5446 or (800) 762-7918 13' 011-49-30-69 37 022 Chicago, IL 60605 13' (800) 897-3892 Fax: (312) 360-1997 Claris Corporation Systems, Inc. Linotype - Hell Co. Softwood, Inc. 5201 Patrick Henry Drive P.O. Box 134 425 Oser Avenue 7776 Pointe Parkway West Santa Clara, CA 95052 Andover, MA 01810-0003 Hauppauge, NY 11788 Suite 270 12(408) 987-7305 Fax: (408) 987-7558 2(508)470-1317 Fax: (508) 474-8087 12(516) 434-2074 Fax: (516) 434-2706 Phoenix, AZ 85044 http://www.claris.com http://www.linotype-hell. corn 2(602) 431-0949 Graphic Products Corporation http://www.softwood.com ColorAge 1480 S. Wolf Road Management Graphics, Inc. 900 Middlesex Turnpike Wheeling, IL 60090-6514 1401 79th Street East - Stone Inc. Building 8 12(847) 537-9300 Fax: (847) 215-0111 Minneapolis, MN 55425 626 Middlefield Road Billerica, MA 01821 2(612)854-1220 Fax: (612) 851-6159 (1 Palo Alto, CA 94301 2(508)667-8585 Fax: (508) 667-8821 GST Software Products Limited 2(415)324-1870 Fax: (415) 324-1783 Meadow Lane, St. Ives Manhattan Graphics Corporation Computer Associates International, Inc. Huntington 250 East Hartsdale Avenue Strata Inc. 1 Computer Associates Plaza Cambridgeshire, England PE17 4LG UK Hartsdale, NY 10530 2 West St. George Boulevard Islandia, NY 11788-7000 2011-44-480-496-789 2(914)725-2048 Fax: (914) 725-2450 Suite 2100 2(516)342-2621 Fax: (516) 342-5329 St. George, UT 84770 http://www.cai.corn ea ma% Hewlett - Packard Micrografx, Inc. 2(801) 628-5218 Fax: (801) 628-9756 Vancouver Division 1303 Arapaho Road http://www.strata3d.com/default.html Computer Output Printing, Inc. 18110 SE 34th Street Richardson, D( 75081-2444 4828 Loop Central Drive Camas, WA 98607 2(214)234-1769 Fax: (214) 994-6475 at. SUN Microsystems Houston, TX 77081 2(206) 944-8110 http://www.micrografx.com W" 2550 Garcia Ave. Sun 2(713) 666-0911 Fax: (713) 666-0957 http://www.hp.com/ Mountain View, CA 94043-1100 Aftwasoft Microsoft Corporation 2(415) 960-1300 Fax: (415) 969-6649 COREL Corporation Hewlett - Packard One Microsoft Way http://www.sun.com The Core Building Boise Division Redmond, WA 98052-6399 1600 Carling Avenue 11311 Chinden Blvd 2(206) 882-8080 Fax: (206) 936-7329 Synapsis Corporation Ottawa, Ontario K1Z 8R7 Canada Boise, ID 83714 http://www.microsoft.com ui WhA33it6e Oak Avenue

2(613)728 - 8200 Fax: (613) 728-9790 2(208)396-2789 Fax: (208) 396-3457 Suite http://www.corel.com http://www.hp.com/ 11 Monotype Typography Inc. Encino, CA 91316-2407 985 Busse Road 2(818)906-1596 Dai Nippon Printing Co. Ltd. Hewlett - Packard Elk Grove Village, IL 60007 1-11, Kita-Yamabushicho Seattle Division 2(847)718-0400 or (800) 666-6897 Tektronix Tektronix, Inc. Shinjuku-Ku 101 Stewart Street/Ste.700 Fax: (847) 718-0500 26600 SW Parkway Tokyo 162 Japan Seattle, WA 98101-1048 http://www.monotype.com Wilsonville, OR 97070-1000 2011-81-3-3266-2656 IT (206) 448-9600 Fax: (206) 448-7220 2(503) 685-3180 Fax: (503) 685-3063 http://www.dnp.co.jp http://www.hp.com/ Monotype Typography Ltd. http://www.tektronix.com Unit 2, Perrywood Business Park Dainippon Screen Mfg. Co., Ltd. HOUSEstyle Salfords, Redhill U.S. Lynx Tenjinkita-Cho 1-1, Teranouchi-Agaru 50-54 Clerkenwell Road Surrey, England RH1 5DZ UK 9N1e5w Byroor kacl,

4chome, Horikawa-Dori London, England EC1M 5PS UK 13'011-44 -73 - 776 - 5959 wNYay10010 Kamikyo-Ku, Kyoto 602 Japan 2011-44-171-251-3746 http://www.monotype.com 12(212) 673 -3210 Fax: (212) 673 - 5261 2011-81-75-365-3131 Fax: 011-81-75-414-7606 mai IBM NEC NEC Varitronic Systems — P.O. Box 1900 7-1, Shiba 5-Chome 300 Interchange North Datafile 6300 Diagonal Hwy Minato-Ku 300 Highway 169 South 71 Anson Road Boulder, CO 80301-9191 Tokyo 108-01 Japan Minneapolis, MN 55426 Locking, Weston-Super-Mare 2(303)924-5280 13'011 - 81-3 -3454 - 1111 12(612) 542-1500 Fax: (612) 541-1503 Avon, England 8S24 7DQ UK http://www.ibm .com http://www.nec.com 2011-444-934-823-005 Vicarious Inc. Ilford Limited NEC Three Lagoon Drive Dataproducts West 70 Century Road 339 North Bernardo Avenue Suite 300 1757 Tapo Canyon Road Paramus, NJ 07653 Mountain View, CA 94043 Redwood City, CA 94065 Simi Valley, CA 93063 92(201) 599-4414 Fax: (201) 599-4373 2(800) 632-4636 2(415) 610-8330 Fax: (415) 610-8302 2(805) 578-4000 http://www.ipaper.com http://www.nec.com http://www.vicarious.com http://www.dpc.com Image Club Graphics Pacific Data Products, Inc. VS Software Digital Graphix 833 4th Avenue Southwest, Suite 800 9125 Rehco Road 323 Center Street 1280 Blue Hills Avenue Calgary, Alberta T2P 3T5 Canada San Diego, CA 92121 Suite 810 Bloomifeld, CT 06002 2(403) 262-8008 or (800) 661-9410 Tr (619) 552-0880 Fax: (619) 552-0889 Little Rock, AR 72201 2(203) 242-4242 Fax: (800) 814-7783 http://www.pacdata.com 2(501) 376-2083 http://www.imagectub.com Digital Typeface Corporation PrePress Solutions Wang Laboratories 9955 West 69th Street International Digital Fonts 11 Mount Pleasant Avenue 600 Technology Park Drive Eden Prairie, MN 55344 1431 6th Street NW East Hanover, NJ 07936 Billerica, MA 01821-4130 2(612) 944-9264 Calgary, Alberta T2M 3E7 Canada 2(201) 887-8000 or (800) 631-8134 12(508) 967-5000 2(403) 282-0512 http://www.prepress. pps. corn http://www.wang.corn dtp Types Limited P.O. Box 336 Kagema AG Purup Prepress A/S Williams & Heintz Map Corp. Crawley Postfach 422 (Purup-Eskofot A/S) 8119 Central Avenue West Sussex, England RH11 8RH UK Zurich CH-8051 Switzerland Sonderskowej 5 Capitol Heights, MD 20743 2011-44-293-615-469 13'011-41-1-321-0600 Lystrup DK-8520 Denmark 2(301) 336-1143 2011-45-87-43-43-43 ESSELTE Esselte N.V. Kroy, Inc. XEROX Xerox Corporation Industriepark-Noord 30 14555 North Hayden Road QMS, Inc. 555 South Aviation Blvd. P.O. Box 85 Scottsdale, AZ 85260 One Magnum Pass El Segundo, CA 90245 Sint-Niklaas 13-9100 Belgium 2(602) 948-2222 Fax: (602) 951-7033 Mobile, AL 36618 12(310) 536-7000 http://www.xerox.com 2011 -32-3 -760 -3311 2(334) 633-4300 Fax: 011-32-3-760-0612 Kyocera Electronics Inc. http://www.gms.com Xionics http://www.esselte.corn 1321 Harbor Bay Parkway Alameda, CA 94502-6561 Quantel 70 Blanchard Road ETP Systems, Inc. 12(510) 748-6680 Fax: (510) 748-6965 31 Turnpike Road Burlington, MA 01803 1466 NW Front http://www.kyocera.com Newbury 17(617) 229-7000 Fax: (617) 229-7120 Portland, OR 97209 Berkshire, England RG13 2NE UK http://www.xionics.com 2(503) 223-5522 Lan Software lEr 011-44-6-354-8222 207 S. Elliott Rd. Suite 203 http://www.guantet com Zenographics, Inc. Font World, Inc. Chapel Hill, NC 27514 34 Executive Park Circle 2021 Scottsville Road 1112(919) 968-0789 Fax: (919) 968-0801 Ryobi Limited Suite 150 Rochester, NY 14623-2021 http://www.larisoftware.com 3-15-1 Sotokanda Irvine, CA 92714-6743 17(716) 235-6861 Chiyoda-Ku 2(714) 851-6352 Fax: (714) 851-1314 LaserGo, Inc. Tokyo 101 Japan http://www. zeno. corn General Parametrics Corp. 9715 Carroll Center Road 2011-81-3-3257-1502 1250 Ninth Street Suite 107 Berkeley, CA 94710 San Diego, CA 92126 Ryobi Limited 2(510)524-3950 Fax: (510) 524-9954 12(619) 578-3100 Fax: (619) 578-4502 762 Mesaki-cho http://www.spectrastar.com http://www.tasergo.corn Fuchu-shi Hiroshima-ken 726 Japan Genicom Corporation LaserMaster Corporation 2011-81-3-257-1502 1 Genicom Drive 7156 Shady Oak Road Waynesboro, VA 22980-1999 Eden Prairie, MN 55344 Scangraphic GmbH 2(800) 436-4266 Fax: (540) 949-1392 2(612) 944-9330 Fax: (612) 944-0522 112-114 Rissener Strasse http://www.genicom .com http://www.lasermaster.com Wedel, Hamburg D-22880 Germany 2011-49-4103-8010 Genigraphics Corporation LEXMORK Lexmark International, Inc. 2 Corporate Drive/Suite 340 740 New Circle Road SoftPress Systems Ltd. Shelton, CT 06484-6206 Lexington, KY 40511 8 Blenheim Office Park 42(203) 542-6988 12(606) 232-2000 Fax: (606) 232-4659 Lower Road, Long Hanborough hap://www.genigraphics.com http://www.lexmark.corn Oxon, England OX8 8LN UK 2011-44-1993-882588 Gerber Scientific Products Linotype -Hen Linotype - Hell AG Fax: 011-44-1993-883970 151 Batson Drive Mergenthaler Allee 55-75 http://www.softpress.com Manchester, CT 06040 Eschborn D-65760 Germany 2(203) 643-1515 2011-49-6196-98-2731 http://www.gspinc.com Fax: 011-49-6196-982-194 http://www.linotype-hell.com

103 TYPE BY def tion (Continued from page 31) curing the distance from the ascent line (top of the capitals) to the descent line (bottom most descender). And to confuse things even Bowl: Round parts of letters like P, B and the upper part of g. more, many Europeans now measure type in millimeters (1 mm equals 2.85 points). : The enclosed part of a letter such as the P or p. Printer Font Same as the outline font. It's the information the printer Ear: The little part that sticks out to the right of the lowercase g. needs to construct a font for printing. Different than the bitmap font.

Eye: The enclosed part of the lowercase e.

Link: The connecting line of a lowercase g between the loop and the upper bowl. Quad Left refers to a line of type pushed to the left ; quad right Loop: The lower part of the g, also called the tail. the other direction. Quad center brings equal space on both sides, and quad middle inserts space in the middle of a line so half is justified to Serif The fine line finishing off the end of the stroke. the right, and half to the left. This from the hot metal term quadrat—a piece of metal used to insert spacing at the beginning middle, or end of Spur The little -out part of some letters like G or t. a line. Quad left Stress The implied angle between the thinnest parts of a curved let- ter. Point of maximum stress is the thickest part of curved letters like Quad right 0 or D. Quad center

Stroke or Stem How everyone describes the main elements of the letter. r

Tail A stroke extending below the baseline, like the lowercase j or uppercase Q. Sometimes called a leg. Rasterizing It's what happens in PostScript and ATM (or in the Mac and Windows operating system) to make printable and displayable type out Vertex: Where two downward diagonal strokes cross, as in an M or W. of the information contained in the font outline. TrueType is rasterized in (see page 51) the computer operating system–Type 1 needs ATM or PostScript. Some- times referred to as rendering. Penalty Copy Not used enough as a term any more, but should be. This is any original copy that is difficult to work with—like handwritten, badly Recto You probably say right-hand page, or odd-numbered page. Oppo- faxed or otherwise messy pages. Once typesetters charged extra—a pen- site of verso, the left-hand (or even-numbered) page in a book layout. alty—for this hard-to-read stuff. Now this could certainly apply to poorly prepared text files.

Pi Characters You know this to be all the odd symbols and special char- acters that aren't numbers, symbols or letters. But did you know the term originally described what happened when metal type got all mixed Sans Serif You may know that sans is French for "without," as in sans souci together so as to be unusable? (without care or carefree), and Sans-a-belt (a trademark of Haggar trousers). But you may not know William Caslon supposedly coined the term as it Pibble Of slightly dubious origin, but relates to type in 1816. Sans serif faces didn't really appear until around the only known word to describe when Eat hcluake that time—hadn't seemed right until then to chop off the always-present a word is set to look like what it says. serifs. Type of this sort is often called grotesque, or gothic. (see page 48)

Picture Fonts A bit of an oxymoron, sort of like saying photographic Screen Font See bitmap. drawings, but nonetheless a reality of the PostScript era. Thanks to mod- ern font formats, just about any vector outline can be made into a font, Second-Coming Type Newspaper term for the largest type that can fit including drawings, logos or other ornaments. Some call these clip art on the front page. fonts. Picture fonts are great for artwork that needs to be dropped into text, or when sizes of art need to be changed frequently. In a page-layout Serif From the Dutch schreef (fine line in writing), they're the little ver- program, anything you can do to a type font, you can do to a picture font. tical and horizontal lines at the end of letter strokes. These seemed nat- With programs like Fontographer, you can add just about any graphic to ural for early type designers trying to mimic hand lettering, which was existing fonts by replacing a little-used character. Picture fonts, because usually done with a broad-tipped quill. There are all kinds of serifs, of their compact size, are an efficient way to store and access art on your including modern serifs (which are straight and thin), bracketed ser- computer. (See page 96) ifs (the kind with curves in them), square or egyptian serifs (which are straight and hard-cornered), oblique serifs (the kind that are angled Pillcrow You know it as the paragraph symbol: at the top of lowercase letters), and slab serifs (which are generally as thick as the heaviest part of the letter). A baby serif is sometimes referred Pixel Smallest point displayed on a computer screen (most screens are to as a terminus. (see page 38) 72 pixels per inch). Comes from picture element.

Point System We measure type MsEtST in points, thanks to Pierre Simon Modern Bracketed Square Oblique Slab Terminti or Fournier and F. Didot, who devel- Egyptain oped the standard in the 19th Cen- tury. In their Didot Point System, Sizes According to Microsoft's Robert Norton, who's been around long 12 points equal one cicero. The enough to know, the following terms refer to specific point sizes of type: British/American version (proposed by Nelson Hawks in 1878) is based 3pt amium 3.5pt C m 4pt Diamond 4.5pt Pearl 5pt Ruby or 5.5pt on the Pica—which is also 12 points, Nonpareil 6pt Minion Z3pt Brevier 7.6pt Bourgeois 8.5pt or 4.233 millimeters, but is slightly Long Primer 9.5pt Small Pica 10.5pt smaller than a Didot Point. The point size of a type is determined by mea- Pica 12.2pt English 12.Spt

104

This ad is set in Stet In Latin it means "let it stand!' We use it when we want someone to ITC Orton: know that we don't want any changes made. Designed by Creators of Terminal Design Soft Return It's a line-ending command that simply elevates the line and auailable without signaling the end of a paragraph. Usually it's a command + return from any licensed code, and it's a great way to get to the beginning of a new line without ITC font reseller. having all the paragraph formats kick in. custom fonts Suitcase The part of a Type 1 font where the bitmaps are contained. Opening (installing) this makes the font available to the Mac.

t and letterform5

TrueDoc From Bitstream, this technology is another way to embed font information with documents so they come out looking right at their des- Oigital Type Lettering Oesign tination, whatever and wherever it may be. TrueDoc doesn't embed whole for the fonts, it makes interim font outlines from the original, sends them to the • Quality Digitization receiver and then re-creates working fonts on the other end.

TrueType Customized lierning This font format was developed by Apple and Microsoft and is discern used a great deal among Windows fans. Nothing wrong with TrueType- ing some typophiles feel it is actually a superior format to Type 1. TrueType Open is Microsoft's attempt at a more extended and flexible format (that includes auto ligatures, alternate characters, etc.), as is Apple's TrueType digital Anything your typographic GX. TrueType fonts are one piece—that is both the printer outline and screen bitmap information is rasterized from the same information. Both TrueType and Type 1 will be part of the new Opertlype format proposed eart desires. for the Web.

Type 1 Originally developed by Adobe as the standard type format for designer. use with PostScript printers, it was once available only from them. But soon it became a public format, so now all PostScript fonts are Type 1 (or should be). Type 1 fonts contain two components—the outline font 212-691-1754 (used for printing) and the bitmap font suitcase (used for screen display). TERMINAL OESIGH, MC. [email protected] Type 1 fonts can be rasterized for the screen in ATM, and for the printer in PostScript. Circle 5 on Reader Service Card

The first Creativ e-illustrationT"

Virgule Everyone loves to know that this is the common name for the / character. Bet you didn't know it is also called a shilling mark, separa- DAZZLING SPE • AL EFFECTS trix or a solidus. 0

Voile Danish for "little round cake;' this is the tiny circle over TYPE FEATURES Scandinavian vowels. Also called a ring. w ERFUL NATURAL RAPHICS TOOLS

RAPHICS Widow Lonely words or letters on a line by themselves at the end of a paragraph. Best to rebreak the lines and avoid this sadness. MIX LANG AGES WITH EASE Work and Tumble In printing (or ) this means setting up a job so that it prints on one side, then turns over top to bottom and prints on the other. Not the same as work and turn, where the sheet is flipped from side to side. Either way you get two-up of what you're printing. x Lightning Iraw:

X-height What it says—the height of the lowercase x. Sometimes referred to as the .

Gene Gable is Publisher of Publish magazine. He welcomes comments and additions to this list at [email protected] .

HEADLINE/SUBHEADS/INTRO/BYLINE: ITC STONE SANS BOLD, BOLD ITALIC, ITC STONE SERIF, SERIF ITALIC TEXT/BID: ITC STONE SERIF, SERIF ITAUC, SEMI BOLD, SEMI BOLD ITALIC, ITC STONE SANS SEMI BOLD LETTERS OF THE ALPHABET: ITC GARAMOND BOOK ITALIC Lori Software Inc. • INTERNET soles(1)larisoftware.com • FAX 919 968-0801 WEB htfp://www.larisoftware.com • TEL 919 968-0701 or 800 933-7303

Circle 6 on Reader Service Card Fifteen years of microelectronic research makes conventional antennas a thing of the past! This little box uses your home's electrical wiring to give non-subscribers, cable subscribers and satellite users better TV reception on your local broadcast networks! by David Evans

Technology corner ntil recently, the only convenient way to guarantee great TV reception 1. Why don't conventional antennas was to have cable installed or place work as well as the Spectrum? U an antenna on top of your TV. But who wants Bandwidth of TV Signal to pay a monthly cable fee just to get clear re- 1 2 3 4 5 6 ception, or have rabbit-ear antennas that just IN When TV signals don't work on all stations? Some people just Megahertz are tuned at the TV aren't interested in subscribing to cable. Or channel's center fre- they may live in an area where they can't get quency, optimum cable and TV-top antennas aren't powerful tuning has been enough. And what about those people who cessing circuit. It then processes and separates achieved. have cable or satellite systems but still can't the signal into 12 of the best antenna configu- Other antennas get certain local stations in clearly? rations. These specially processed signals route can't offer center fre- Now, thanks to fifteen years of microelec- themselves into 12 separate circuits. The quency tuning like the tronics research, a new device has been devel- Spectrum Antenna includes a 12-position rotary Spectrum Antenna oped that is so advanced, it actually makes tapping switch, the "Signal Switch" control, A can. They only offer conventional antennas a thing of the past. It's Spectrum system such tuning up to the which gathers twelve of the best antenna con- called the Spectrum Universal figurations. Precision tuning edge of the center fre- Antenna/Tuner. quency. As a result The "Signal Search" offers A • Advanced technology. Who can use Spectrum? your TV picture varying antenna configura- Other systems Just imagine watching TV and Non-precision tuning remains snowy. tions for the user to select from seeing a picture so clear that .0 Cable users-You have the best signals of all those be- you'd almost swear you were cable but you can't get ing sent. The signal then pass- there live. Just plug the certain local stations in es through the Spectrum 2. How does Spectrum use a home's Spectrum Antenna into a stan- clearly. Antenna's special "Fine electrical wiring as an antenna? dard AC outlet and plug your You Tuner" circuit for producing TV into the Spectrum. You can don't have cable and crisp, clear reception. remove the unsightly clutter of want the stations to traditional TV-top devices Risk-free offer. The Spec- come in more clearly gathering more dust than tele- trum Universal Antenna / vision signals. Get ready for You Tuner comes with our exclu- great reception. Your TV will have a digital satellite sive 90-day risk-free home tri- al and a 90-day manufacturer's suddenly display a sharp, fo- system but can't get warranty. Try it, and if you're cused picture thanks to its ad- local stations in clearly elieve it or not, the Spectrum Antenna simply vanced design "Signal Search" not satisfied, return it for a full 13"activates" the giant antenna that already and "Fine Tuner" controls. "No Questions Asked" refund. exists in your home. Essentially, it uses all of the Uses your home's electrical wiring. The wiring throughout your home's walls and ceilings Limited time offer! We realize that most Spectrum Antenna is a highly sophisticated to make an antenna as large as your house for people have more than one TV in their electronic device that connects into a standard unbelievably clear reception of local broadcasting. home. We are offering a special discount wall outlet. The outlet interfaces the Spectrum on additional Spectrum Antennas so you O O OOOOOOOO O OOOOOOO • ••••• • O 0 • O f O OS •••■ O •• Antenna with the huge antenna that is your get great reception on all your TVs! 3. Spectrum antenna features home wiring network. It takes the electrical Parallel 75 ohm resistance wiring in your house or apartment and turns Spectrum Antenna $39 $4 S&H For minimum loss of signal it into a multi-tunable, giant TV reception sta- Additional antennas just $34 S&H free Signal search control tion which will improve your TV's overall tun- For selecting multiple antenna ing capability. The results are incredible. Please mention promotional code 1493-UL-3601. configurations Just think how much power runs through For fastest service, call toll-free 24 hours day Polarized three-prong plug your home's AC wiring system—all that for grounding power will be used to receive your local 800-992-2966 For optimum signal grounding to eliminate noise and static .••0 broadcasting signals. Resonant fine tuner control / How it works. Broadcast TV signals are sent For dialing in crisp. clear TV;stereo out from the local broadcast station (ABC, CBS, corntrad reception, eliminates ghosting NBC, etc.). They interface with your home's AC industries power line system, a huge aerial antenna net- Dual AC outlets with built-in surge protection 2820 Waterford Lake For plugging in additional TV/stereo equipment work of wiring as large as your home itself. Drive, Suite 102 guarding against damage and electrical surges When the Spectrum Antenna interfaces with the Midlothian, VA 23113 AC line, the signal is sent to its signal pro

Circle 7 on Reader Service Card Continued from page 36 you don't know that. This profoundly hard to hack nice bitmaps, but once would be illiterate;' he said. "So I'm go- pointed out, the rule-breakers have affected all the professionals, who the resolution changes you can throw ing to keep doing picture fonts:'* On a specific role. There is a long-standing immediately started spacing type com- them away," said Carter. "We need the other hand, the nine designers at tradition, he reminds us, of those who pletely differently." * The role of the to design things that will give you a the table agreed that since designing a design things that are difficult to read. professional, then, is ideally to set stan- good result now, for grayscale and font was at least in part a labor of love, "Medieval scribes used no word spacing dards that are informed by historical for when we all have 200 dpi screens:' it would be difficult to sustain interest to make the text harder to understand, tradition but are also open to change. * New media and methods of distri- in a typeface driven by purely market- because they felt the effort of piety Genevieve Cerasoli, an expert in script bution for typefaces have not just ing considerations. "I can't make heads in deciphering would make it more lettering, maintained that "the stuff affected esthetics and the demand for or tails of what's trendy," admitted memorable,"said Carter. "Sixties psy- that works is being done by people fonts, they have had considerable Ryan. For him, demand and inspiration chedelic posters had to be stared at who know a basic history of design." impact on the traditional pricing struc- came from sources close to home. to realize who was performing at the Carter agreed in part, arguing that tures. It used to be simple, quipped "My wife turned to me the other night Fillmore. It's a beautiful idea because the benefit of having trained tradition- Daniel Pelavin, quoting lettering artist and said that her mother wanted me if you read Ray Gun magazine, which ally as a punchcutter or stonecutter Gerard Huerta. "For a typeface with to do a typeface and use her name;' he was also made deliberately hard to was that it taught you how to "make no serifs, $12,000. If it has serifs—we reported. "That's a reason to do a type- read, you get the feeling that you are your mind up." When Fontographer gotta talk!' But how much should be face. It's going to be called Frances." an initiate!'* Historically, putting the or QuarkXPress allows you to make 12 charged for a design to be used on the * The concluding remarks of a gener- rules up for discussion has not just alternate versions of a design, you are World Wide Web, say as an embedded ally rather good-humored gathering been helpful, it has kept the craft alive. still required to choose one. * The last font? Joe Pepitone related costs to an were devoted to the things, people There are frequent occurrences in the portion of the roundtable discussion illustrator's dilemma: "When I'm doing and events that inspired a typeface. chronicles of type where amateur type- was devoted to the future, and the an illustration, I ask if it is going to be Frank Marciuliano began. "An acci- setting, or the vernacular, has exerted impact of new media on type design. seen worldwide or nationally," he said. dent;' he said, mysteriously. With this, influence on esthetics at the high end. Technology often brings a very spe- "But you can't ask a worldwide price a flurry of one-liners swirled around "When Letraset transfers came along, cific set of problems, the group noted. for a Web page!' * The life of a type the room. "A snowstorm;' said a voice. the letters were fine, but there was Since the computer monitor is becom- designer might be much more profit- * "A contract;' said another. * "A tool no indication of how to space them;' ing as common a final destination able if the zeitgeist could be more like a Japanese bamboo pen;' said said Carter. "So what do you do as for graphic design as the printed page, accurately analyzed, and forthcoming another. * "A mother-in-law named the corner grocer? You either make all many foundries are designing type- trends and tastes in typographic styles Frances;' said Ryan. With that, the the letters touch, or you put the same faces specifically for the low screen res- were predictable. Steve Zafarana gave group dispersed for dinner. amount of space between them. We as olution (currently 72 dots per inch). a cockeyed economic justification for

well-trained typographers know that's But designing fonts to cope with the his preoccupation with picture fonts. PETER HALL IS A JOURNALIST WHO SPECIALIZES

the last thing you do. It takes years problems of existing technology can "I read an article that suggested by the IN DESIGN. HE WRITES FOR SEVERAL PUBLICA- to learn to space type, but as a grocer be a hazardous occupation. "It's not year 2020, 80 percent of Americans TIONS IN ENGLAND AND THE UNITED STATES.

Font Agenda Aunt Judy TF Forever Shocking News: Get Graphics Interstate Serpent Tasse Right From Your Font Menu With Dingbats

M Shocked Graphics • • • • Fontographer.

Custom Graphics

Now Any Graphic Is Just A Keystroke Away. and adjust it by point size. You can create ding- created in FreeHand with Shockwave. - The who [e idea of getting your graphics from a bats, fractions and foreign language characters. So here's our top story: try the Fontographer font menu may sound a little shocking. Autotrace scanned images. Change the weight of demo on our Showcase- CD, absolutely risk-free. But once you see how fast and easy it is with your existing fonts. Create your own kerning pairs. Fonts and graphics together at last. Now that's Fontographer,® you'll be hooked. That's because Make a handwriting font out of your signature. Or what we call front page news. Fontographer lets you use high-res PostScript° even use your fonts in Director® and Authorware°. graphics the same way you use fonts. So now you Anywhere you use fonts, on Mac or Windows, you Ca111-800-806-4218 For A FREE Showcase CD` • can place your client's can use Fontographer. From print to multimedia http://www.macromedia.com/ logo with a keystroke and all the way to the Internet, with Web pages

tab WaY Cr ewe Foots Get Fontographer in the FreeHand Graphics Studio,"* which also includes FreeHand'" ,Mvoroniedr with Shockwave, Extreme 3I:r and Macromedia xReS." ilickwave • •. 1VIACROMEDIN *Offer good in US. and Canada only Outside the US. Canada and Europe, call 1-41S-252-2n. Or FAX us at 1-41S-626-05M. In Europe, call W4-(0)1344458600. For eakation resellers, call 1-800-2754564.**Macrornedia reserves Tools To Power Your Ideas the right to substitute products in the Studios at any time. Fonts courtesy of Font Bureau and The Electric Typographer. Macromedia, the Macro. nedla logo, Director, Authorware and Fontographer are registered trademarks and Circle 8 on Reader Service Card FreeHand Graphics Studio FreeHand Extreme 3D, Macromedia rRes, Shockwave, Tools To Power Your Ideas, and Showcase are trademarlo of Macromedia, Inc All other brand at product names are the property of their respective owners. 01996 Maaomedia, Inc All rights reserved

107

ellusinesseirect TYPE

Do you need to put some teeth into your marketing materials? TYPE Call us. Design Source East Advertising, Design, ESSENTIAL & Image Planning TYPOGRAPHIC WORKS

Phone 201.342.7944 131,, il flosek

Circle 10 on Reader Service Card New, from Pyrus ust what are the essential books on Vancouver, 1996; second edition). Robert YOU CAN'T KEEP UP. typography? When faced with the task Bringhurst's Elements of Typographic Style FontLab Com i user sj of choosing the definitive list, I first presents a rather lyrical approach to typogra- WE CAN HELP. had to determine just what makes a book phy. Bringhurst lays out typographic princi- essential. Certainly I have favorites such as ples while maintaining a sense of play. Some You can't read everything, The first fon Richard Hoffman's charming Don't Nobody of the suggestions initially seem radical, but so we do it for you. We fonts as eas*' Care About Zeds, a specimen book showing quickly make perfect sense, such as substi- summarize every important story from Z in 85 different metal typefaces, each in a tuting capitals or boldface from another type magazines for graphic designers and ✓ import/Export put it in a newsletter you can read. key e0 fa decorated setting, but while it's a fun little family to get a better look on the page. A chap- Call or fax us for a FREE ISSUE. book, it's not what I'd consider indispens- ter near the end of the book, "Prowling the ConWt D able. Similarly, there are classic texts such Type Specimen Books," is especially delight- Designers In CID-keyed as select volumes of The Fleuron and Bruce ful, providing insight to a variety of typefaces. 29 countries Assemble depend on us. Roger's on Printing,but are they The second edition includes additional infor- fr groups of essential? I decided not. mation on computerized typography and an The books listed here form a sort of expansion of the previous contents. A new You also can't spend Ve rPaint all your time gathering forchar canon of typographic works. This listing is appendix lists the major type foundries. updates, bug fixes & not meant to be an end, only a beginning. plug-ins, so we do it for you. There is no attempt at comprehensiveness The Design of Books, Adrian Wilson Each month, you'll receive a simply because there is too much to com- (Chronicle Books, San Francisco, disk containing every free 1993). update and bug fix, useful prehend. But unlike other areas of creative Adrian Wilson was perhaps the premier plug-in and utility Call, fax or pursuit, there is a small enough body of typographer in San Francisco after World War e-mail us for a FREE brochure. work to make a reasonable starting point. II, producing book designs for a number of So what forms our canon? The central publishers, from his own private press to the DESIGN TOOLS MONTHLY canon consists of those works that are impor- University of California Press. This book dis- e-mail to [email protected] http://ares.csd.net/—dtm tant to understanding the larger world of tills his knowledge and experience in book 303/444-6876 • fax 303/440-3641 typography. As such, we want to cover the design into an enjoyable read, describing basics, but also have a solid sense of typo- not only his own technique but that of other graphic history. Therefore, it's important to designers, from the traditionalism of Bruce To place a classified ad in U&IcBusinessDirect read not only books covering design prin- Rogers to the avant-garde typography typified ciples such as Carl Dair's Design With Type, by Massin's design for Le Cantatrice Chauve. or for rates and information, contact Venture Communications Print Media, but also those such as Sebastian Carter's • While Wilson occasionally gets bogged down the exclusive representative of U&IcBusinessDirect, at [212] 684-4800 Twentieth Century Type Designers. in addressing technological questions that are no longer relevant, his book is still essen- DESIGN PRINCIPLES tial reading for anyone in . Whether one's typographic pursuits tend toward a clean Swiss-German neue typog- Asymmetric Typography, Jan Tschichold raphic style or a layered postmodernist (Faber & Faber, London, 1967; out of print). approach, there are principles that should Before there was the current crop of "new at least be known—even if they are, in the typography" there was die neue typographic end, rejected. The same fundamental reasons with Jan Tschichold as one of its leading pro- This publication is available from UMI in one or more why one should think twice before mixing ponents. Tschichold's earlier work, The New of the following formats: Baskerville and Bodoni on the page apply Typography, has recently been published in equally to Blast-O-Rama and Not Caslon. The English by the University of California Press, • In Microform - -from our collection of over 18,000 books in this section provide a grounding in but the shorter Asymmetric Typography is periodicals and 7,000 newspapers the essentials of typographic design by four much more easily digested and a better state-

• In Paper--by the article or full issues through UMI prominent designers of the 20th century. ment of the principles behind the new typog- THIS Article Clearinghouse raphy of Germany in the 1930s. While the Design With Type, Carl Dair (University of philosophical battle over design is now passé, PUBLICATION • Electronically, on CD-ROM, online, and/or magnetic Toronto Press, 1982). Carl Dair's typographic the design principles laid out here by Tschi- tape--a broad range of ProQuest databases available, works encompass a wide range of endeavors, chold are an excellent example of his strong including abstract-and-index, ASCII full-text, and from book design to advertising and work understanding of how typography should AVAILABLE innovative full-image format for television. Design With Type reflects that work. The relative inaccessibility of the book NOM UMI Call toll-free 800-521-0600, ext. 2888, experience and is easily the best introduction at present represents an opportunity for a for more information, or fill out the coupon below: to typography available. While type technol- publishing house to issue a Dover-style inex- ogy has changed considerably since 1952 pensive reprint of the book. Name when the original version of this book was Tale DEEPER STUDIES published, the principles underlying it have Company/Institution not. Dair has managed to create a work that Of course typography goes beyond texts Address instructs the reader in typography without introducing basic principles. These next five City/State/Zip getting caught up in the technology. As a books represent the best of the examinations Phone ( ) result, Design With Type is no less valid in of more specialized typographic research, I'm interested in the following itle(sy 1996 than it was 44 years ago. I know of no whether issues of typographic history or the better introduction to type. details of designing and using type. UMI 800-521-0600 toll-free A Bell & Howell Company 313-761-1203 fax Box 78 Elements of Typographic Style, Robert Best of Fine Print on Type and Typog- 300 North Zeeb Road Bringhurst (Hartley & Marks Publishers Inc., raphy, Edited by Charles Bigelow, Paul UMI Ann Arbor, MI 48106 Continued on page 110 108 right font e ht

Mal=7:472 ■

--- -Abacf0MdiVrnt,61,9786uvwxyzC41*?'::) 31.Y.346651M144,-SAinc60.6 wore 13,000 + AttAEralttetr4.4614616.1tglIr4.W501 vlbCr.4104E00E.,(1!..i- ..1.1;4,

fonts MODE

,NrIernmoMABCDEF01.4.1401,67■JVWX,7 V21.15, -•...... oppnavu,¢/1130/".417 9123.6, the .1.1.1vilame*11.011.14,9711NArrfiil... A re .1.1.1.11.Masple=1•1711111•1111011■11.1

__-.ABCDErGIIIIKL6INOPQRSTUYWXYZ - 1.4.1•%.131234567890

NIA- o 01\S\\ObWAV— ,,,A vq §•`"" \ to ,It\\SAIA‘‘ LARGE CHARACTER DISPLAYS c PRECISION TYPE The fonts in this section are displayed as either comprehensive character sets or as complete upper and lower case character 0 alphabets, figures and some . This section also includes fonts for Cyrillic, r+ Greek, Hebrew, Korean and many other European languages.

Adobe Systems Agfa a Alphabets Inc El. V4'.1] El Andersen Agency 00001:30*J"` 141181294,1a—m1-.4./M6 ifthOlifi spotre1atf it *IR aok Bear Rock Technologies 4 OP.& la ar.t,te 1.4t.ellreoca,r.i.sCia1,"11/41 Bitstream • tallaasvo.rf/...A*261VIIMEIDAIt6 000,p a PI $4,6.W'2%.604191.671-277 Carter & Cone Type DIPEECNR11,,,..21.1410,4.4.11.0 ■ 6,7 460 6 -'scw.u..4.P*610,1mot.kig Diehl.Volk 700 PAGES Isis Imaging Elsner+Flake Key Borders The Precision Type Font Reference Guide", version 5.0, is the most comprehensive EmDash ILLUSTRATIVE FONTS Lanston Type Company collection of font software for electronic publishing ever produced. More than There are 61 pages displaying all the Pi, Famous Fonts Symbol, Logo, Border and Ornament fonts Letraset 13,000 fonts are displayed from over SIXTY different sources. This is the essential you could ever imagine. The Font Bureau Letter Perfect reference for anyone interested in fonts for electronic publishing and is available The Font Company Linguist's Software for only $39.95. Franklin Type Founders -Aneoue6. Linotype-Hell ,M11111•8 Galapagos Design Group loaleftwo OF. New York Design Studio A great idea gets even better! JUST HandcraftedFonts NIMX Graphics Harris Design Precision Type's FontLink" unlocking CD•ROM set for the Page Studio Headliners International Macintosh ° provides a quick and convenient way to order PolyType Image Club many of the fonts displayed in the Font Reference Guide. Red Rooster Typefounders Intecsas The FontLink package contains three CDs and is available RJH Productions for only $29.95 or purchase it with the Font Reference International Typeface Russian Type Foundry Corporation [ITC] Guide for only $5900 - It's an unbeatable value. Design Includes 5 FREE QUICK BROWSE Font Uniockings Stone Type Foundry Organized alphabetically by foundry, this section displays every font from each foundry Torah The Precision Type Font Reference Guide and FontLink in a one line setting. A quick and easy way CD•ROM are available from Precision Type or from any to browse each foundry's type library. Treacyfaces h ei one of our Authorized Remarketers around the world. [T-26] ENGLAND HOLLAND ITALY PHILIPPINES e URW Atonmic Type Limited Bitmap Software Media Lab Srl. Papermart Corporation iibbr Unit 23, Buspace Studios Oosterpark 20-b Via Masotta 21-20133 88 Sampson Road Vanguard Media Conlon Street 1092 AG Milano MI 1772 Succat, Muntinlupa Metro London, , ITALY Manila, Jack Yan & Associates ENGLAND HOLLAND 39-2-7000-1116 PHILIPPINES Precision 248 W10 5AP 31-20-665-58-58 fax 39-2-7010-4199 632-35-50-41 44-181-964-9754 fax 31-20-463-05-60 fax 632-842-1626 fax 44-181-964-3544 Type SWEDEN SOUTH KOREA UNITED STATES 3668 TM FontShop Sweden AB Breen & Gustaveson (all 1-800-248-3668 47 Mall Drive for the location Circle 12 on Reader Service Card Olof Palmes Gata 12 # 406 Yeochundo Hoegwan S-111 37 1-1 Yeonji-Dong Chongno-Ku nearest you. Commack, NY 11725-5717 Stockholm, Seoul 110-410, Phone 1.800,248.3668 Prices are in U.S. dollars. Precision Type, The Precision Type Font Reference Guide SWEDEN KOREA and FontLink are trademarks of Precision Type Inc. 1.516.864.0167 FONTS USED Flexure, ITC Franklin Gothib, Futura, Highway Gothic, Bernhard Modern. 46-8-676-02-50 82-2-3672-6620 1996 Precision Type Inc. fax 46-8-613-00-26 fax 82-2-3672-6619 fax 1.516.543.5721 Continued from page 108 Finer Points in the Spacing & Arrange- reread the book at least once a year as their with some brief information on its origin. The Hayden Duensing and Linnea Gentry ment of Type, Geoffrey Dowding (Hartley knowledge and experience increase. In all, result is a volume running nearly 400 pages (Bedford Arts Press, San Francisco, 1989). & Marks Publishers Inc., Vancouver, 1995). this is well worth a place in any library. filled with specimens of just about every type- Fine Print was the premier book arts journal There are few books that concern themselves face ever cast in America. Scattered through in the United States from 1975 until 1990 with the details of fine typesetting quite like Printing Types: Their History, Forms the book are various tidbits about typography, when it ceased publication. In its 16-year run, Dowding's book. Dowding is a proponent of and Use, D.B. Updike (Harvard and Oxford, some of which could be truly enlightening to it covered all aspects of book publishing from tight, even spacing and tending to such details various editions through the 1920s; out of the reader who has little or no experience papermaking, printing and binding to design as optical (as opposed to physical) centering print). The original two-volume hardcover with metal type. and typography. These articles, culled from of display matter and the like. The book is edition costs between $100-$200 depending the first 14 years of the publication's history, composed of two sections, "The Setting of on condition. (A Dover reprint was published Precision Type Font Reference Guide, present one of the best—if not the best— Text Matter," and "The Setting of Displayed but is no longer available.) While it's sadly Version 5.0 (Precision Type, Commack, collection of articles on type and typography Matter" and both provide a more complete out of date, having missed the typographic NY, 1995). There are two big problems with a from the best known names in the field. The accounting of text setting than one will find scholarship and development since its writ- contemporary comprehensive specimen range of articles is stunning: from historical anywhere else. After reading this book, the ing, Updike's Printing Types is still the most book: first, it's going to be big, second, it's examinations of Civilite and the Hungarian designer may never be satisfied with most comprehensive survey of typographic his- going to be out of date before it's finished. type designer Miklos Kis to examinations of commercial typography again. tory in existence. Anyone interested in under- The Precision Type Font Reference Guide contemporary designs such as Gudrun standing the origins of traditional type designs has fallen victim to both of these faults, but Zapf-Von Hesse's Diotima or Kris Holmes' Letters of Credit, (David would be well served by a reading of this it manages to be more comprehensive than Isadora. The articles on the creation of type- Godine, Boston, 1989). Walter Tracy's Letters book. The second edition has additional notes anything else in its class. It may only list faces, in both metal and photo or digital for- of Credit is a rare source of typographic cri- at the back of the book indicating advances in - those fonts that Precision Type sells, but that mat, are quite enlightening. The diversity of tiques. Over half of the book is devoted to a typographic scholarship since the first edition covers a substantial fraction of the market. techniques and sources for inspiration can close examination of the work of just five (such as Beatrice Warde's discovery that many For the working typographer, the more speci- be quite informative. While this book may be designers: , Frederic Goudy, of the types called "Garamond" were in fact men books on hand, the better job he or she hard to obtain because of the demise of Fine Rudolf Koch, W. A. Dwiggins and Stanley the work of Jean Jannon), although the lack of can do. This book, however, is the one worth Print as an institution, it is well worth the Morison (the latter presenting the orthodox any reference to the notes in the texts makes paying for. effort to locate a copy. account of the origins of their usefulness marginal at best. before the discovery of Sterling Burgess' type- D. A. Hosek is the principal of Quixote Digital TYPE SPECIMENS Twentieth Century Type Designers, face). If Letters of Credit only consisted of this Typography and the editor of Serif: The Maga- zine of Type & Typography. Information about Sebastian Carter (W W. Norton, New York, section, it would be an invaluable book. But Every typographer should have a wide selec- his typographic magazine can befound on the 1995; new edition). Twentieth Century Type the beginning portion is equally wonderful, tion of type specimen books to help find the Internet at hup://www.quixote.com/serif/. Designers is without peer. There is no other consisting of a 12-chapter study of design. If right type for the job at hand. The two listed book that provides such a comprehensive there is any defect of this book, it is the lack here are good choices. The first gives a good survey of the work of major typographers in of an adequate context of other books on type sampling of historical faces with background recent history. On occasion, Carter retreats design in which Letters of Credit might take information. The second provides the most -30desWolv to a nondiscriminatory recitation of types its place. As a result, this part of the book is a comprehensive showing of digital typefaces To order these books, (24 hrs, 365 days) created by a designer, but there are enough strange mixture of the basic and the arcane. please call (800) 962-6651 ext. 5800 or now available. visit us at http://www.booksnow.com thorough examinations of typefaces to make Fewer than 60 pages separate the definition up for this. The rerelease of this volume by of "set" from a detailed (and excellent) expla- American Metal Typefaces of the Twen- a major publisher (the first edition was pub- nation of character spacing. While the basic tieth Century, Mac MacGrew (Oak Knoll CORRECTION lished by Taplinger Publishing) makes it information may be off-putting to the expert Press, 1994). Roughly 1600 typefaces are In the article "Arts & Letters" in the Summer, easier to find, although the changes are rela- typographer and the expert information may displayed in American Metal Typefaces in 1996 issue of U&Ic (Volume 23, Number 1), tively minor, being mostly short insertions have the same effect on the tyro DTPer, these showings that are usually complete. Each Ann Goldstein was misidentified. She is cura- of more recent designers. chapters will still be useful to both. The latter typeface is shown in a 24pt specimen (unless, tor at the Museum of Contemporary Art class of readers would be well-advised to of course, it was never cast in that size) along (MOCA) in Los Angeles. • • What's on in the international ene. Test novum and win right now: One of our ahead by more than a wlisker. novum shows the three prizes— more than 1,000 photos of a highlights of the international graphic scene for total value of 5,000 US $. Europe's best advertising professionals, graphic designers, creative works will give you the opportunity to be illustrators and desk top publishers.

novum is a bilingual (German and English) monthly journal. r WIN WM 10.11. WE NM WI OM .14 2.111■ .11! MAP Stint MO WO .1,11 SIM MA If you want to get to know novum until November 30, 1996, you may win one of three PhotoDisc picture archives, i fee no. 0049-711-7252 333. Kindly return the form along with a crossed cheque to containing more than 1,000 pictures on CD-ROM, including the right of use, each of them worth 1.666 US S. Zeno Pressevertrieb GmbH, novum LeserService, Postfach 81 06 40, 0-70523 Stuttgart, Germony 1 You are a winner in any case: Subscribing novum now for one year will win you a sample PhotoDisc (D-ROM, I x Please trek one ohetnotive only: The dentition for our winning game vIh be November 30, 1996. containing more than 10,000 photos in small scale resolution for layout and presentation. Test offer: Should you refrain from subscribing novum, kindly send a fax to ; lest 3 issues for lust 30.00 DM (25.00 US$) If I should be convinced of novum and not coated you by %NPUL fax 10 days after having received the 3rd issue, I will receive 12 issues a year at a special price of 196.80 DM Zenit Pressevertrieb GmbH, including postoge (149.00 1155 only USA/Conado: 139.00 lISS airfreight included) Postfach 81 06 40, Subscription and free CD-ROM 96NAUL D-70523 Stuttgart, Germany, I would like to subscribe novum, 11 issues a year, of a special price of 196.80 OM 1149. 00 455; only fax no. 0049-711-7252 333, within 10 days following the receipt of the 3rd test issue. USA/Canada : 139.00115$ airfreight included) for a welcome esent I will receive o sample CD-ROM containing more than 10, for layout end pre Subscriptions will be renewed automatically for another year unless written notice is given four weeks prior to the end of the subscription period, latest. IOW 111111111111111111111111111111111V A1111111111111111111111111111111 You may order a sample CD-ROM for 22.00 US$ plus shipping charges from: PHOTODISC Impressed, Herlingsburg 14, D-22529 Hamburg, Germany. 110 .AllffiT.,:ill1111111111111111111111111111111.111111111111111111111111111111

Circle 13 on Reader Service Card Expert Alphabets International, Ltd:

PresentAbrams Augereaum

With over 20 oo soffs'—beautifully drawn, painstakingly digitized, fit, and ke ed—Abrams Augereau is TEXT 11/20 PT. suitablpf6itext and 1,Iy-settingwitlre Augereau Basic * includes threeweights: Text, Semi-

r bold, & Bold with,t

w Italic fonts in Text, Semibold, and Bold weights. 1. r, utc ,ump m pp I Typographer Antoin Augereau lived and worked in France in ITALIC 11/20 PT. the 16th century. Among his many achievements was teaching the renowned Claude Garamond. Sentenced to death in 1)44 for heresy, his life's work has been largely overlooked in typographic literatur1 I Text, Semibold, Bold, Italic, Semibold Italic, Bold

Italic, EXPERT, Expert Italic, SEMIBOLD EXPERT, Semibold

Expert Italic, BOLD EXPERT, Bold Expert Italic, Alternate, ,Alternate Italic, Semibold Alternate, Semibold ,Alternate Italic, Bold Alternate, and 'Bold Alternate Italic.

(1 George Abrams, the designer of Abrams AUgereau, has been a force in typography and ttering for SEMIBOLD 12/20 PT. over fifty years. His repuptiori has been built in Ising for merica's most visible cor orations— AT&T, I BM, Qwens Corning, Time ., Johnson & Johnson Pepsico, General Foods ? American Horn Products, General Elect ic, Revlon, Mob • , Eastman Kodak, Ford Motors, Good- year i)roducts, General Motor, American

Expr ss, and Merrill Lynch to namr a few. He is SEMIBOLD ITALIC 12/20 PT. a cor esponding member of the Sto4kholm Typo- gra is Guild in Sweden, an honorary fellow of the Society of Typographic Desi gners in England, and a memb r of the New York Typop iles. Abrams Augereau is the first George Abrams ty face available in PostScript' form.

"$145.00. j $ .00. s225.00 if purchased togethe dd $ 5 for shipping and handli within BOLD 12/20 PT.

the continental s S. Payable in U.S. dollar y. NY Std e resi ents add 8.25% sales tax. Mas rcard, Visa, and American E;`cpress-accef- fed. Available i ype 1 for at for Macintosh ® and Windowg7-

Please specify when ordering Expert Alphabets pit'ernational, Ltd., lo ore Drive, Great Neck Estates, NY BOLD ITALIC /20 PT.

11021 • phone: (576) 482-1756 fax (V6)48-24273. Business hours: 9 AM to 61km EST, Monday through Friday.

Expert Alphabets International, Ltd. Alphabets for the 6xpert

Circle 14 on Reader Service Card el eott 111447

fire merle-type

Receive a Monotype CD 5.0 with any $50 ITC® Fontek® Order, purchased directly from Monotype CD S.0 includes 4 Monotype Classic Fonts of your choice. Fontek® fonts are available on floppy disk only.

The Font, Software & Clip Art Resource

Morn; b.f.. is a locked, two disc set featuring over 4,000 PostScript fonts, clip art, and software. It is the fastest and most economical way to order fonts for both Mac and PC.

® notype Tynography MO OTYPE 985 Busse Road Elk Grove Village, IL 60007-2400 Circle 15 on Reader Service Card T: (800) 666 6897 or (847) 718 0400 F: (800) 803 6965 or (847) 718 0500

Not to be combined with any other offer. Offer expires October 1, 1996. ITC is a registered trademark of International Typeface Corporation. Fontek and DesignFonts are registered trademarks of Esselte Corporation. Fontek' and DesignFonts° are produced and distributed by International Typeface Corporation.