PF Grand Gothik The all new Grand Gothik type system is hooked on tradition, the old is new now and for ever, how far can you go?

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5 FAMILIES 90 STYLES Grand Gothik Compressed Grand Gothik Condensed Grand Gothik Grand Gothik Wide Grand Gothik Extended +++ Grand Gothik Variable (3 axes)

LANGUAGES/SCRIPTS Latin Cyrillic Greek Eastern European Turkish Baltic

DESIGNED BY Panos Vassiliou

Grand Gothik is a postmodern, multiscript, mul- tifaceted and variable type system which pays homage to the development of grotesque (goth- ic) over the years. Taking late 19th and early 20th century European and American gro- tesques as a starting , it traces this genre up to mid-century movie theater marquees, cinematography, American highway signage and telephone directories, adding some historical references for good measure.

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Originally designed in 2017 as a bespoke typeface for a cific period and style: from the less calculated appearance bilingual, black and white magazine on surfers, waves and of late 19th century grotesques all the way to their graceful- landscapes, it was later reimagined and redesigned ly-shaped contemporary counterparts. to the release of its commercial version. The name reflects Grand Gothik’s versatility as a fully functional variable CHARACTERISTICS and its depiction of a vast array of gothic styles found in Open counters with enhanced white space and curved American and European grotesques. Designed with 3 stylis- strokes with oblique terminals instead of horizontal were tic alternates, each variation of Grand Gothik depicts a spe- used in order to increase clarity of characters at small sizes.

DEFAULT VARIANT

open counters with squared-off ascenders sharp joints large aperture cap-height x-height

descenderachgpy squared-off "a" with a spur oblique terminals dynamic, unusual ending "y" with curved tail

The ascenders were extended and the descenders short- sharp joints, as curved strokes and stems merge into each ened. The contrast was adjusted to reflect Grand Gothik’s other with a sharp instead of a smooth connection. personality as a revamped grotesque, the numbers were Grand Gothik’s design space includes 3 axes for weight, redesigned according to their historical references and width and one for italics. It is available as a variable font “a” was designed with a spur to increase readability. or as five separate families - compressed, con- Contrary to most grotesques, Grand Gothik implements densed, normal, wide and extended. Each family comes with

SS01 + SS02 VARIANT

ascenders with slanted endings ascender cap-height x-height

baseline descenderahGMpy descenders with "a" without a spur "G" without a spur acute crotch slanted endings "y" with straight tail

9 weights spanning from Extra Thin to Black plus italics. comes with squared-off stems and letter “a” is designed Quite interestingly, the letter “o” in the wide version does not with a spur. Its first variation (ss01) retains the squared-off follow the extended form of other characters, taking instead stems of the default version, while letter “a” and “G” lose the shape of an almost round circle. their spur, the curved tail of “y” becomes straight and the Grand Gothik was designed with a default version and three crotch of “M” sharp-pointed, altogether imbuing the type- stylistic variations: The multifunctional default version face with a clean corporate texture. The second variation

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SS03 VARIANT

middle stroke "R" lobe follows "E" sits higher ascender cap-height x-height

baseline aEGkRy alternate "a" with a spur "G" with a spur alternate "k" "y" with curved tail

(ss02) is more eclectic, exchanging the squared-off stems italics which are not but rather refined oblique for slanted stem endings, ultimately becoming more angular. letterforms in sync with their traditional genre. Finally, The third variation (ss03) is vibrant and uncalculated and Grand Gothik's demanding personality shines at its heavier constitutes a nod to early 20th century European grotesque extended versions with its hip, expressive, almost brutal styles, particularly Venus of the Bauer or the energy. ATF gothics such as Franklin Gothic or the lesser known Times Gothic and Title Gothic No. 9. The middle stroke on USE letters such as E, F and H sits higher, pushing the design of Apart from its default state which embodies the tempera- other characters such as B, K, P and R, in the same design ment and character of several notable grotesque typefaces, direction. An alternate version of letter “a” and “k” was Grand Gothik’s multifaceted disposition and stylistic varia- designed to reflect that era, along with alternate forms for tions can fit a multitude of typographic needs. Firm, robust lowercase letter “t”. and legible, its first variation is an exceptional candidate for The Grand Gothik type system comes with a wide range corporate brands which need to communicate their vision of styles/weights and supports an extended array of and value to multiple international markets. The second var- languages and scripts such as Latin, Greek and Cyrillic. iation, a bit more vibrant and refined in nature, works beau- Keeping up with the ever-evolving virtual and digital land- tifully with modern publications. The typographic voice scape, Grand Gothik comes with an extended character set of the third variation, characterized by the vibrant and raw of weather icons, numeral symbols, wayfinding arrows, texture of 19th century European grotesques hits home with movie rating stars and emojis. Also, a Bitcoin symbol posters, books, signage, magazines and postmodern was designed as part of its character set in its newly intro- conceptual art. Altogether, Grand Gothik's variable format duced unicode position, rendering Grand Gothik a truly brings to web design all the precision, variety and spirit functional modern typeface. once available only in print media. An essential tool for web The whole series is complemented by its corresponding designers and developers alike.

GRAND GOTHIK EXTENDED ULTRA ITALIC acefgsw

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www.parachutefonts.com 5 PF GRAND GOTHIK COMPRESSEDBLACK COMPEXTBD PF GRAND GOTHIK COMPRESSEDBOLD PF GRAND GOTHIK COMPMED PF GRAND GOTHIK COMPRESSED PF GRAND GOTHIK COMPRESSEDBOOK GOTHIK PF GRAND COMPRESSEDLIGHT GOTHIK PF GRAND COMPRESSEDTHIN GOTHIK PF GRAND COMPEXTRATHIN GOTHIK PF GRAND CONDEXTRATHIN GOTHIK PF GRAND CONDENSEDTHIN GOTHIK PF GRAND CONDENSEDLIGHT GOTHIK PF GRAND CONDENSEDBOOK PF GRAND GOTHIK CONDENSED PF GRAND GOTHIK CONDENSEDMEDIUM PF GRAND GOTHIK CONDENSEDBOLD PF GRAND GOTHIK CONDEXTBD PF GRAND GOTHIK CONDENSEDBLACK PF GRAND GOTHIK BLACK PF GRAND GOTHIK EXTRABOLD PF GRAND GOTHIK BOLD PF GRAND GOTHIK MEDIUM PF GRAND GOTHIK REGULAR PF GRAND GOTHIK BOOK PF GRAND GOTHIK LIGHT PF GRAND GOTHIK THIN PF GRAND GOTHIK EXTRATHIN PF GRAND GOTHIK WIDEEXTRATHIN PF GRAND GOTHIK WIDETHIN PF GRAND GOTHIK WIDELIGHT PF GRAND GOTHIK WIDE PF GRAND GOTHIK WIDEBOOK PF GRAND GOTHIK WIDEMEDIUM PF GRAND GOTHIK WIDEBOLD PF GRAND GOTHIK WIDEBLACK PF GRAND GOTHIK WIDEEXTRABOLD PF GRAND GOTHIK PF GRAND GOTHIK EXTENDED BLACK EXTENDED REG PF GRAND GOTHIK EXTENDED XTHIN PF GRAND GOTHIK COMPRESSED TO EXTENDED PF Grand Gothik

GRAND GOTHIK COMPRESSED BLACK Automobiles GRAND GOTHIK CONDENSED BLACK Bhodgein

GRAND GOTHIK BLACK Mundial

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GRAND GOTHIK COMPRESSED REGULAR DRAGONFLUMSIES

GRAND GOTHIK CONDENSED REGULAR MOONWALKR

GRAND GOTHIK REGULAR GERONIMO

GRAND GOTHIK WIDE REGULAR ANDROID

GRAND GOTHIK EXTENDED REGULAR BARFLY

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Grand Gothik Compressed Extra Thin Grand Gothik Compressed Thin Grand Gothik Compressed Light Grand Gothik Compressed Book Grand Gothik Compressed Regular Grand Gothik Compressed Medium Grand Gothik Compressed Bold Grand Gothik Compressed Extra Bold Grand Gothik Compressed Black Grand Gothik Compressed Extra Thin Italic Grand Gothik Compressed Thin Italic Grand Gothik Compressed Light Italic Grand Gothik Compressed Book Italic Grand Gothik Compressed Italic Grand Gothik Compressed Medium Italic Grand Gothik Compressed Bold Italic Grand Gothik Compressed Extra Bold Italic Grand Gothik Compressed Black Italic

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GRAND GOTHIK COMPRESSED BLACK GAZEHOUNDS

GRAND GOTHIK COMPRESSED BOLD CALIFORNIUM

GRAND GOTHIK COMPRESSED REGULAR DECAFFEINATED GRAND GOTHIK COMPRESSED LIGHT MAGNETIZATION

GRAND GOTHIK COMPRESSED EXTRA THIN WEATHERPROOF

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GRAND GOTHIK COMPRESSED BLACK RUDEMANNERBEATING Thunderloniøusmönke

GRAND GOTHIK COMPRESSED BLACK ITALIC RUDEMANNERBEATING Thunderloniøusmönke

GRAND GOTHIK COMPRESSED MEDIUM CAHIERCINÉMANEUVILLE Manifepulorpħaneujmiz GRAND GOTHIK COMPRESSED BOLD ITALIC CAHIERCINÉMANEUVILLE Manifepulorpħaneujmiz

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Grand Gothik Condensed Extra Thin Grand Gothik Condensed Thin Grand Gothik Condensed Light Grand Gothik Condensed Book Grand Gothik Condensed Regular Grand Gothik Condensed Medium Grand Gothik Condensed Bold Grand Gothik Condensed Extra Bold Grand Gothik Condensed Black Grand Gothik Condensed Extra Thin Italic Grand Gothik Condensed Thin Italic Grand Gothik Condensed Light Italic Grand Gothik Condensed Book Italic Grand Gothik Condensed Italic Grand Gothik Condensed Medium Italic Grand Gothik Condensed Bold Italic Grand Gothik Condensed Extra Bold Italic Grand Gothik Condensed Black Italic

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GRAND GOTHIK CONDENSED BLACK airmobile GRAND GOTHIK CONDENSED BOLD

optimumsGRAND GOTHIK CONDENSED REGULAR spellbound GRAND GOTHIK CONDENSED LIGHT unbounded GRAND GOTHIK CONDENSED EXTRA THIN mannequin

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GRAND GOTHIK CONDENSED BLACK CANADIEN

GRAND GOTHIK CONDENSED BOLD GODÄMNIT

GRAND GOTHIK CONDENSED REGULAR DALLIANCE GRAND GOTHIK CONDENSED LIGHT MICROSEIM

GRAND GOTHIK CONDENSED EXTRA THIN WALLPAPER

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GRAND GOTHIK CONDENSED BLACK INTERNAZIONALE Chârliefigpohaüs GRAND GOTHIK CONDENSED BLACK ITALIC INTERNAZIONALE Chârliefigpohaüs

GRAND GOTHIK CONDENSED BOLD DOCUMENTALITIES Machinodicūqoena GRAND GOTHIK CONDENSED BOLD ITALIC DOCUMENTALITIES Machinodicūqoena

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GRAND GOTHIK CONDENSED 10/14 pt

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. Contempt for the Tradition de qualité, which dominated French film at the time, was the impetus that drove these young writers. This was apparent in a manifesto-like essay written by François Truffaut in 1953, Une certaine tendance du cinéma français, where he denounced the adaptation of safe literary works into unimaginative films, calling them le cinéma de papa. The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, their spirit of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with the film form. “New Wave” is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style, and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end. The cinematic stylings of French New Wave brought a fresh look to cinema with improvised dialogue, rapid changes of scene, and shots that broke the common 180° axis of camera movement. In many films of the French New Wave, the camera was used not to mesmerize the audience with elaborate narrative and illusory images, but rather to play with audience expectations. Godard was arguably the movement’s most influential figure; his method of film-making, often used to shock and awe audiences out of passivity, was abnormally bold and direct. As a result of his tech- niques, he is an early example of a director who was accused of having contempt for his audience (something

GRAND GOTHIK CONDENSED 14/20 pt Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. Contempt for the Tradition de qualité, which dominated French film at the time, was the impetus that drove these young writers. This was apparent in a manifesto-like essay written by François Truffaut in 1953, Une certaine tendance du cinéma français, where he denounced the adaptation of safe literary works into unimaginative films, calling them le cinéma de papa. The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, their spirit of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with the film form. “New Wave” is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style, and narrative part of a general break with the conservative para-

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Grand Gothik Extra Thin Grand Gothik Thin Grand Gothik Light Grand Gothik Book Grand Gothik Regular Grand Gothik Medium Grand Gothik Bold Grand Gothik Extra Bold Grand Gothik Black Grand Gothik Extra Thin Italic Grand Gothik Thin Italic Grand Gothik Light Italic Grand Gothik Book Italic Grand Gothik Italic Grand Gothik Medium Italic Grand Gothik Bold Italic Grand Gothik Extra Bold Italic Grand Gothik Black Italic

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GRAND GOTHIK BLACK

admiralGRAND GOTHIK BOLD ornithes GRAND GOTHIK REGULAR schlepps GRAND GOTHIK LIGHT abenakis GRAND GOTHIK EXTRA THIN cachareg

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GRAND GOTHIK BLACK WAZEHI GRAND GOTHIK BOLD ROUTER GRAND GOTHIK REGULAR AENAON GRAND GOTHIK LIGHT SUBWAY GRAND GOTHIK EXTRA THIN GARDAIN

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GRAND GOTHIK BLACK REDEMPTION Launchingels GRAND GOTHIK BLACK ITALIC REDEMPTION Launchingels

GRAND GOTHIK BOLD HAZEHOUNDS Maintenanhein GRAND GOTHIK BOLD ITALIC HAZEHOUNDS Maintenanhein

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GRAND GOTHIK 10/14 pt

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. Contempt for the Tradi- tion de qualité, which dominated French film at the time, was the impetus that drove these young writers. This was apparent in a manifesto-like essay written by François Truffaut in 1953, Une certaine tendance du cinéma français, where he denounced the adaptation of safe literary works into unimaginative films, calling them le cinéma de papa. The New Wave film- makers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, their spirit of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with the film form. “New Wave” is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style, and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a docu- mentary style. The films exhibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambigu- ity in the sense that questions that arise in a film are not answered in the end. The cinematic stylings of French New Wave brought a fresh look to cinema with improvised dialogue, rapid changes of scene, and shots that broke the common 180° axis of camera movement. In many films of the French New Wave, the camera was used not to mesmerize the audience

GRAND GOTHIK 14/20 pt Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. Con- tempt for the Tradition de qualité, which dominated French film at the time, was the impetus that drove these young writers. This was apparent in a manifesto-like essay written by François Truffaut in 1953, Une certaine tendance du cinéma français, where he de- nounced the adaptation of safe literary works into unimaginative films, calling them le cinéma de papa. The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, their spirit of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with the film form. “New Wave” is an example of European art cinema. Many also

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Grand Gothik Wide Extra Thin Grand Gothik Wide Thin Grand Gothik Wide Light Grand Gothik Wide Book Grand Gothik Wide Regular Grand Gothik Wide Medium Grand Gothik Wide Bold Grand Gothik Wide Extra Bold Grand Gothik Wide Black Grand Gothik Wide Extra Thin Italic Grand Gothik Wide Thin Italic Grand Gothik Wide Light Italic Grand Gothik Wide Book Italic Grand Gothik Wide Italic Grand Gothik Wide Medium Italic Grand Gothik Wide Bold Italic Grand Gothik Wide Extra Bold Italic Grand Gothik Wide Black Italic

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GRAND GOTHIK WIDE BLACK

airmonGRAND GOTHIK WIDE BOLD hacked GRAND GOTHIK WIDE REGULAR sacque

GRAND GOTHIK WIDE LIGHT eminos GRAND GOTHIK WIDE EXTRA THIN aeokian

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GRAND GOTHIK WIDE BLACK MANDI GRAND GOTHIK WIDE BOLD ALIENS GRAND GOTHIK WIDE REGULAR GOTHIC

GRAND GOTHIK WIDE LIGHT ATHINA

GRAND GOTHIK WIDE EXTRA THIN GANDHI

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GRAND GOTHIK WIDE MEDIUM Unførgettåble

GRAND GOTHIK WIDE REGULAR Celestial phantasmagoria show

GRAND GOTHIK WIDE BLACK

AV EGRAND GOTHIK NUE WIDE MEDIUM Eternal sunshine of the spotless mind

GRAND GOTHIK WIDE BLACK HANDMAIDEN

GRAND GOTHIK WIDE BOOK Bibliography

GRAND GOTHIK WIDE BLACK ECLECTICON

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GRAND GOTHIK WIDE 10/14 pt

Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. Contempt for the Tradition de qualité, which dominated French film at the time, was the impetus that drove these young writers. This was apparent in a manifesto-like essay written by François Truffaut in 1953, Une certaine tendance du cinéma français, where he denounced the adapta- tion of safe literary works into unimaginative films, calling them le cinéma de papa. The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, their spirit of iconoclasm, the desire to shoot more current social issues on location, and their intention of experimenting with the film form. “New Wave” is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style, and narrative part of a general break with the conservative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking presented a documentary style. The films ex- hibited direct sounds on film stock that required less light. Filming techniques included fragmented, discontinuous editing, and long takes. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not

GRAND GOTHIK WIDE 14/20 pt Nouvelle Vague is often referred to as one of the most influential movements in the history of cinema. The term was first used by a group of French film critics and cine- philes associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. Contempt for the Tradition de qualité, which dominated French film at the time, was the impetus that drove these young writers. This was ap- parent in a manifesto-like essay written by François Truf- faut in 1953, Une certaine tendance du cinéma français, where he denounced the adaptation of safe literary works into unimaginative films, calling them le cinéma de papa. The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces be- ing made in France and written by novelists, their spirit of iconoclasm, the desire to shoot more current social

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Grand Gothik Extended Extra Thin Grand Gothik Extended Thin Grand Gothik Extended Light Grand Gothik Extended Book Grand Gothik Extended Regular Grand Gothik Extended Medium Grand Gothik Extended Bold Grand Gothik Extended Extra Bold Grand Gothik Extended Black Grand Gothik Extended Ultra Grand Gothik Extended Extra Thin Italic Grand Gothik Extended Thin Italic Grand Gothik Extended Light Italic Grand Gothik Extended Book Italic Grand Gothik Extended Italic Grand Gothik Extended Medium Italic Grand Gothik Extended Bold Italic Grand Gothik Extended Extra Bold Italic Grand Gothik Extended Black Italic Grand Gothik Extended Ultra Italic

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GRAND GOTHIK EXTENDED ULTRA grand GRAND GOTHIK EXTENDED BLACK dance GRAND GOTHIK EXTENDED BOLD height

GRAND GOTHIK EXTENDED LIGHT slalom

GRAND GOTHIK EXTENDED EXTRA THIN unique

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GRAND GOTHIK EXTENDED ULTRA NEON GRAND GOTHIK EXTENDED BLACK RÖCĶ GRAND GOTHIK EXTENDED BOLD GUIDE GRAND GOTHIK EXTENDED LIGHT AUDIO

GRAND GOTHIK EXTENDED EXTRA THIN VOIÇE

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GRAND GOTHIK EXTENDED ULTRA EDITIONS Cűlhingás GRAND GOTHIK EXTENDED ULTRA ITALIC EDITIONS Culhingas

GRAND GOTHIK EXTENDED BLACK GENUINE Kramhölz GRAND GOTHIK EXTENDED BLACK ITALIC GENUINE Kramhölz

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GRAND GOTHIK EXTENDED REGULAR HIDDEN TREASURES Castello di Santa Elena Gazing at the sailboats

GRAND GOTHIK EXTENDED ITALIC HIDDEN TREASURES Castello di Santa Elena Gazing at the sailboats

GRAND GOTHIK EXTENDED THIN SEAGOING TANKERS Ineffaceable traditional Along the windy biways

GRAND GOTHIK EXTENDED THIN ITALIC SEAGOING TANKERS Ineffaceable traditional Along the windy biways Divine gastronomy tips

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GRAND GOTHIK EXTENDED 10/14 pt

Nouvelle Vague is often referred to as one of the most influ- ential movements in the history of cinema. The term was first used by a group of French film critics and cinephiles associat- ed with the magazine Cahiers du cinéma in the late 1950s and 1960s. Contempt for the Tradition de qualité, which dominat- ed French film at the time, was the impetus that drove these young writers. This was apparent in a manifesto-like essay written by François Truffaut in 1953, Une certaine tendance du cinéma français, where he denounced the adaptation of safe literary works into unimaginative films, calling them le ciné- ma de papa. The New Wave filmmakers were linked by their self-conscious rejection of the literary period pieces being made in France and written by novelists, their spirit of icono- clasm, the desire to shoot more current social issues on lo- cation, and their intention of experimenting with the film form. “New Wave” is an example of European art cinema. Many also engaged in their work with the social and political upheavals of the era, making their radical experiments with editing, visual style, and narrative part of a general break with the conserv- ative paradigm. Using portable equipment and requiring little or no set up time, the New Wave way of filmmaking present-

GRAND GOTHIK EXTENDED 14/20 pt Nouvelle Vague is often referred to as one of the most influential movements in the his- tory of cinema. The term was first used by a group of French film critics and cinephiles associated with the magazine Cahiers du cinéma in the late 1950s and 1960s. Con- tempt for the Tradition de qualité, which dominated French film at the time, was the impetus that drove these young writers. This was apparent in a manifesto-like essay writ- ten by François Truffaut in 1953, Une cer- taine tendance du cinéma français, where he denounced the adaptation of safe literary works into unimaginative films, calling them le cinéma de papa. The New Wave filmmak-

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SS01

STYLISTIC SET 1

The first variant of Grand Gothik retains the squared-off stems of the default version, while letter “a” and “G” lose their spur, the curved tail of “y” becomes straight and the crotch of “M” sharp-pointed, altogether imbuing the typeface with a clean corporate texture.

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When you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible. — When Harry Met Sally, 1989

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SS02

STYLISTIC SET 2

The second variant is more eclectic, exchanging the squared- off stems for slanted ones, with the ascenders and descend- ers for letters such as “b, d, h, k, l, p, , t” ultimately becoming more angular. The same applies to similar Greek and Cyrillic letterforms.

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I’m as Mad as hell, and I’m not going to take this anymore! — Network, 1976

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SS03

STYLISTIC SET 3

The third variant is vibrant, uncalculated and constitutes a nod to early 20th century European grotesque styles. The middle stroke on letters such as E, F and H sits higher, pushing the design of other characters such as B, K, P and R, in the same design direction. An alternate version of letter “a” and “k” was designed to reflect that era, along with alternate forms for lowercase “t”. The same applies to similar Greek and Cyrillic letterforms. An excellect choice for posters, books, zines and postmodern conceptual art.

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Frankly, my dear, I don’t give a damn. — Gone With the Wind, 1939

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MULTISCRIPT MULTISCRIPT MULTISCRIPT MULTISCRIPT MULTISCRIPT MULTISCRIPT MULTISCRIPT MULTISCRIPT MULTISCRIPT MULTISCRIPT

www.parachutefonts.com 39 GREEK PF Grand Gothik

GRAND GOTHIK WIDE MEDIUM Αλησμόνητος

GRAND GOTHIK WIDE REGULAR Επαγγελματικά φώτα θαλάσσης

GRAND GOTHIK EXTENDED BLACK

ΟΑΣΕΙΣGRAND GOTHIK WIDE MEDIUM Εξαιρετικά επιτυχημένη παραγωγή

GRAND GOTHIK BLACK ΑΜΦΙΘΕΑΤΡΟ

GRAND GOTHIK BOOK Βιβλιογραφία

GRAND GOTHIK COMPRESSED BLACK ΟΙΚΟΔΕΣΠΟΤΗΣ

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COMPRESSED LIGHT / CONDENSED REGULAR - SS03 ON Ü Δεσμώτης του Ιλίγγου / Vertigo à Πολίτης Κέιν / Citizen Kane ä Ταξίδι στο Τόκιο / Tokyo Story å Ο κανόνας του παιχνιδιού / La Règle du jeu é Η Αυγή / Sunrise: A Song of Two Humans è Η Οδύσσεια του Διαστήματος / A Space Odyssey ë Θωρηκτό Ποτέμκιν / Battleship Potemkin ì Η αιχμάλωτος της ερήμου / The Searchers ï Αταλάντη / L’Atalante ÖÉ Με κομμένη την ανάσα / Breathless ÖÖ Αποκάλυψη, Τώρα! / Apocalypse Now Öá Καθυστερημένη Άνοιξη / Late Spring Öâ Οι επτά Σαμουράι / Seven Samurai Öã Περσόνα / Persona Öç Ο καθρέφτης / Mirror

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GRAND GOTHIK 10/14 pt

Από τον Μάρτιο του 1943, με την προβολή της πρώτης ταινίας «Η Φωνή της Καρδιάς» μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας «Ο Κυρ Γιώργης Εκπαιδεύε- ται», η Finos Film διέγραψε μία πορεία 34 χρόνων, με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου. Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα, η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β' Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό, αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα. Μια Ελλάδα της αθωότητας, της ελπίδας, αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πλη- θυσμού της στις πόλεις και στην ύπαιθρο. Η Finos Film είχε ονομαστεί κάποτε «το Χόλλυγουντ της Ελλάδας». Μία εύλογη και εύστοχη παρομοίωση, που αποτυπώνει και την απόλυτη υπε- ροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής. Στη δεκαετία του ’40 έγινε η αρχή, στη δεκαετία του ’50 ήρθε η καθιέρωση και η καταξίωση. Ακολούθησε η δεκαετία του ’60 με την απογείωση και την κατακόρυφη αύξηση παραγωγών, μέσα σε ένα καθεστώς βιο- μηχανοποίησης του ελληνικού σινεμά. Κατά τη δεκαετία του ’70, σε μία εποχή όπου δρομο- λογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης, η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό. Έμελλε η τηλεόραση – ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος – να βάλει αργότερα τη σφραγίδα πιστοποίησης της ποιότητας των ται- νιών της Finos Film, αναδεικνύοντας τη διαχρονική τους αξία. Το 1954 ο Φίνος μεταφέρει για τελευταία φορά την έδρα της εταιρείας του στο παλιό κτήριο σαπωνοποιίας του Παπουτσάνη στην οδό Χίου 53, κοντά στον σταθμό Λαρίσης, όπου παραμένει έως σήμερα. Στο νεοκλα-

GRAND GOTHIK 14/20 pt Από τον Μάρτιο του 1943, με την προβολή της πρώτης ταινίας «Η Φωνή της Καρδιάς» μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας «Ο Κυρ Γιώργης Εκπαιδεύεται», η Finos Film διέγραψε μία πορεία 34 χρόνων, με την οποία σημάδε- ψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου. Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα, η οποία προσπαθεί να σταθεί στα πό- δια της μετά τον Β' Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό, αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμο- νιώδη ταχύτητα. Μια Ελλάδα της αθωότητας, της ελπίδας, αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο. Η Finos Film είχε ονομαστεί κάποτε «το Χόλλυγουντ της Ελλάδας». Μία εύ- λογη και εύστοχη παρομοίωση, που αποτυπώνει και την απόλυτη υπεροχή της εταιρίας στο χώρο της κινηματογραφικής παραγωγής.

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GRAND GOTHIK WIDE 10/14 pt

Από τον Μάρτιο του 1943, με την προβολή της πρώτης ταινίας «Η Φωνή της Καρδιάς» μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας «Ο Κυρ Γιώργης Εκπαιδεύεται», η Finos Film διέγραψε μία πορεία 34 χρόνων, με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματογράφου. Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα, η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β' Παγκόσμιο πόλεμο και τον εμφύλιο σπαραγμό, αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα. Μια Ελλάδα της αθωό- τητας, της ελπίδας, αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαιθρο. Η Finos Film είχε ονομαστεί κάποτε «το Χόλλυγουντ της Ελλάδας». Μία εύλογη και εύστοχη παρομοίωση, που αποτυπώνει και την απόλυτη υπεροχή της εται- ρίας στο χώρο της κινηματογραφικής παραγωγής. Στη δεκαετία του ’40 έγινε η αρχή, στη δεκαετία του ’50 ήρθε η καθιέρωση και η καταξίωση. Ακολούθησε η δεκαετία του ’60 με την απογείωση και την κατακόρυφη αύξηση παραγω- γών, μέσα σε ένα καθεστώς βιομηχανοποίησης του ελληνικού σινεμά. Κατά τη δεκαετία του ’70, σε μία εποχή όπου δρομολογούνταν σαρωτικές αλλαγές στον κινηματογράφο μαζί με την καθιέρωση της τηλεόρασης, η Finos Film έμεινε αλώβητη έχοντας στο ενεργητικό της πλούσιες και ποιοτικές παραγωγές που κέρδισαν το κινηματογραφικό κοινό. Έμελλε η τηλεόραση – ένα μέσο που ποτέ δεν είδε με καλό μάτι ο Φίνος – να βάλει αργότερα τη σφραγίδα πιστοποίησης

GRAND GOTHIK WIDE 14/20 pt Από τον Μάρτιο του 1943, με την προβολή της πρώτης ταινίας «Η Φωνή της Καρδιάς» μέχρι και τον Ιανουάριο του 1977 με την τελευταία ταινία της εταιρίας «Ο Κυρ Γιώργης Εκπαιδεύεται», η Finos Film διέγραψε μία πο- ρεία 34 χρόνων, με την οποία σημάδεψε όσο καμία άλλη εταιρία παραγωγής την ιστορία του Ελληνικού Κινηματο- γράφου. Το σήμα FF συμβολίζει μία ολόκληρη εποχή και πολιτογραφεί μια Ελλάδα, η οποία προσπαθεί να σταθεί στα πόδια της μετά τον Β’ Παγκόσμιο πόλεμο και τον εμ- φύλιο σπαραγμό, αστικοποιείται με γρήγορους ρυθμούς και αναπτύσσεται με δαιμονιώδη ταχύτητα. Μια Ελλά- δα της αθωότητας, της ελπίδας, αλλά και συνάμα της φτώχειας και του σκληρού αγώνα επιβίωσης μεγάλου μέρους του πληθυσμού της στις πόλεις και στην ύπαι- θρο. Η Finos Film είχε ονομαστεί κάποτε «το Χόλλυγουντ

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GRAND GOTHIK WIDE BOLD ГРАНИЧНЫЙ

GRAND GOTHIK EXTENDED REGULAR головная часть мачты части

GRAND GOTHIK EXTENDED BLACK корма GRAND GOTHIK WIDE MEDIUM Цифровой преобразователь стандартов

GRAND GOTHIK BLACK ИНТЕРФЕЙС GRAND GOTHIK THIN интерференция

GRAND GOTHIK COMPRESSED BLACK НАВИГАЦИОННЫЕ

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GRAND GOTHIK 10/14 pt

«Броненосец „Потёмкин“» — немой исторический художественный фильм, снятый ре- жиссёром Сергеем Эйзенштейном на первой кинофабрике «Госкино» в 1925 году. Не- однократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по итогам опросов критиков, кинорежиссёров и публики. Матросы одного из броненосцев Черноморского флота, стоящего на рейде Одессы, взбун- товались из-за того, что их пытались накормить червивым мясом. Зачинщики бунта приговариваются к расстрелу. Однако во время исполнения казни остальные матросы бросаются им на выручку. Офицеров корабля выбрасывают за борт, но вдохновитель восстания матрос Вакуленчук гибнет в схватке. Население Одессы стекается на по- хороны Вакуленчука и поддерживает команду революционного корабля. Вызванные правительственные войска безжалостно расстреливают мирных жителей на знамени- той одесской лестнице. На подавление восстания направляется Черноморская эска- дра, но матросы отказываются стрелять по восставшим, и броненосец «Потёмкин» проходит через строй кораблей. В финале третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг. Заканчивается картина кадром, на котором броненосец будто бы «выплывает из фильма» в зал. Фильм многократно ста- новился объектом цитирования и даже кинопародий, причём в большинстве случаев внимания удостаивалась сцена расстрела на Потёмкинской лестнице и особенно кадр с катящейся коляской, отражённый в десятках фильмов, снятых разными режиссёра- ми в разных странах. У фильма было несколько музыкальных сопровождений. Из них — музыка Эдмунда Майзеля и Дмитрия Шостаковича. В СССР фильм вышел на экраны

GRAND GOTHIK 14/20 pt «Броненосец „Потёмкин“» — немой исторический художе- ственный фильм, снятый режиссёром Сергеем Эйзенштейном на первой кинофабрике «Госкино» в 1925 году. Неоднократ- но в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по итогам опросов критиков, кинорежиссёров и публики. Матросы одного из броненосцев Черноморского флота, стоящего на рейде Одессы, взбунто- вались из-за того, что их пытались накормить червивым мя- сом. Зачинщики бунта приговариваются к расстрелу. Однако во время исполнения казни остальные матросы бросаются им на выручку. Офицеров корабля выбрасывают за борт, но вдохновитель восстания матрос Вакуленчук гибнет в схват- ке. Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля. Вызван- ные правительственные войска безжалостно расстреливают

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GRAND GOTHIK WIDE 10/14 pt

«Броненосец „Потёмкин“» — немой исторический художественный фильм, снятый режиссёром Сергеем Эйзенштейном на первой кинофа- брике «Госкино» в 1925 году. Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по ито- гам опросов критиков, кинорежиссёров и публики. Матросы одного из броненосцев Черноморского флота, стоящего на рейде Одессы, взбун- товались из-за того, что их пытались накормить червивым мясом. Зачин- щики бунта приговариваются к расстрелу. Однако во время исполнения казни остальные матросы бросаются им на выручку. Офицеров корабля выбрасывают за борт, но вдохновитель восстания матрос Вакуленчук гибнет в схватке. Население Одессы стекается на похороны Вакуленчука и поддерживает команду революционного корабля. Вызванные прави- тельственные войска безжалостно расстреливают мирных жителей на знаменитой одесской лестнице. На подавление восстания направляется Черноморская эскадра, но матросы отказываются стрелять по восстав- шим, и броненосец «Потёмкин» проходит через строй кораблей. В фина- ле третьего акта фильма на мачте броненосца развевается поднятый восставшими красный флаг. Заканчивается картина кадром, на котором броненосец будто бы «выплывает из фильма» в зал. Фильм многократно становился объектом цитирования и даже кинопародий, причём в боль- шинстве случаев внимания удостаивалась сцена расстрела на Потём-

GRAND GOTHIK WIDE 14/20 pt «Броненосец „Потёмкин“» — немой исторический художественный фильм, снятый режиссёром Сер- геем Эйзенштейном на первой кинофабрике «Го- скино» в 1925 году. Неоднократно в разные годы признавался лучшим или одним из лучших фильмов всех времён и народов по итогам опросов крити- ков, кинорежиссёров и публики. Матросы одного из броненосцев Черноморского флота, стоящего на рейде Одессы, взбунтовались из-за того, что их пы- тались накормить червивым мясом. Зачинщики бун- та приговариваются к расстрелу. Однако во время исполнения казни остальные матросы бросаются им на выручку. Офицеров корабля выбрасывают за борт, но вдохновитель восстания матрос Вакулен- чук гибнет в схватке. Население Одессы стекается

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GRAND GOTHIK WIDE BOOK 15 pt

GB Pressurized container. Protect from sunlight and do not expose to

GR Δοχείο υπό πίεση. Να προφυλάσσεται από τις ακτίνες του ήλιου και

FR Ne pas percer ou brûler, même après usage. Ne pas vaporiser

DE Behältnis auch nach dem Gebrauch nicht aufbrechen oder ver-

RU Дезодорант для тела в аэрозольной упаковке. Применение:

ES Recipiente presurizado. Proteja de la luz solar y no exponga a tem-

IT Recipiente sotto pressione. Proteggere contro i raggi solari e non

PT Recipiente sob pressão. Proteger dos raios solares e não expor a

DK Beholder under tryk. Skal beskyttes mod sollys og må ikke udsæt-

NL Drukcontainer. Beschermen tegen zonlicht niet blootstellen aan

CS Držati dalje od dece. Ne nanositi dezodorans na oštećenu ili osetlji-

HU Használata közben nyílt láng használata tilos! Ne használja irritált

SE Skall skyddas mot solljus och får ej utsättas för höga temperatur-

PL Nie rozpylać nad otwartym płomieniem lub żarzącym się materia-

CZ Chraňte před dětmi. Pouze pro zevní použití. Neaplikujte na po-

TR Çocukların ulaşamayacağı yerde muhafaza ediniz. Son derece ya-

RO Nu fumaţi în timpul folosirii, nu pulverizaţi peste obiecte incandes-

BG Пазете от деца! Пазете далеч от източници на пожар. Не

HR Ne aplicirati na iritiranu kožu ili otvorene rane. Izbjegavati konta s

FI Tupakointi kielletty käytön aikana. Säilytettävä lasten ulottumatto-

LT Saugoti nuo tiesioginių saulės spindulių ir nenaudoti esant aukštai

SK Chrániť pred slnkom a nevystavovať vysokým teplotám. Nefajčiťpri

SI Hraniti izven dosega otrok. Ne pršiti v oči. Ne uporabljajte na po-

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FRANÇAIS - GRAND GOTHIK 10/14 pt

Si le Cinéma Français existe par une centaine de films chaque année, il est bien entendu que dix ou douze seulement méritent de retenir l’attention des critiques et des cinéphiles, l’attention donc de ces Cahiers. Ces dix ou douze films constituent ce que l’on a joliment appelé la Tradition de la Qualité, ils forcent par leur ambition l’admiration de la presse étrangère, défendent deux fois l’an les couleurs de la France à Cannes et à Venise où, depuis 1946, ils raflent assez régulièrement médailles, lions d’or et grands prix. Au début du parlant, le cinéma Français fut l’honnête démarquage du cinéma américain. Sous l’influence de Scarface nous faisions l’amusant Pépé le Moko. Puis le

DEUTSCH - GRAND GOTHIK 10/14 pt

Definitiv wird die Kunstleistung des Bühnenschauspielers dem Publikum durch diesen selbst in eigener Person präsentiert; dagegen wird die Kunstleistung des Filmdarstellers dem Publikum durch eine Apparatur präsentiert. Das letz- tere hat zweierlei zur Folge. Die Apparatur, die die Leistung des Filmdarstel- lers vor das Publikum bringt, ist nicht gehalten, diese Leistung als Totalität zu respektieren. Sie nimmt unter Führung des Kameramannes laufend zu dieser Leistung Stellung. Die Folge von Stellungnahmen, die der Cutter aus dem ihm abgelieferten Material komponiert, bildet den, fertig montierten Film. Er umfaßt eine gewisse Anzahl von Bewegungsmomenten, die als solche der Kamera

ESPAÑOL - GRAND GOTHIK 10/14 pt

El cine de Almodóvar cultiva un naturalismo que destruye el usual costumbris- mo burgués del cine español. Suele representar, por el contrario, una realidad marginal o del subproletariado urbano y abunda en elementos escandalosos y provocadores: policías corruptos, consumo de drogas, maltrato, prostitu- ción, niños precoces, paletos filosóficos, marujas desesperadas, homosexua- lidad desgarrada, etc., todo ello sin renunciar a su humor irreverente y sin dejar de provocar con heterodoxas escenas de sexo, como la lluvia dorada de su primer largo en 35 mm Pepi, Luci, Bom y otras chicas del montón (1980). También abundan, entre sus fuentes de inspiración, casi siempre autobio-

POLSKI - GRAND GOTHIK 10/14 pt

Ida, najnowszy film Pawła Pawlikowskiego, już po pierwszych pokazach został okrzyknięty arcydziełem. Zdominował festiwal filmowy w Gdyni i zdobył statu- etkę w Toronto. Tuż po kinowej premierze rozpoczęły się jednak dyskusje. Czy każda polska produkcja jest albo katastrofą, albo cudem? Czy nie dosyć już kinowych rozliczeń z przeszłością, udziałem Polaków w Holocauście? Od- powiedź jest prosta. Jeśli mają powstawać filmy takie jak Ida, to tej tematyki nigdy nie będzie za dużo. Aby uwiarygodnić obraz Polski lat 60., reżyser zde- cydował się na stworzenie filmu czarno-białego. I faktycznie, PRL jest tam tak ponury, jak w opowieściach rodziców i dziadków, staje się miejscem wybitnie

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ITALIANO - GRAND GOTHIK 10/14 pt

Molti film hanno fatto riferimento o si sono ispirati a La dolce vita. Tra questi film vi è Blow-Up di Michelangelo Antonioni, che come il film di Fellini assu- me qualunque significato che gli voglia dare lo spettatore. In Lost in Transla- tion - L’amore tradotto, i protagonisti guardano in tv la scena della fontana di Trevi sorseggiando sakè; la regista del film Sofia Coppola ha ammesso che La dolce vita ha avuto influenza sul suo film. Donne in amore di Ken Russell è un altro film che deve molto a Fellini. Intervista, dello stesso Fellini, si rifà a La dolce vita: in una scena ambientata a casa di Anita Ekberg, l’attrice, Fellini e Mastroianni vedono la scena della fontana di Trevi proiettata nel salotto della

PORTUGUÊS - GRAND GOTHIK 10/14 pt

O cinema baseia-se projeções públicas de imagens animadas. O cine- ma nasceu de várias inovações que vão desde o domínio fotográfico até a síntese do movimento. A esta foi atribuída como causa a persistência da visão ou «persistência retiniana», por teóricos renomados e importantes. Mas o efeito de movimento do cinema não pode ser explicado pela «persistencis retiniana». Na verdade a coisa toda acontece em nível neural, já posterior à fase da retina no proceso de percepção visual. Hugo Mustemberg, psicólogo e um dos primeiros teóricos do cinema, já negava, em 1916, a possibilidade do efeito de movimento produzido no cinea resultar de fenômenos retinianos.

SVENSKA - GRAND GOTHIK 10/14 pt

Den andra polen i Bergmans liv och verk rör de mer jordnära mänskliga re- lationerna, såväl de känslomässiga, psykologiska, ofta subtila nyanserna och spelen inom och mellan människorna – något Bergman blivit internationellt känd för, liksom för sitt känsliga, lyssnande arbete med skådespelarna – som de mer intima och ofta komplicerat sinnliga relationerna. Bergman räknas även som en av de stora bidragande förnyarna inom filmkonsten. Han har rört sig inom olika stilar från mer poetiska, episka filmer till närmast neorealistiska skildringar. Han har experimenterat med klippteknik och med drömlika former, gjort egensinniga historiska kostymfilmer och ett antal inträngande, psykolo-

CZECH - GRAND GOTHIK 10/14 pt

Československá nová vlna byla uměleckým hnutím v kině, které se vyvíjelo z dřívějšího Devětsilského hnutí třicátých let. Nespokojený s komunistickým režimem, který převzal v Československu v roce 1948, se stali žáky filmu a televizní fakulty Akademie múzických umění v Praze (také známá jako FAMU) odpůrci své doby. Jejich cílem bylo natočit filmy, „aby český lid byl kolektivně vědom toho, že jsou účastníky systému útlaku a neschopnosti, který je všech- ny brutalizoval.“ Ochranné známky hnutí jsou dlouhé neptané dialogy, tem- né a absurdní humor a odlévání neprofesionálních herců. Filmy se dotýkaly témat, která se pro starší filmaře v komunistických zemích zřídkakdy podařilo

www.parachutefonts.com 49 OTHER LANGUAGES PF Grand Gothik

DANSK - GRAND GOTHIK 10/14 pt

Carl Theodor Dreyer anses af mange som dansk films første store instruktør. Han debuterede som manuskriptforfatter i 1912 med stumfilmen Bryggerens datter. Hans første film i instruktørstolen var Præsidenten i 1919. Han lavede film i Danmark, Tyskland og Frankrig. Carl Th. Dreyer huskes i særdeleshed for mesterværkerne Jeanne d’Arcs lidelse og død, Vredens dag og Ordet. Hans popularitet i de franske filmkredse påvirkede desværre ikke andre europæi- ske producenter, der alle vendte ham ryggen efter den økonomisk katastro- fale Jeanne d’Arcs lidelse og død, som paradoksalt nok af mange anmeldere og filmhistorikere anses for at være hans fineste værk. Med Vredens dag fik

NEDERLANDS - GRAND GOTHIK 10/14 pt

Verhoevens grote doorbraak in Amerika was ook meteen zijn eerste buiten- landse project. Het was ergens een logische en noodzakelijke stap. In Neder- land kreeg hij niet de erkenning en mogelijkheden die hij verdiende en dus moest hij zijn geluk maar elders beproeven. Met Robocop liet hij de wereld zien dat men niet om hem heen kon. Zijn naam was meteen gevestigd. Ro- bocop werd een grote hit aan de kassa, en was daarnaast ook nog eens een kritisch succes. De film is qua structuur en vorm wellicht vergelijkbaar met de gemiddelde actiethriller, maar heeft hiernaast nog een satirische ondertoon, en raakt vraagstukken aan over identiteit en de menselijke natuur. Laat je niet

ROMANIAN - GRAND GOTHIK 10/14 pt

Noul val românesc este un termen-umbrelă aplicat unei serii de filme produ- se in România, recunoscute international, începand cu mijlocul anilor 2000. Primul film din aceasta serie este Trafic, film ce a castigat premiul Palme d’Or pentru Scurt Metraj la Festivalul Internațional de Film de la Cannes din 2004. O mare parte a filmelor apartinand Noului val românesc prezinta sfarsitul ani- lor 1980, spre finalul regimului totalitarian al lui Nicolae Ceaușescu, si explora teme despre libertate si adaptabilitate sub regimul comunist. Totusi, filme pre- cum Moartea domnului Lăzărescu, California Dreamin’ si Marți, după Crăciun sunt stabilite in Romania moderna si cerceteaza cum tranzitia la capitalismul

TURKISH - GRAND GOTHIK 10/14 pt

Semih Kaplanoğlu’nun ’Yumurta’yla başlayıp ‘Süt’le devam ettiği Yusuf Üçle- mesi’nin son filmi ’Bal’, dünyanın en prestijli sinema etkinliklerinden Berlin Film Festivali’nin ana yarışma bölümüne kabul edilmesiyle sinema dünyasında he- yecan yaratmıştı. Üçlemenin ilk filmi Cannes Film Festivali’nin Belirli Bir Bakış bölümünde gösterilmiş, ikinci film ’Süt’ ise Venedik Film Festivali’nde Altın As- lan için yarışmıştı. Üçlemenin ilk iki filmini Ege’de çeken Kaplanoğlu, ‘Bal’ için Karadeniz’i, Türkiye’de kara kovan denilen doğal balın en iyi yetiştiği yerlerin başında gelen Rize Çamlıhemşin’i tercih etmiş. Kaplanoğlu, Çamlıhemşin’i ter- cih etme sebebini Radikal Gazetesi’ne “Bolu’dan Toroslar’a kadar Türkiye’nin

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www.parachutefonts.com 51 SYMBOLS PF Grand Gothik

GRAND GOTHIK EXTENDED BLACK 76 pt emotional emotional emotional emotional emotional emotional emotional emotional

GRAND GOTHIK WIDE 9/14 pt

An emoticon is a pictorial representation of a facial expression using characters — usually marks, num- bers, and letters — to express a person’s feelings or mood, or as a time-saving method. The first ASCII emoticons, :-) and :-(, were written by Scott Fahlman in 1982, but emoticons actually originated on the PLATO IV computer system in 1972. As SMS and the internet became widespread in the late 1990s, emoticons became increasingly popular and were commonly used on text messages, internet forums and e-mails. Emoticons have played a significant role in com- munication through technology, and some devices and applications have provided stylized pictures that do not use text punctuation. They offer another range of “tone” and feeling through texting that portrays specific emotions through facial gestures while in the midst of text-based cyber communication.

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¢£§¨©®°´ ¶ßòóôõö ùúûüĀāà 㥹ĆćĈĉ †•™¢£§¨ ©®°´¶ßò óôõöùúû üĀāĂ㥹 ĆćĈĉ†•™

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www.parachutefonts.com 54 SYMBOLS PF Grand Gothik

GRAND GOTHIK EXTENDED ULTRA 76 pt seasonal seasonal seasonal seasonal seasonal seasonal seasonal seasonal GRAND GOTHIK WIDE 9/14 pt

Many people believe that Earth is closer to the sun in the summer and that is why it is hotter. And, likewise, they think Earth is farthest from the sun in the winter. Although this idea makes sense, it is incorrect. It is true that Earth’s orbit is not a perfect circle. It is a bit lop-sided. During part of the year, Earth is closer to the sun than at other times. However, in the Northern Hemisphere, we are having winter when Earth is closest to the sun and summer when it is farthest away! Compared with how far away the sun is, this change in Earth’s distance throughout the year does not make much difference to our weather. There is a different reason for Earth’s seasons. Earth’s axis is an imaginary pole going right through the center of Earth from “top” to “bottom.” Earth spins around this pole, making one complete turn each day. That is why we have day and night, and why every part of Earth’s surface gets some of each. Earth has seasons because its axis doesn’t stand up straight.

www.parachutefonts.com 55 SYMBOLS PF Grand Gothik

01234567 98;:= @ABCDEFG IHKJMLON PQRSTUVW YX[Z]\_^ `abcdefg ijklmnop rqsrutwv

www.parachutefonts.com 56 PF Grand Gothik é

www.parachutefonts.com 57 SYMBOLS PF Grand Gothik

GRAND GOTHIK EXTENDED BOLD 76 pt numerical numerical numerical numerical numerical numerical numerical numerical

GRAND GOTHIK WIDE 9/14 pt

A numeral is a figure, symbol, or group of figures or symbols denoting a number. A numerical digit is a single symbol (such as “2” or “5”) used alone, or in combinations (such as “25”), to represent numbers (such as the number 25) according to some positional numeral systems. The single digits (as one-digit-numerals) and their combinations (such as “25”) are the numerals of the numeral system they belong to. The name “digit” comes from the fact that the ten dig- its (Latin digiti meaning fingers)of the hands correspond to the ten symbols of the common base 10 numeral system, i.e. the decimal (ancient Latin adjective decem meaning ten) digits. A numeral system (or system of numeration) is a writing system for expressing numbers; that is, a mathematical notation for representing numbers of a given set, using digits or other symbols in a consistent manner. The same sequence of symbols may represent different numbers in different numeral systems. The most commonly used system of numerals is the Hindu–Arabic numeral system.

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ÉÑÖÜáàâä ãåçéèêëí ìîïñÉÑÖÜ áàâäãåçé èêëíìîïñ ÉÑÖÜáàâä ãåçéèêëí ìîïñÉÑÖÜ áàâäãåçé

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www.parachutefonts.comĮ60 SYMBOLS PF Grand Gothik

GRAND GOTHIK EXTENDED BLACK 76 pt directional directional directional directional directional directional directional directional GRAND GOTHIK WIDE 9/14 pt

As architectural environments become more complicated, people need visual cues such as maps, directions, and symbols to help guide them to their destinations. In these often high-stress environments, effective wayfinding systems contribute to a sense of well-being, safety, and security. In urban settings, wayfinding specialists develop signage and information systems for both pedestrians and motorists, who each have unique challenges navigating streets and roadways. These information systems help people develop “mental maps” of the terrain and simplify their routes to the extent possible. Wayfinding systems can help reduce their stress by providing easy-to-follow signage and legible direc- tions to their destinations. In some settings, reliance on text-based messaging is minimized and systems rely heavily on non-text cues such as colors and symbols.

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Ĭ ĭ Į į İ ı IJ ij Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ ŏ Ő ő ř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

www.parachutefonts.com 62 PF Grand Gothik 

www.parachutefonts.com 63 SUPPORTED LANGUAGES PF Grand Gothik

SCRIPTS PF Grand Gothik supports over 100 languages simultaneously, integrating within the same font Latin, Greek, Cyrillic, Eastern European, Baltic and Turkish scripts. For a full character set of this typeface (including all special characters), go to the character set section.

1252 Latin 1 1253 Greek 1250 Eastern European 1251 Cyrillic 1254 Turkish 1257 Baltic

LANGUAGES Afrikaans Galician Portuguese Albanian Gaelic Rhaeto-Romance Alsatian German Romansh Aranese Greenlandic Romanian Azeri (Latin) Greek Russian Azeri (Cyrillic) Hungarian Sami (Inari) Basque Icelandic Sami (Lule) Belarussian Indonesian Sami (Skolt) Bislama Irish Sami (Southern) Bosnian Italian Scottish Breton Kazakh (Cyrillic) Serbian Bulgarian Kurdish (Latin) Slovak Catalan Kyrgyz Slovenian Chamorro Ladin Sorbian Croatian Lithuanian Spanish Czech Latin Swahili Danish Latvian Swedish Dutch Luxembourgish Tatar English Macedonian (FYROM) Tagalog Estonian Moldovian Turkish Faroese Mongolian Ukrainian Finnish Malay Uzbek (Latin) Flemish ManxGaelic Uzbek (Cyrillic) Franco-Provencal Norwegian (Bokmål) Walloon French Norwegian (Nynorsk) Welsh Frisian Occitan Friulian Polish

www.parachutefonts.com 64 BASIC CHARACTER SET (WITH ALTERNATES) PF Grand Gothik

LATIN A B B C D E E F F G G G H H I J K K L M M N O P P Q Q R R S T U V W X Y Z a a a b b c d d e f g h h i j k k k l l m n o p p q q r s t t t u v w x y y z ß

GREEK Α Β Β Γ Δ Ε Ε Ζ Η Η Θ Θ Ι Κ Κ Λ Μ Ν Ξ Ξ Ο Π Ρ Ρ Σ Τ Υ Φ Χ Ψ Ω α α β β γ γ δ ε ζ η θ ι κ κ λ μ µ ν ξ ο π ρ ρ σ ς τ υ υ φ φ χ ψ ψ ω

CYRILLIC А Б Б В В Г Д Е Е Ё Ё Ж Ж З И Й К К Л М Н Н О П Р Р С Т У У Ф Х Ц Ч Ш Щ Ъ Ъ Ы Ы Ь Ь Э Э Ю Ю Я Я а а а б в г д е ё ж з и й к л м н о п р р с т у у ф ф х ц ч ш щ ъ ы ь э ю я

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ACCENTED LATIN À Á Â Ä Ã Å Ā Ă Ą Æ Æ Ǽ Ǽ Ć Ĉ Ċ Č Ç Ď Đ È È É É Ê Ê Ë Ë Ē Ē Ĕ Ĕ Ė Ė Ę Ę Ě Ě Ð Ĝ Ĝ Ĝ Ğ Ğ Ğ Ġ Ġ Ġ Ģ Ģ Ģ Ĥ Ĥ Ħ Ì Í Î Ï Ĩ Ī Ĭ Į İ IJ Ĵ Ķ Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ň Ñ Ņ Ŋ Ò Ó Ô Ö Õ Ō Ŏ Ő Ø Ǿ Œ Œ Ŕ Ŕ Ŗ Ŗ Ř Ř Š Ś Ŝ Ş Ș ẞ Ţ Ť Ŧ Ù Ú Û Ü Ũ Ū Ŭ Ů Ű Ų Ẁ Ẃ Ŵ Ẅ Ý Ỳ Ÿ Ŷ Ž Ź Ż Þ à à à á á á â â â ä ä ä ã ã ã å å å ā ā ā ă ă ă ą ą ą æ æ ǽ ǽ ć ĉ ċ č ç ď ď đ đ ð è é ê ë ē ĕ ė ě ę ĝ ğ ġ ģ ĥ ĥ ħ ħ ì í î ï î ĩ ī ĭ į  ı ij ĵ ķ ķ ķ ĸ ĺ ĺ ļ ļ ľ ľ ŀ ŀ ł ł ń ň ñ ņ ʼn ŋ ò ó ô ö õ ō ŏ ő ø ǿ œ ŕ ŗ ř ś š ŝ ş ș ß ţ ţ ţ ť ť ť ŧ ŧ ŧ ù ú û ü ũ ū ŭ ů ű ų ẁ ẃ ŵ ẅ ý ý ỳ ỳ ŷ ŷ ÿ ÿ ź ž ż þ þ ə

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GREEK Ά Έ Έ Ή Ή Ί Ό Ώ Ϊ Ϋ ά έ ή ί ό ώ ϊ ϋ ϋ ΐ ΰ ΰ

CYRILLIC Ђ Ѓ Є Є Ѕ І Ї Ј Љ Љ Њ Њ Ћ Ќ Ќ Ў Ў Ґ Џ Ѣ Ѳ Ѳ Ҍ Ғ Ғ Җ Җ Қ Қ Ҝ Ҝ Ҡ Ҡ Ң Ң Ұ Ҳ Ҷ Ҹ Ә Ө Ө ђ ђ ѓ є ѕ і ї ј љ њ ћ ћ ќ ў ў ґ џ ѣ ѳ ҍ ғ җ қ ҝ ҡ ң ұ ҳ ҷ ҹ ә ө

LIGATURES ft ff fi fl ffi l fj ffj tt  뫮

PROPORTIONAL LINING (DEFAULT NUMERALS) 1234567890

TABULAR LINING 1234567890

PROPORTIONAL OLDSTYLE 1234567890

TABULAR OLDSTYLE 1234567890

FRACTIONS ¼ ½ ¾ % ‰

CURRENCIES $ € £ ¥ ₴ � ₹ ₼ ₿

www.parachutefonts.com 67 ADDITIONAL CHARACTER SET PF Grand Gothik

PUNCTUATION ! ? . , : ; ¡ ¿ * ( / ) [ \ ] { | ¦ } « » ‹ › “ ” ‘ ’ ‚ „ . , … • - – — † ‡ § ¶ ' "

MISCELLANEOUS © ℗ ® ™ #  ℃ ℉ № ª º Å Ω ¹ ² ³

MATH SYMBOLS π Δ ℓ ^ ℮ − + ± ¬ × ÷ < = > ~

OTHER SYMBOLS Ŕ ŕ Ŗ   ■ □ ☑ ☒ ✓ ‣ 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ Ä Å Ç ¢ £ § ¨ © ® ° ´ ¶ ß ò ó ô õ ö ù ú û ü Ā ā Ă ă Ą ą Ć ć Ĉ ĉ † • ™ Ö Ü á à â ä ã å ç é è ê ë í ì î ï ñ É Ñ Ĭ ĭ Į į İ ı IJ ij Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ ľ Ŀ Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī ŀ Ł ł Ń ń Ņ ņ Ň ň ʼn ŗ Ř Ŋ ŋ Ō ō Ŏ ŏ Őőř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ Ū

www.parachutefonts.com 68 OPENTYPE FEATURES PF Grand Gothik

STYLISTIC SET 1 (SS01) The first variation retains the squared-off stems of the default version, while letter “a” LATIN and “G” lose their spur, the curved terminal of “y” becomes straight and the crotch of GREEK “M” sharp-pointed, altogether imbuing the typeface with a corporate texture. CYRILLIC a ‣ a

AVAILABLE VARIANTS G Ĝ Ğ Ġ Ģ M Q a à á â ã ä å ā ă ą ª y ý ÿ ŷ α ά У Ў а у ў

SAMPLE SUBSTITUTIONS diplomat ‣ diplomat agency ‣ agency Gearbox ‣ Gearbox Master ‣ Master Quote ‣ Quote

Τράπεζα ‣ Τράπεζα GREEK

Секунда ‣ Секунда CYRILLIC

www.parachutefonts.com 69 OPENTYPE FEATURES PF Grand Gothik

STYLISTIC SET 2 (SS02) The second variation is more eclectic, exchanging the squared-off stems for slanted LATIN ones, with the ascenders and descenders for letters such as “b, d, h, k, l, p, q, t” ulti- GREEK mately becoming more angular. The same applies to similar Greek and Cyrillic letter- CYRILLIC forms. k ‣ k

AVAILABLE VARIANTS b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p þ q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ

SAMPLE SUBSTITUTIONS diplomat ‣ diplomat

φωτισμός ‣ φωτισμός GREEK

факс ‣ факс CYRILLIC

www.parachutefonts.com 70 OPENTYPE FEATURES PF Grand Gothik

STYLISTIC SET 3 (SS03) The third variation is vibrant, uncalculated and constitutes a nod to early 20th century LATIN European Grotesque styles. The middle stroke on letters such as E, F and H sits higher, GREEK pushing the design of other characters such as B, K, P and R, in the same design direc- CYRILLIC tion. An alternate version of letter “a” was designed to reflect that era, along with alter- nate forms for lowercase “t”. The same applies to similar Greek and Cyrillic letterforms. E ‣ E AVAILABLE VARIANTS B E È É Ê Ë Ē Ĕ Ė Ę Ě Æ Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a à á â ã ä å æ ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а

SAMPLE SUBSTITUTIONS SHORE ‣ SHORE Break ‣ Break Grande ‣ Grande

ΑΙΘΡΙΟ ‣ ΑΙΘΡΙΟ GREEK Ειδικός ‣ Ειδικός

ЖЕНИХ ‣ ЖЕНИХ CYRILLIC

www.parachutefonts.com 71 OPENTYPE FEATURES PF Grand Gothik

STYLISTIC ALTERNATES Replaces individual glyphs with several alternate forms purely for aesthetic reasons. Highlight the standard you want to change and select the option ‘stylistic alter- nates’ or ‘alternates for selection’ from the program’s glyphs palette. From the alter- nate glyphs that appear select one and replace. Whereas the stylistic sets 01, 02 and 03 replace a whole set of glyphs, the stylistic alternates feature replaces individual glyphs. These can be the same or different from the ones that are part of the stylistic sets. t ‣ t AVAILABLE VARIANTS t ţ ť ŧ ț B E È É Ê Ë Ē Ĕ Ė Ę Ě Æ Ǽ F G Ĝ Ğ Ġ Ģ H Ĥ K Ķ Œ P R Ŕ Ŗ Ř a à á â ã ä å æ ǽ ā ă ą k ķ Β Ε Η Θ Κ Ξ Ρ κ Ѐ Ё Є Љ Њ К Ќ Б В Е Ж Н Р Ъ Ы Ь Э Ю Я Ѳ Ғ Җ Қ Ҝ Ҡ Ң Ө а b d ď đ h ĥ ħ l ĺ ļ ľ ŀ ł p þ q t ţ ť ŧ ț β γ ρ υ ύ ϋ ΰ φ ψ р ф ђ ћ Ѣ Ҍ һ G Ĝ Ğ Ġ Ģ M Q a à á â ã ä å ā ă ą ª y ý ÿ ŷ α ά У Ў а у ў

www.parachutefonts.com 72 OPENTYPE FEATURES PF Grand Gothik LIGATURES ffl ‣ ffl

AVAILABLE VARIANTS ff fi fl ffi l ft fj ffj tt  뫮 LOCALIZED FORMS б ‣ δ

AVAILABLE VARIANTS δ i İ Ș Ș ș

PROPORTIONAL LINING (DEFAULT) 123

AVAILABLE FIGURES 1234567890 PROPORTIONAL OLDSTYLE 123

AVAILABLE FIGURES 1234567890

www.parachutefonts.com 73 OPENTYPE FEATURES PF Grand Gothik TABULAR LINING 123

AVAILABLE FIGURES 1234567890 TABULAR OLDSTYLE 123

AVAILABLE FIGURES 1234567890 ORNAMENTS/SYMBOLS húì

AVAILABLE SYMBOLS 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ Ä Å Ç ¢ £ § ¨ © ® ° ´ ¶ ß ò ó ô õ ö ù ú û ü Ā ā Ă ă Ą ą Ć ć Ĉ ĉ † • ™ Ö Ü á à â ä ã å ç é è ê ë í ì î ï ñ É   Č č Ď ď Đ đ Ē ē Ĕ ĕ Ė ė Ę ę Ě ě Ĝ ĝ Ğ ğ Ġ ġ Ģ ģ Ĥ ĥ Ħ ħ Ĩ ĩ Ī ī Ĭ ĭ Į į İ ı IJ ij Ĵ ĵ Ķ ķ ĸ Ĺ ĺ Ļ ļ Ľ ľ Ŀ ŀ Ł ł Ń ń Ņ ņ Ň ň ŗ Ř ř Ś ś Ŝ ŝ Ş ş Ţ ţ Ť ť Ŧ ŧ Ũ ũ ŪŊ ŋ ō ŏ Ő ő Ŕ ŕ Ŗ

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THE FOUNDRY Parachute® is an acclaimed European type foundry based in Athens and London. Apart from its commercial library of typefaces, Parachute® specialises in multiscript bespoke and branding. For over a decade, Parachute has provided custom and corporate font services to high profile international customers such as Bank of America, European Commission, UEFA, Samsung, IKEA, Interbrand, National Geographic, Financial Times, National Bank of Greece, Alpha Bank and many others. All Parachute have been designed to offer multilingual support for major scripts such as Latin, Greek and Cyrillic. Latest entries support Arabic as well. For an updated profile please visit our website.

MAJOR CLIENTS ABC Network European Commission McGraw-Hill Random House Adidas Group Financial Times MetaDesign Russell Corporation American Express Fox Network MIT Saatchi & Saatchi AOL Corp Gap Inc MTV Networks Samsung Bank of America Grey Group National Geographic Stanford University BBC Harrods NBA TBWA CBC Radio & Harper Collins Nestlé Texas Rangers Television Hasbro Nike The Brand Union CBS Network Ikea Ogilvy & Mather Time Inc Coca Cola Company Intel Oprah Winfrey Tommy Hilfinger Columbia University Interbrand Network Turner Broadcasting Converse JWT Penguin Group UEFA Cornell University Leo Burnett Pentagram Unilever Dentsu America L’Oréal PepsiCo UCLA Deutsche Welle Macmillan Princeton University Victoria’s Secret Disney Marriott Hotels & Procter & Gamble Virgin Dolby Laboratories Resorts Publicis Vodafone Electronic Arts McCann Erickson Qatar Museums Warner Bros. ESPN McGill University Authority

THE DESIGNER Panos Vassiliou is a type designer, Head of Creative and founder of Parachute®, an independent type foundry and branding studio focusing on bespoke type design. He started his design career creating artwork for community and university groups as well as concert venues for local Toronto bands. Early on, as a student at the university, he developed an interest in letterpress and type design while working as an apprentice at a printing house in Toronto. Panos is a graduate of the University of Toronto, Canada with a major in Applied Science and Engineering. Following his UofT graduation, he studied Graphic Communications at Ryerson University. In his early transition years, he got involved with a theatre company, founded a small design studio and pursued an academic career as a lecturer at George Brown College in Toronto. A few years later, after moving to Athens, he became the Editorial Director of the iconic Status magazine before starting his own publishing company. At the end, his obsession with typography was overpower- ing enough to turn his passion into a profession. He has collaborated with advertising and branding agencies in Europe, North America, Latin America and Asia to design typefaces for companies and organizations such as Bank of America, European Commission, UEFA, Samsung, Ikea, Financial Times, National Geographic. His work as a type designer has spawned numerous brand-defining typefaces over the past 15 years. Panos has received accolades from European Design Awards, German Design Awards, Communication Arts, HiiiBrand, Creative Review, Granshan Awards to name a few, including a Grand Prix award from Red Dot. Panos has been on the board of directors for cultural organizations, has lectured across Europe on branding, design and typography while he regularly serves on the judging panel for international competitions. He is also the founder of Typeroom, an online platform for the typophile generation, whose physical space has turned into an iconic creative hub in the historic centre of Athens for designers, advertisers, students and professionals alike wishing to explore the art of typography. His main interest today is the psychology behind type design and its on successful brands. When not thinking type, he often hits the road on his bobber or sets sail for the Greek islands.

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BESPOKE FOR In an emerging global market, all major companies invest heavily on corporate branding and LIVING BRANDS design as a means of differentiating themselves from competitors. Acustom corporate typeface is equally important as it greatly influences the unconscious perception of the anticipated target audi- ence. It reflects the essence of the brand, creates a consistent visual identity which strengthens the product and projects an attractive and easily perceived personality. At Parachute we offer original custom design, multilingual support and advanced typographic expertise. For over a decade, we have provided custom corporate font services to some of the most innovative designers and com- panies around the world. Our clientele includes advertising and branding agencies, broadcasting corporations, publishing houses, financial institutions and multinational corporations such as:

www.parachutefonts.com 76 AWARDS PF Grand Gothik

RECENT AWARDS German Design Awards 2017 | Special Award Bague Type System

Communication Arts Typography Competition 2016 | Award Winner Adamant Sans Pro

Communication Arts Typography Competition 2015 | Award of Excellence Das Grotesk Pro

Granshan Awards 2014 | Award Winner Adamant Sans Pro

Hiiibrand Typography Competition 2014 | Bronze Award Bague Sans Pro

Hiiibrand Typography Competition 2014 | Merit Award Occula

European Design Awards 2014 | Bronze Bague Pro

German Design Awards 2014 | Nominee Regal Pro

Hiiibrand Awards 2013 | Silver Award Regal Pro

Red dot Design Awards 2012 | Grand Prix Winner Regal Pro

Communication Arts Typography Competition 2012 | Award of Excellence Regal Pro

German Design Awards 2012 | Nominee Encore Sans Pro

Creative Review Type Annual 2011 | Winner Regal Pro

European Design Awards 2011 | Finalist Regal Pro

EBGE Awards 2011 | Finalist Regal Pro

Granshan Awards 2010 | Excellence Award Regal Pro

Granshan Awards 2010 | Excellence Award Champion Script Pro

Granshan Awards 2010 | Excellence Award Adamant Pro

Granshan Awards 2010 | Excellence Award Encore Sans Pro

European Design Awards 2010 | Silver Winner Encore Sans Pro

International Type Design Competition 2009 | Excellence Award Centro Pro

International Type Design Competition 2009 | Excellence Award Champion Script Pro

International Type Design Competition 2009 | Excellence Award Goudy Pro and Goudy Ornaments

European Design Awards 2008 | Gold Winner Centro Pro

www.parachutefonts.com 77 Parachute® 14 Taki Street, Athens 10554 Greece | T: +30 210 80 18 100 71-75 Shelton Street, London WC2H 9JQ United Kingdom | T: +44 20 3608 3024 [email protected] | www.parachutefonts.com

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Grand Gothik is a trademark of Parachute Typefoundry.