Zeitung micro & macro type c Zeitung comes with 8 weights. Or unlimited!

zeitung www.underware.nl 2 These 8 weights, from Thin to Black, offer many different voices

zeitung www.underware.nl page 3 Zeitung weights

1 Ztng  Ztng  Thin

2 Ztng  Ztng  Extralight

3 Ztng  Ztng  Light

4 Ztng  Ztng  Regular

 ­€5 Ztng  Ztng  Semibold

6 ­€ Ztng  Ztng  Bold

 ­€7 Ztng  Ztng  Extrabold

‚ƒ8 Ztng  Ztng  Black Standard styles | 8 weights | Roman & Italic |

zeitung www.underware.nl page 4 Zeitung is a sans family which also works well in small sizes on screen.

First of all: Zeitung is a sans serif made ac- cording to contemporary standards: 8 weights, romans and italics, all equipped with small caps. Lots of OpenType features, like uppercase or 5 figure styles to make sure any of your mathematical or financial charts, tables and diagrams look cool. Did we mention the extensive Latin Plus language support already? Now we did.

Zeitung’s typographic palette focuses on utility and legibility, but in the farthest corners you’ll discover a rich array of flavours: punchy black weights, fashionable thin styles, carefully hand crafted true italics, distinct small caps.

But Zeitung has more to offer. Its optical sizes offer the best style for each size of your text. Next to that: the lightest weights also func- tion as grades, because they share the same metrics. This can be very handy for selecting the optimal weight for your specific situation, especially on screens or when type is printed by a newspaper press.

zeitung www.underware.nl page 5 world news Wife shows her husband what he’s been talking about in his sleep for the last 13 years zeitung thin

zeitung www.underware.nl page 6 nonsense 5 reasons doughnut walls are this year’s best wedding trend

zeitung black italic small caps

zeitung www.underware.nl page 7 zeitung www.underware.nl page 8 lifestyle The Best Alarm Clock Ever Brews Your Morning Coffee

zeitung semibold italic

zeitung www.underware.nl page 9 technology Watch Robot Builder Construct House In Two Days

zeitung bold

zeitung www.underware.nl page 10 zeitung www.underware.nl page 11 entertainment Road Rage Driver & Man with Huge Head Mask Square off in Bizarre Fight zeitung black italic

zeitung www.underware.nl page 12 mind-blowing 100 Images That Will Restore Your Faith In Humanity

zeitung regular small caps

zeitung www.underware.nl page 13 Advertisement Byline Classied Direct Editorial Feature Gutter Headline Identication Journalism Kill Line Makeup News Oset Press Question Release Source Teaser Unblock Voice Wire Xerox Yellow Zeitungiii zeitung www.underware.nl page 14 social media If you’re worried about fake news in your timeline, just read a newspaper.

zeitung extralight

zeitung www.underware.nl page 15 3 weeks Special offer for €15,– asssd

Published in ªª¬ªª§ Den Haag Helsinki & €2,50 Amsterdam Number 28034 ¨©ª«¨© Distribution +31-(0)70 42 78 115 § Back volumes: www.underware.nl Customer Services: [email protected] Zeitung        1999 Thursday 17 November 2016 ‘Good news is everywhere’ Zzz Zzz Zzz ▶Grades for better control ▶Optical sizes ▶Relax, you can Flex

HELSINKI ➽ Good news! Underware large text in print to small type on released a new : Zeitung. And screens. The most demanding users, this is good news for all kinds of the pioneers, the ultras, the geeks, people. Type lovers will have their and all those others who don’t take day made when they look at that things for granted, will be happy to lowercase e in the Black weight, and meet and greet Zeitung Flex™. With Web sounds will be happy there is a new style to its almost endless amount of bring their message across. Design- weights, Zeitung Flex™ takes you nice, but looks awful ers will appreciate the versatility of anywhere between Thin and Black. How to recognise poor web typogra- How about impressing your friends this extensive sans serif font family Either in case only one, but exactly phy? Why is it that micro-typogra- in David Copperºeld-style? Observe and its thorough execution, and all that speciºc weight is needed, or phy on the Internet lags centuries the way they read something on it’s features. If 8 weights and 5 when all weights should play a behind? What is the connection be- their phone or PC. It’s highly likely ºgure styles are not enough, then whole new game together. This tween text lines and Laurel and that they lean forward to the screen, maybe optical sizes or grades will game can be played not just some- Hardy? Why is ac- with furrowed brows, visibly trying meet the demands. Zeitung will help where in the future, but already tually a misleading designation? This to read what’s on there. Make sure to bring your message across in today, on everybody’s computer. Designers say that users should demand more from their . essay by designer Bas you can’t see the screen. Close your many di»erent circumstances, from And that’s good news for all of us! Jacobs tells in a nutshell what de- eyes and shake your hair, wave your zeitung www.underware.nl page 16 Zeitung Flex Zeitung Flex™ allows you to select any weight in between the skinny Thin and roasty Black style. Zeitung Flex™ can be applied on the web, but also Zeitung Flex™ in desktop environments, and comes with some smart tools to help you out.

Smoothly blending from thin to black, differences in weight of adjectent letters are hardly noticable. It’s like stealing one cookie from a full biscuit tin, nobody will notice if there is one cookie less. Only when the tin is half empty… After settling on the size of the letters, arranging type is what it all comes down to. Arranging type cannot be over-estimated. How many letters on one line? is not a matter of fancy, eye-catching headlines. Because headlines are largely responsible for the identity, they usually receive much consideration. Still, the typeface of the body copy – – is crucial to whether a text gets read. A consistent rhythm is one of the most important aspects of a typeface. The typographer has to create a regular, bal- anced look. But even the most balanced become unruly when nobody pays attention to microtypography. Two highly important elements in microtypography are breaks, and alignment. These two go hand in hand like Laurel and Hardy, whom we’ll come back to later. Breaks and alignment are part of the layout and spacing of text, which used to be called ‘type setting’. Type setting used to be a profession that took years of schooling. On the web it’s hardly a point of interest, with the excuse that text is a dynamic thing and therefore impossible to keep complete control over. So after five centuries of perfecting and enhancing typography, we seem to be right back where we started. For readers, visiting websites is hard work. Tiny letters, extremely long lines, typefaces that are unreadable on small screens with low resolution: considering the seemingly endless digital possibilities one would expect elegant and subtle typog- raphy, but more often than not one finds the opposite. The typographic reality on the web is in a sorry state. Usually, are more reader-friendly than newspapers or magazines. Because most novels are set in one type of layout, their appear more orderly, and the absence of distraction makes absorbing their content easier. But there are a few other significant differences between books and papers (or magazines). One: . Count the number of characters on a newspaper line, and you probably get to around 30. In magazines, lines will be about 40 characters long. The line length in a novel, on the other hand, is twice as long; lines in books are usually 60 to 70 characters long. Most research into readability doesn’t give any new information, but one conclusion on line length always pops up: a line length of between 55 and 70 characters seems to enable the average reader read fast and with ease. With more characters per line, the concentration span starts wavering towards the end of the line. With longer lines, it’s also more complicated to find the beginning of the next line; the reader’s eye easily jumps to lines above or below. Scanning the beginnings of up to five lines, it’s trying to reattach to the right line to continue reading the text. This interrupts the reading rhythm and takes time and energy. To establish optimum readability, a text-line needs 55-70 characters. If counting characters is too much trouble for you, make sure your lines are about ten to twelve words long. There is an abundance of examples of crappy web typography. Just check out the website of your local paper. Fat chance it won’t live up to the standard set by Aldus Manutius – who printed his books 500 years ago. Typographically they are a sight for sore eyes. A local paper crams its lines with words, usually in a suggesting the programmer simply put his database online. The sky may be the technical limit in this database environment, but comfortable interaction is nowhere to be found, let alone a pleasant reading experience. And don’t even think about visiting this website on your phone. Another striking example is Wikipedia: one of the 50 busiest websites in the world

zeitung www.underware.nl page 18 In Boston in 1690, Benjamin Harris published Publick Occurrences Both Forreign and Domestick. Thi newspaper in the American colonies even though only one edition was published before the paper w government. In 1704, the governor allowed The Boston News-Letter to be published and it became t published newspaper in the colonies. Soon after, weekly papers began publishing in New York and P newspapers followed the British format and were usually four pages long. They mostly carried news depended on the editor’s interests. In 1783, the Pennsylvania Evening Post became the first America published the Halifax Gazette, which claims to be “Canada’s first newspaper.” However, its official d is a government publication for legal notices and proclamations rather than a proper newspaper; In 1 was first printed 21 June 1764 and remains the oldest continuously published newspaper in North A Chronicle-Telegraph. It is currently published as an English-language weekly from its offices at 1040 In 1808, the Gazeta do Rio de Janeiro had his first edition, printed in devices brought from England, for the government of the United Kingdom of Portugal, Brazil and the Algarves since it was produce of the Portuguese crown. In 1821, after the ending of private newspaper circulation ban, appears the publication, Diário do Rio de Janeirothough there it was already the Correio Braziliense, published b the same time of the Gazeta, but from London and with a strong political and critical ideas, aiming t faults. The first newspaper in Peru was El Peruano, established in October 1825 and still published t changes. By the early 19th century, many cities in Europe, as well as North and South America, publ publications though not all of them developed in the same way; content was vastly shaped by regio Advances in technology related to the Industrial Revolution enabled newspapers to become circulated means of communication. In 1814, The Times (London) acquired a printing press capable per hour. Soon, it was adapted to print on both sides of a page at once. This innovation made newsp available to a larger part of the population. In 1830, the first penny press newspaper came to the ma Boston Transcript. Penny press papers cost about one sixth the price of other newspapers and appea In France, Émile de Girardin started “La Presse” in 1836, introducing cheap, advertising-supported da August Zang, an Austrian who knew Girardin in Paris, returned to Vienna to introduce the same met The first newspaper in India was circulated in 1780 under the editorship of James Augustus Hickey. N Gazette , it mainly printed the latest gossip on the British expatriate population in India. On the sam Udant Martand (The Rising Sun), the first Hindi-language newspaper published in India, started from published every Tuesday by Pt. Jugal Kishore Shukla. Maulawi Muhammad Baqir in 1836 found an in zeitung www.underware.nl page 19 first Urdu-language newspaper the Delhi Urdu Akhbar. India’s press in the 1840s was a motley collec daily or weekly sheets printed on rickety presses. Few extended beyond their small communities and unite the many castes, tribes, and regional subcultures of India. The Anglo-Indian papers promoted In Boston in 1690, Benjamin Harris published Publick Occurrences Both Forreign and Domestick. Thi newspaper in the American colonies even though only one edition was published before the paper w government. In 1704, the governor allowed The Boston News-Letter to be published and it became t published newspaper in the colonies. Soon after, weekly papers began publishing in New York and P newspapers followed the British format and were usually four pages long. They mostly carried news depended on the editor’s interests. In 1783, the Pennsylvania Evening Post became the first America published the Halifax Gazette, which claims to be “Canada’s first newspaper.” However, its official d is a government publication for legal notices and proclamations rather than a proper newspaper; In 1 was first printed 21 June 1764 and remains the oldest continuously published newspaper in North A Chronicle-Telegraph. It is currently published as an English-language weekly from its offices at 1040 In 1808, the Gazeta do Rio de Janeiro had his first edition, printed in devicews brought from England, for the government of the United Kingdom of Portugal, Brazil and the Algarves since it was produce of the Portuguese crown. In 1821, after the ending of private newspaper circulation ban, appears the publication, Diário do Rio de Janeirothough there it was already the Correio Braziliense, published b the same time of the Gazeta, but from London and with a strong political and critical ideas, aiming t faults. The first newspaper in Peru was El Peruano, established in October 1825 and still published t changes. By the early 19th century, many cities in Europe, as well as North and South America, publ publications though not all of them developed in the same way; content was vastly shaped by regio Advances in printing technology related to the Industrial Revolution enabled newspapers to become circulated means of communication. In 1814, The Times (London) acquired a printing press capable per hour. Soon, it was adapted to print on both sides of a page at once. This innovation made newsp available to a larger part of the population. In 1830, the first penny press newspaper came to the ma Boston Transcript. Penny press papers cost about one sixth the price of other newspapers and appea In France, Émile de Girardin started “La Presse” in 1836, introducing cheap, advertising-supported da August Zang, an Austrian who knew Girardin in Paris, returned to Vienna to introduce the same met The first newspaper in India was circulated in 1780 under the editorship of James Augustus Hickey. N Gazette , it mainly printed the latest gossip on the British expatriate population in India. On the sam Udant Martand (The Rising Sun), the first Hindi-language newspaper published in India, started from published every Tuesday by Pt. Jugal Kishore Shukla. Maulawi Muhammad Baqir in 1836 found an in zeitung www.underware.nl page 20 first Urdu-language newspaper the Delhi Urdu Akhbar. India’s press in the 1840s was a motley collec daily or weekly sheets printed on rickety presses. Few extended beyond their small communities and unite the many castes, tribes, and regional subcultures of India. The Anglo-Indian papers promoted The two most important steps to ergonomically sound web-typography are choosing the right typeface, and applying it carefully. Typefaces for long passages of digital text have to answer to largely the same demands as typefaces for books. A typeface must have low contrast to be legible. Regular spacing is important, and a letter that has a wide appearance rather than a narrow one. Also, we’re accustomed to a decent x-height, so please honour that convention. Once your typeface answers to these demands, you’re on your way. So far everything is familiar, these conditions have been applied to letters for long stretches of text for centuries. Typefaces that were appreciated four centuries ago still belong to the most legible ones. It follows that typefaces based on centuries old designs function quite well as web fonts in the 21st century. Brand new typefaces don’t automatically function any better on the screen than fonts based on very old examples. Yet some characteristics are of specific importance for web fonts. Because websites occasionally get read on low-resolution screens, fussy details must be left out. Suitable fonts have open shapes and large openings in letters like a lower- case ‘c’. If superfluous details must be left out, the font probably results from a strong pen stroke, as opposed to a flattened, narrow pen stroke, and will have sturdy connections between two strokes, for instance in a lower-case ‘n’. With all this in mind, type based on fine lines, like Bodoni or , are less suitable for screens than type with stronger strokes, like Garamond or Gill Sans. The greyscale of a text is determined by the weight of the typeface. Comparisons of the Regular (the standard weight) of several typefaces show large differences. A text set in one typeface can look quite bold, whereas the Regular of another typeface can look light. A text set in very light type means uncomfortable reading. A reading type needs body in its general appearance, a degree of boldness. The design is not the only factor deciding on how bold letters appear on screen; other factors are the or the browser, local settings on the desktop computer, and the hinting provided with the typeface. When deciding on a typeface for body copy, all of these features need to be tested in different digital surroundings and browsers because they have a huge influence on readability. Looking at a picture on the Internet (jpeg), a PDF or a printed example is not enough, it’s essential that letters for body copy get tested in their final surrounding(s) before making a definitive choice. This means building several versions of a website, each in a different typeface. Study these versions carefully in different browsers and operating systems before deciding on which font works best. One pixel is as important for sophisticated typography as the look of an entire webpage. Web typography is relatively new. During its early days, designers often used a sans serif typeface for body copy. Sans serifs contain less zeitung www.underware.nl page 21 detail than serifs, and for this reason they are more legible in low resolution. Nowadays, the quality of The two most important steps to ergonomically sound web-typography are choosing the right typeface, and applying it carefully. Typefaces for long passages of digital text have to answer to largely the same demands as typefaces for books. A typeface must have low contrast to be legible. Regular spacing is important, and a letter that has a wide appearance rather than a narrow one. Also, we’re accustomed to a decent x-height, so please honour that convention. Once your typeface answers to these demands, you’re on your way. So far everything is familiar, these conditions have been applied to letters for long stretches of text for centuries. Typefaces that were appreciated four centuries ago still belong to the most legible ones. It follows that typefaces based on centuries old designs function quite well as web fonts in the 21st century. Brand new typefaces don’t automatically function any better on the screen than fonts based on very old examples. Yet some characteristics are of specific importance for web fonts. Because websites occasionally get read on low-resolution screens, fussy details must be left out. Suitable fonts have open shapes and large openings in letters like a lower- case ‘c’. If superfluous details must be left out, the font probably results from a strong pen stroke, as opposed to a flattened, narrow pen stroke, and will have sturdy connections between two strokes, for instance in a lower-case ‘n’. With all this in mind, type based on fine lines, like Bodoni or Helvetica, are less suitable for screens than type with stronger strokes, like Garamond or Gill Sans. The greyscale of a text is determined by the weight of the typeface. Comparisons of the Regular (the standard weight) of several typefaces show large differences. A text set in one typeface can look quite bold, whereas the Regular of another typeface can look light. A text set in very light type means uncomfortable reading. A reading type needs body in its general appearance, a degree of boldness. The design is not the only factor deciding on how bold letters appear on screen; other factors are the operating system or the browser, local settings on the desktop computer, and the hinting provided with the typeface. When deciding on a typeface for body copy, all of these features need to be tested in different digital surroundings and browsers because they have a huge influence on readability. Looking at a picture on the Internet (jpeg), a PDF or a printed example is not enough, it’s essential that letters for body copy get tested in their final surrounding(s) before making a definitive choice. This means building several versions of a website, each in a different typeface. Study these versions carefully in different browsers and operating systems before deciding on which font works best. One pixel is as important for sophisticated typography as the look of an entire webpage. Web typography is relatively new. During its early days, designers often used a sans serif typeface for body copy. Sans serifs contain less zeitung www.underware.nl page 22 detail than serifs, and for this reason they are more legible in low resolution. 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zeitung www.underware.nl page 23 Zeitung wanna know more? c PUBLISHER SECTIONS   HEADLINE COPYRIGHT  - Quarterfold   Standards Quarterfold   Standards COLD TYPE SYNDICATE    LOGOTYPE DEADLINE  Quick read Proofreader   Proofreader Quick read    REGISTERS MASTHEAD    Home page Newsstand     COLUMNS MAKE-UP   COVERAGE PUBLISHER    Newsstand Home page    Jump story Hard News    CAPTIONS FEATURES   PUBLISHER CAPTIONS   Storyboard Newsprint   Hard News Jump story   REPORTERS LOGOTYPE    Of course,Attribution Zeitung offers everything Broadsheet   REPORTER REGISTERS   a contemporary sans serif demands. Eight weights, from Thin to Black. Every weightHOME is equipped PAGE with ital- HEADLINE   Newsprint Storyboard   ics; small caps; lots of OpenType features,Fact like uppercase checker punctua- Circulation     tion or 5 figure styles to make sure EDITIONS ROLL-END    any ofNEWSPRINT your mathematical or finan- COLUMNS   cial charts, tables and diagrams look cool.Distribution Sure, Zeitung knows the Columnist   Broadsheet Attribution     score. The extensive Latin Plus lan- guage support makes sure you are never at a loss for words. But there HEADLINE MUG SHOT    is more to Zeitung. Circulationzeitung Fact checkerwww.underware.nl  page 25 TABLOIDS COVERAGE  -  Columnist Distribution   Optical sizes Zeitung works well in small sizes on screen, and has been specifically designed for that purpose. Zeitung Micro makes sure your small text in interfaces and websites can still be read, while the standard family works better in larger text sizes. The Micro family offers a different design for itchy , has different proportions due to its larger x-height, and has a wider overall spacing than the standard family.

Two families | Standard | Micro

zeitung www.underware.nl page 26 Graphic designers or in- Graphic designers or in- teraction designers al- teraction designers al- ways focus on their com- ways focus on their puter screens when they computer screens when discuss web-typography. they discuss web-ty- Naturally so: they are pography. Naturally aiming for a good read- so: they are aiming for ing-experience. Does the a good reading-expe- body copy need to go one rience. Does the body type size up? Does it need copy need to go one tighter ? Does the type size up? Does it Two families | Standard | Micro 30/40 pt

zeitung www.underware.nl page 27 Graphic designers or interaction designers always focus on their computer Graphic designers or interaction designers always focus on their computer screens when they discuss web-typography. Naturally so: they are aiming for screens when they discuss web-typography. Naturally so: they are aiming a good reading-experience. Does the body copy need to go one type size up? for a good reading-experience. Does the body copy need to go one type Does it need tighter leading? Does the sub-heading look better in a differ- size up? Does it need tighter leading? Does the sub-heading look better in ent font? They rarely pay attention to reading people’s postures, even though a different font? They rarely pay attention to reading people’s postures, posture is very important to a good reading experience. With a good web even though posture is very important to a good reading experience. With design, the reader can relax while reading. Instead of making sure websites are a good , the reader can relax while reading. Instead of mak- responsive, designers should make sure websites are user-friendly. Just pay ing sure websites are responsive, designers should make sure websites attention to the posture of people sitting at their desktop computer in offices, are user-friendly. Just pay attention to the posture of people sitting at or people reading the news on their cell phones in the morning. If they are their desktop computer in offices, or people reading the news on their bending their heads downward, or holding their phones at a distance of 20 cm cell phones in the morning. If they are bending their heads downward, or to their noses, the screen text is too small. It is possible to judge web typog- holding their phones at a distance of 20 cm to their noses, the screen text raphy by judging the reader’s posture. Even without seeing it, it’s quite safe is too small. It is possible to judge web typography by judging the read- to say web typography doesn’t deliver. Wherever you look: in trams, in the er’s posture. Even without seeing it, it’s quite safe to say web typography homes of friends, on the street, in offices, in waiting rooms and in the library – doesn’t deliver. Wherever you look: in trams, in the homes of friends, on most people have to make an effort to read their computer screens. Of course, the street, in offices, in waiting rooms and in the library – most people reading in itself requires an effort, more than say, watching telly. Still, there is have to make an effort to read their computer screens. Of course, read- much room for improvement. ing in itself requires an effort, more than say, watching telly. Still, there is much room for improvement. In centuries past, very small Bibles were published, with tiny type setting. Reading a Bible like this is a strenuous exercise for the eyes, even when at a In centuries past, very small Bibles were published, with tiny type setting. close distance to your face. So the reading-experience could have been better, Reading a Bible like this is a strenuous exercise for the eyes, even when at but it’s the result of logical reasoning: to reach the largest possible audience, a close distance to your face. So the reading-experience could have been these Bibles had to be produced in the cheapest possible way. To this end they better, but it’s the result of logical reasoning: to reach the largest pos- kept the text small and tight, thus saving on paper. On the web, such restric- sible audience, these Bibles had to be produced in the cheapest possible tions are unnecessary. A lot of text, or very little: it makes no difference to the way. To this end they kept the text small and tight, thus saving on paper. expense of the site. There is absolutely no excuse for using eye-damagingly On the web, such restrictions are unnecessary. A lot of text, or very little: small typesets. it makes no difference to the expense of the site. There is absolutely no excuse for using eye-damagingly small typesets. Two families | Standard | Micro 10/15 pt

zeitung www.underware.nl page 28 works well in works better ▶ ◀ normal sizes in small sizes

&Standard &Micro Optical sizes Some glyphs behave fine in bigger as well as smaller sizes. Others, the more complex glyphs, are troublemakers in small sizes. Those glyphs have been redesigned for the Micro fam- ily. The image above shows the regular ampersand on its left, while the ampersand on the right, with its opened up shapes, suits better for very small sizes.

zeitung www.underware.nl page 29  Die größte Zeitung der Welt

   Die größte Zeitung der Welt

   Die größte Zeitung der Welt

  Die größte Zeitung der Welt

Grades All lighter weights share the same metrics. This can be very handy for selecting the optimal weight, especially on screens. GradesThe |way lettersLightest are displayed on screen weights can vary a lot be- share identical metrics tween different circumstances. Maybe the interface of your next app requires a different grade of the text than your lat- est website? Zeitung allows you to change the weight of your text without any further consequence for the design. Those who have been there know that during the design process this can be a welcome relief.

zeitung www.underware.nl page 30 Figure styles Zeitung comes with 5 figure styles. Lining & Oldstyle figures (both 1234567890 €$£% proportional) and Tabular Lining & Tabular Oldstyle figures. Addition- ¦§¨§¨© ª§©«¬®¯ (±®ª²«¦³) ally the Small Caps have their own, proportional, figure style as well. As with all our fonts, all mathemati- cal and monetary signs are included    with every figure style. µ¦±¯³¶¦® ª§©«¬®¯  ­ €‚ƒ„ ³²·«¦²¬ ¦§¨§¨© ª§©«¬®¯ †‡ˆ‰Š‹ŒŽ‘ ’“”• ³²·«¦²¬ µ¦±¯³¶¦® ª§©«¬®¯ –—˜™š›œžŸ¡ ¢£¤¥ ¯¸²¦¦ ¹²º¯ ª§©«¬®¯

zeitung www.underware.nl page 31 A hidden, but nevertheless handy 0123456789 €$£ feature of every figure style is that they share the same metrics across all weights. This allows you to still switch from one weight to another, without any reflow of your chart. Of course all tabular figures share 0123456789 €$£ the same width from Thin to Black, but also each non-proportional style shares the same width across all 0123456789 €$£ weights. 0123456789 €$£ 0123456789 €$£ 0123456789 €$£ 0123456789 €$£

zeitung www.underware.nl page 32 0123456789 €$£ zeitung www.underware.nl page 33 ☞ There is much more to discover ☞ Arrows ↑ in all ↙ directions → ☞ And some icons to ♥ that text ☞ Don’t forget to ✍ on the blog ☞ Give ★★★★★ in your review ☞ Reactions in the � of course ☞ Manicules in the right weight ☞ or ☛ or another arrow ➽? zeitung www.underware.nl page 34 A B C D E F G H I a b c d e f g h i j J K L M N O P Q R k l m n o p q r s S T U V W X Y Z & t u v w x y z

zeitung www.underware.nl page 35 Supported languages All our fonts support over 200 Latin languages. 200? Yep, 219 to be precise. We call that the Underware Latin Plus character set. Those 219 supported languages allow you to reach an estimated 2.103.569.421 speakers worldwide. More info on: www.underware.nl/latin_plus

Abenaki Crimean Tatar (Latin) Icelandic Malay Rarotongan Tok Pisin Afaan Oromo Croatian Ido Maltese Romanian Tokelauan Afar Czech Igbo Manx Romansh Tongan Afrikaans Danish Ilocano Māori Rotokas Tshiluba Albanian Dawan Indonesian Marquesan Sami (Inari Sami) Tsonga Alsatian Delaware Interglossa Megleno-Romanian Sami (Lule Sami) Tswana Amis Dholuo Interlingua Meriam Mir Sami (Northern Sami) Tumbuka Anuta Drehu Irish Mirandese Sami (Southern Sami) Turkish Aragonese Dutch Istro-Romanian Mohawk Samoan Turkmen (Latin) Aranese English Italian Moldovan Sango Tuvaluan Aromanian Esperanto Jamaican Montagnais Saramaccan Tzotzil Arrernte Estonian Javanese (Latin) Montenegrin Sardinian Uzbek (Latin) Arvanitic (Latin) Faroese Jèrriais Murrinh-Patha Scottish Gaelic Venetian Asturian Fijian Kaingang Nagamese Creole Serbian (Latin) Vepsian Atayal Filipino Kala Lagaw Ya Nahuatl Seri Volapük Aymara Finnish Kapampangan (Latin) Ndebele Seychellois Creole Võro Azerbaijani Folkspraak Kaqchikel Neapolitan Shawnee Wallisian Bashkir (Latin) French Karakalpak (Latin) Ngiyambaa Shona Walloon Basque Frisian Karelian (Latin) Niuean Sicilian Waray-Waray Belarusian (Latin) Friulian Kashubian Noongar Silesian Warlpiri Bemba Gagauz (Latin) Kikongo Norwegian Slovak Wayuu Bikol Galician Kinyarwanda Novial Slovenian Welsh Bislama Ganda Kiribati Occidental Slovio (Latin) Wik-Mungkan Bosnian Genoese Kirundi Occitan Somali Wiradjuri Breton German Klingon Old Icelandic Sorbian (Lower Sorbian) Wolof Cape Verdean Creole Gikuyu Kurdish (Latin) Old Norse Sorbian (Upper Sorbian) Xavante Catalan Gooniyandi Ladin Onĕipŏt Sotho (Northern) Xhosa Cebuano Greenlandic (Kalaallisut) Latin Oshiwambo Sotho (Southern) Yapese Chamorro Guadeloupean Creole Latino sine Flexione Ossetian (Latin) Spanish Yindjibarndi Chavacano Gwich’in Latvian Palauan Sranan Zapotec Chichewa Haitian Creole Lithuanian Papiamento Sundanese (Latin) Zarma Chickasaw Hän Lojban Piedmontese Swahili Zazaki Cimbrian Hawaiian Lombard Polish Swazi Zulu Cofán Hiligaynon Low Saxon Portuguese Swedish Zuni Cornish Hopi Luxembourgish Potawatomi Tagalog Corsican Hotcąk (Latin) Maasai Q’eqchi’ Tahitian Creek Hungarian Makhuwa Quechua Tetum

zeitung www.underware.nl page 36 All Zeitung styles Contact Underware Zeitung Pro family Groenewegje 137 Zeitung Pro-Thin Zeitung Pro-Thin Italic 2515 LR Den Haag Zeitung Pro-Extralight Zeitung Pro-Extralight Italic The Netherlands Zeitung Pro-Light Zeitung Pro-Light Italic phone: +31 (0)70 42 78 117 fax: +31 (0)70 42 78 116 Zeitung Pro-Regular Zeitung Pro-Regular Italic email: [email protected] Zeitung Pro-Semibold Zeitung Pro-Semibold Italic Zeitung Pro-Bold Zeitung Pro-Bold Italic Copyright Zeitung Pro-Extrabold Zeitung Pro-Extrabold Italic Underware™ and Zeitung™ are trademarks of Zeitung Pro-Black Zeitung Pro-Black Italic Underware; 1999-2016.

This document is for evaluation purposes only. Zeitung Micro Pro family This file has been downloaded Zeitung Micro Pro-Thin Zeitung Micro Pro-Thin Italic from www.underware.nl ¶ Zeitung Micro Pro-Extralight Zeitung Micro Pro-Extralight Italic Zeitung Micro Pro-Light Zeitung Micro Pro-Light Italic About Underware Zeitung Micro Pro-Regular Zeitung Micro Pro-Regular Italic Zealotry wouldn’t be an inappropriate collective noun Zeitung Micro Pro-Semibold Zeitung Micro Pro-Semibold Italic for Underware. They not only design typefaces, they Zeitung Micro Pro-Bold Zeitung Micro Pro-Bold Italic live type –they educate about type, they publish about Zeitung Micro Pro-Extrabold Zeitung Micro Pro-Extrabold , they talk about type, they want (and organise) Zeitung Micro Pro-Black Zeitung Micro Pro-Black Italic others to talk about type.

There is an inherent honesty to their enthusiasm that betrays no snobbery–they simply think that type is very interesting and that everyone, given the chance, might think so too. Their work is among the most pop- ular of independent type foundries – happy-go-lucky, high-quality, text-friendly typefaces for both display use and comprehensive . Underware’s type- faces stand out thanks to unique aesthetics, finished quality, and a considered collective presence. Under- ware is a refreshing and intelligent collective who, while taking what they do seriously, manage to not take themselves too seriously. – Is Not magazine

zeitung www.underware.nl page 37 wanna know more about zeitung? language character features? support? set? → → → → → → → → → → → → → → → →

www.underware.nl → → → → → → → → → → → → → → → → write your price real life own text? info? examples?

zeitung www.underware.nl page 38 cFine fonts since 1999

the typeface zeitung is designed by underware ✠ this is downloaded from www.underware.nl ✠ © copyright underware 2016 ✠ zeitung™ is a trademark of underware