Two Type Dept. Studio™ Pro Technical Type Specimen Documentation
Studio™ Pro Expansion Program • 90 pts
uRoman • 15 ptsuuuItalic u uu Stylesuuu Ttd Studio Pro 83 Ttd Studio Pro 85 Regular, Italic Ttd Studio Pro 98 Ttd Studio Pro 100 Medium, Italic Ttd Studio Pro 113 Ttd Studio Pro 115 SemiBold, Italic Ttd Studio Pro 133 Ttd Studio Pro 135 Bold, Italic Ttd Studio Pro 153 Ttd Studio Pro 155 UltraBold, Italic
Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Technical Type Specimen Documentation
Family Name: Studio™ Pro A similar experiment was conducted by Styles: Regular, Regular Italic, Medium, Encoding: Latin Extended Umberto Fenocchio in Italy, with his major Medium Italic, SemiBold, SemiBold Italic, Desktop File Format: OpenType CFF type design œuvre Linea for Italian type Bold, Bold Italic, UltraBold, UltraBold Italic. Webfont File Format: Woff, Woff2, EOT foundry Fonderia Tipografica Cooperativa Designer: Alberto Moreu (2015–2017) (1966–1969). Not a revival, Studio™ Pro is Features: 10 stylistic alternates at Think Work Observe, Type Dept. conceived for modern tasks and to be sets, case sensitive forms, contextual URL: http: t-wo.it font studio-pro visualized on modern devices: with a very alternates (circled numbers, interrobang, Enquiries: fonts@t-wo.it standard, still elegant shape; plenty of left and right arrows, multiply, roman alternatives and open type features studied numbers), latin extended (base, Western, About Studio™ Pro to make possible to use, in a smart way, all Central & South Western Europe, Studio™ Pro is a sans-serif font based on the wide range of glyphs; a tall x-height, Afrikaans), localized forms (Catalan, Dutch, the research done during 60’s and 70’s by that makes it readable also when used Moldavian, Romanian, Turkish), old style European type designers. They examined at a very small size; finally, proportions that and tabular figures, slashed zero, standard the two most important sans serif make it very neutral, still very recognizable and discretionary ligatures, rounded typefaces at that time with the aim to and unique. punctuation. renew them and to work out a new proposal of forms with proper optical and rhythmical corrections.
Studio™ Pro Family Overview • 105 pts Sans Sans Sans Sans Sans Sans Sans Sans Sans Sans Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Characters Set Type Specimen OpenType Features
Uppercase, lowercase ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
Proportional, old style figures and slashed zero 1234567890 H
Accented characters (Latin extension) ÁáĂăÂâÄäÀàĀāĄąÅåǺǻÃã ÆæǼǽ ćČčÇçĈĉĊċ ÐðĎďĐđ ÉéĔĕĚěÊêËëĖėÈèĒēĘę Əə ĞğĜĝĢģĠġ ĦħĤĥ ÍíÎîÏïİ£ÌìĪīĮįĨĩ IJij Ĵĵ Ķķĸ ĹĺĻļŁłĿŀĽľ ŃńŇňŅņŊŋÑñ ÓóŎŏÔôÖöÒòŐőŌōØøǾǿÕõ Œœ Þþ ŔŕŘřŖŗ ŚśŠšŞşŜŝȘș ŦŧŢţȚțŤť ÚúŬŭÛûÜüÙùŰűŪūŲųŮůŨũ ẂẃŴŵẄẅẀẁ ÝýŶŷŸÿỲỳ ŹźŽžŻżƵƶ
Standard and discretionary ligatures
Tabular figures and signs ¡¢£¤¥¦§¨©ª«¬®¯° ±²³´µ¶·¸ ¹º»¼½¾
Case sensitive forms H¿ÀÁÂÃÄÅÆÇÈÉ ÊËÌÍÎÏÐÑÒÓÔÕÖ×ØÚÞßà
Mathematical operators, currencies +±−×÷=≠≈~∅∞∫<≤>≥¬√∂%‰⦻∏∑|¦°ℓ⋅ ⁄ ◊ ¤¢ƒ$€£¥₣₧฿₢₤₩₫₮₱₸₹₺₽
Roman and circled numbers ⅠⅡⅢⅣⅤⅥⅦⅧⅨⅩⅪⅫⅬⅭⅮⅯ ➀➁➂➃➄➅➆➇➈
Arrows, symbols ↑↗→↘↓↙←↖↔↕ ◯□△ ☑╳ ✓✕ ⤬⤫ ✖
Alternates 1ªefghijklmnopqrstuvwxyz H¹²³⁴⁵⁶⁷⁸⁹⁰ H₁₂₃₄₅₆₇₈₉₀ 1 ⁄
Punctuation, various ½⅓⅔¼¾⅛⅜⅝⅞
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Expansion Regular Characters Set Type Specimen Program Regular Italic OpenType Features Medium Medium Italic SemiBold SemiBold Italic Bold Bold Italic UltraBold UltraBold Italic
Alternates ¡¢ £¤¥¦§ ¨© ª«¬ ® ¯°±² ³ ´µ¶· ¸¹º »¿ ÀÁÂÃÄ ÅÆ⁄ÇÈ ÉÊHËÌ e Í ⁄ÎÏ
Punctuation, various *⁂⁑⁕•\/·.:;,…„“”‘’‚"'!‼¡?¿‽#_—–-«»‹›@&¶§†‡ ™℠ ©®Ⓟ
Rounded punctuation ëìí îï ðñòó ôõö÷øù úûüýþÿ ~ } |{ [] ^`@>=< ;:. -, +)( &% $01 23 45 67 89 ABCD EFGH IJKLMNOP QRSTUVWXYZabcd ef ghijk
ISO IEC 8859 ISO Part Latin Western European Codelist ISO Part Latin Central European ISO Part Latin Southern European ISO Part Latin North European ISO Part Latin Turkish ISO Part Latin Nordic ISO Part Latin Baltic Rim ISO Part Latin ISO Part Latin South-Eastern European
OpenType Pro Afrikaans Jola-Fonyi Rombo supported languages Albanian Kabuverdianu Rundi Asu Kalaallisut Rwa Azerbaijani Kalenjin Samburu Basque Kamba Sango Bemba Kikuyu Sangu Bena Kinyarwanda Scottish Gaelic Bosnian Latvian Sena Catalan Lithuanian Serbian (Latin) Chiga Low German Shambala Colognian Lower Sorbian Shona Cornish Luo Slovak Croatian Luxembourgish Slovenian Czech Luyia Soga Danish Machame Somali Embu Makhuwa-Meetto Spanish English Makonde Swahili Esperanto Malagasy Swahili (Congo Estonian Malay – Kinshasa) Faroese Maltese Swedish Filipino Manx Swiss German Finnish Maori Taita French Meru Teso Friulian Morisyen Turkish Galician North Ndebele Upper Sorbian Ganda Northern Sami Vunjo German Norwegian Bokmål Walser Gusii Norwegian Nynorsk Welsh Hungarian Nyankole Zulu Icelandic Oromo Inari Sami Polish Indonesian Portuguese Irish Romanian Italian Romansh
Ttd Studio™ Pro Type Specimen OpenTypeÍ OpenType fonts containing PostScript data OpenType fonts can be installed and used OpenTypeÍ is a cross-platform font file have an .otf suffix in the font file name, alongside PostScript Type 1 and TrueType format developed jointly by Adobe and while TrueType-based OpenType fonts have fonts. Microsoft. The two main benefits of the a .ttf file name suffix. OpenType fonts can OpenType format are its cross-platform include an expanded character set and http: www.adobe.com products type opentype.html compatibility (the same font file works layout features, providing broader linguistic on Macintosh and Windows computers), support and more precise typographic and its ability to support widely expanded control. Feature-rich OpenType fonts character sets and layout features, can be distinguished by the word “Pro” which provide richer linguistic support which is part of the font name and appears and advanced typographic control. in application font menus.
Case sensitive forms (A2 Format) ÐAÀ FORMATÑ ¡Diseño! ÊDISEÑO! 165$, f–w 2017 ¿ÄÃÚ, FÓWÀÈ¿Å
Old style gures 20×12÷3+67=147 ×÷+=
Tabular gures and signs 36$+8×1981% º£¦
Automatic fractions 6×3/12+3/8 6×⁄+⁄
Circled gures (1) (8) (1) (8)
Superscripts and subscripts 6C, [He]2s22p2 ₆C, [He]2s²2p² Lavoisier[6] Lavoisier⁶
Standard and Discretionary Ligatures Infinity, Strasse Innity, Straße
Interrobang Carbon‽ Carbon‽
Circled gures ➀, ➁, ➂ ➀, ➁, ➂
Roman numerals Ⅰ, Ⅱ, Ⅲ Ⅰ, Ⅱ, Ⅲ
Left right arrows A → B, B ← A A → B, B ← A
Numero Sign No.´ №´
Ballot Box with Check Ballot Box with X [v] [x] ☑ ╳
Ttd Studio™ Pro Type Specimen OpenType Features: Automatic Fractions, Discretionary Ligatures: Ballot Box with Localized Forms: Catalan, Dutch, Case Sensitive Forms, Circled Figures, Check, Ballot Box with X, Circled Figures, Moldavian, Romanian, Turkish. Ligatures, Old Style Figures, Tabular Interrobang, Left Right Arrows, Numero Stylistic Sets: ss01, ss02, ss03, ss04, ss05, Figures and Signs, Superscripts and Sign, Roman Numerals. Contextual ss06, ss06, ss07, ss08, ss09, ss10. Subscripts. Alternates: Multiply.
Contextual alternates: multiply 9x12, 8 x 16, x 9×12, 8 × 16, ¦
2x4, 1741 x 38 ×, ×
Localized Forms: Catalan, Dutch, Moldavian, Romanian, Turkish Paral·lel, CRUIJFF, Paraŀlel, CRUIJFF, Timişoara, Spaţiu, Timișoara, Spațiu, DIYARBAKIR DİYARBAKIR
Stylistic Sets: ss01 Alvar Aalto Alvr Alto ss02 BACKGROUND BACK£ROUND ss03 Knapsack ¨napsacª ss04 RUBBER ¯UBBE¯ ss05 Quadricromia ®uadricromia ss06 12×21+⁄ ´¸×¸´+Å⁄È ss07 PE—1/1 PEÏ1 1 ss08 @rietveld ³rietveld ss09 Studio® StudioÍ ss10 “Tipograca” ZTúpograAcaa
Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Regular Type Specimen Regular Italic
Regular • 100 pts + S Alt ↔ − 15 pt ¯egular ¯egular ¯egular ¯egular ¯egular ¯egular ¯egular
Ttd Studio™ Pro Type Specimen¯egular Two Type Dept. Studio™ Pro Regular Type Specimen Regular Italic
780 pts • Lowercase a ring
Ttd Studio™ Pro Type Specimen Emil Ruder (1914–1970), typographe suisse fut publié en allemand, anglais et français, et l'emploi d'une grille pour structure, pro- et graphiste, qui avec Armin Hofmann parti- par l'éditeur suisse Arthur Niggli en 1967. duisant une mise en page asymétrique. cipa à la fondation de la Schule für Gestal- Le livre popularisa et propagea le style Ruder commença à l'enseigner en premier tung Basel (en français : école de design de suisse, et devient un texte de base pour en 1942 à la Allgemeine Gewerbeschule de Bâle) et du style graphique connu comme les programmes de graphisme et de typo- la ville suisse de Bâle. En 1948 Ruder ren- le style suisse. Ruder était un contributeur graphie en Europe et en Amérique du Nord. contra l'artiste-peintre Armin Hofmann. et un éditeur du Typografische Monatsblät- En 1962 il participa à la fondation du Ruder et Hoffman commencèrent une ter. Il est le créateur des couvertures pour International Center for the Typographic longue période de collaboration. Leur en- tous les numéros édités en 1961, puis occa- Arts (ICTA) (en français : centre internatio- seignement atteignit une réputation inter- sionnellement jusqu'en 1967. Ruder publia nal pour les arts typographique) à New nationale au milieu des années 1950. une grammaire basique de la typographie York. Le style suisse fut défini par l'utilisa- intitulée Emil Ruder : Typography. Le texte tion de polices d'écriture sans-serif,
Regular, Regular Italic • 72 pts ↕ 68 pts ↔ −15 pts + S Alt Programm Wesentliches Methode C p t l Monatsblìtter Imprimerie ¯dúcl Graphische Schweizer
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Expansion Regular Edited by Type Specimen Program Regular Italic Two Type Dept. Medium © 2020 Medium Italic Alberto Moreu SemiBold SemiBold Italic All rights reserved Bold Udine, Italy Bold Italic UltraBold UltraBold Italic
Regular • 28 pts ↕ 30 pts + S Alt From ´946, Emil ¯uder slowly emerged in Typogrfische Montsbltter s n exponent of Modernism. Between ´957 nd ´959 he contributed series of four rticles with the title ‘Wesentlich- es’ (Fundmentls): ‘The Plne’, ‘The Line’, ‘The Word’ nd ‘¯hythm’. They formed the bsis of his thinªing, summed up in ´967 in the booª Typog- rphy. In ´95¸, Schweizer £rphische Mitteilungen (S£M) fused with ¯evue Suisse de l’Imprimerie nd Typogr- phische Montsbltter into single monthly publiction ªnown by the ini- tils TM. Emil ¯uder ws mong the chief figures in the new mgzine, nd ws ªey force in typogrphicl thinª- ing. Three rticles, in Februry ´95¸, estblished ¯uder s supporter of rdicl chnge.
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro OpenType features Contextual alternates Type Specimen Automatic fractions, case sensitive forms, Ballot box with check and with x, circled circled figures, standard ligatures, figures, interrobang, left right arrows, discretionary ligatures, old style figures, multiply, numero sign, roman numerals ordinals, tabular figures and signs, subscripts, superscripts
Regular • 28 pts ↕ 30 pts From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between 1957
Regular • 16 pts ↕ 18 pts From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between 1957 and 1959 he contributed a series of four articles with the title ‘Wesentliches’ (Fundamentals): ‘The Plane’, ‘The Line’, ‘The Word’ and ‘Rhythm’. They formed the basis of his thinking, summed up in 1967 in the book Ty- pography. In 1952, Schweizer Graphische Mitteilungen (SGM) fused with Revue Suisse de l’Imprimerie and Ty- pographische Monatsblätter into a single monthly publi- cation known by the initials TM. Emil Ruder was among the chief figures in the new magazine, and was a key force in typographical thinking. Three articles, in Febru- ary 1952, established Ruder as a supporter of radical change.
Regular • 12 pts ↕ 13 pts From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between 1957 and 1959 he contributed a series of four articles with the title ‘Wesentliches’ (Fundamentals): ‘The Plane’, ‘The Line’, ‘The Word’ and ‘Rhythm’. They formed the basis of his thinking, summed up in 1967 in the book Typography. In 1952, Schweizer Graphische Mitteilungen (SGM) fused with Revue Suisse de l’Imprimerie and Typogra- phische Monatsblätter into a single monthly publication known by the initials TM. Emil Ruder was among the chief figures in the new magazine, and was a key force in typographical thinking. Three articles, in February 1952, established Ruder as a supporter of radical change.
Regular • 8 pts From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between ↕ 9 pts 1957 and 1959 he contributed a series of four articles with the title ‘Wesentliches’ (Fundamentals): ‘The Plane’, ‘The Line’, ‘The Word’ and ‘Rhythm’. They formed the basis of his thinking, summed up in 1967 in the book Typography. In 1952, Schweizer Graphische Mitteilungen (SGM) fused with Revue Suisse de l’Imprimerie and Typographische Monatsblätter into a single monthly publication known by the initials TM. Emil Ruder was among the chief figures in the new magazine, and was a key force in typographical thinking. Three articles, in February 1952, established Ruder as a supporter of radical change.
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Localized forms Catalan Stylistic sets ss Type Specimen Dutch ss Moldavian ss Romanian ss Turkish ss ss ss ss ss ss ss
Regular Italic • 28 pts ↕ 30 pts From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between 1957
Regular Italic • 16 pts ↕ 18 pts From 1946, Emil Ruder slowly emerged in Typografis- che Monatsblätter as an exponent of Modernism. Be- tween 1957 and 1959 he contributed a series of four articles with the title ‘Wesentliches’ (Fundamentals): ‘The Plane’, ‘The Line’, ‘The Word’ and ‘Rhythm’. They formed the basis of his thinking, summed up in 1967 in the book Typography. In 1952, Schweizer Graphische Mitteilungen (SGM) fused with Revue Suisse de l’Im- primerie and Typographische Monatsblätter into a single monthly publication known by the initials TM. Emil Ruder was among the chief figures in the new maga- zine, and was a key force in typographical thinking. Three articles, in February 1952, established Ruder as a supporter of radical change.
Regular Italic • 12 pts ↕ 13 pts From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between 1957 and 1959 he contributed a series of four articles with the title ‘Wesentliches’ (Fundamentals): ‘The Plane’, ‘The Line’, ‘The Word’ and ‘Rhythm’. They formed the basis of his thinking, summed up in 1967 in the book Typography. In 1952, Schweizer Graphische Mitteilungen (SGM) fused with Revue Suisse de l’Imprimerie and Typographische Monatsblätter into a single monthly publication known by the initials TM. Emil Ruder was among the chief figures in the new magazine, and was a key force in typographical thinking. Three arti- cles, in February 1952, established Ruder as a supporter of radical change.
Regular Italic • 8 pts From 1946, Emil Ruder slowly emerged in Typografische Monatsblätter as an exponent of Modernism. Between ↕ 9 pts 1957 and 1959 he contributed a series of four articles with the title ‘Wesentliches’ (Fundamentals): ‘The Plane’, ‘The Line’, ‘The Word’ and ‘Rhythm’. They formed the basis of his thinking, summed up in 1967 in the book Typography. In 1952, Schweizer Graphische Mitteilungen (SGM) fused with Revue Suisse de l’Imprimerie and Typographische Monatsblätter into a single monthly publication known by the initials TM. Emil Ruder was among the chief figures in the new magazine, and was a key force in typographical thinking. Three articles, in February 1952, established Ruder as a supporter of radical change.
Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Medium Type Specimen Medium Italic
Medium • 100 pts + S Alt ↔ − 15 pt Medium Medium Medium Medium Medium Medium Medium
Ttd Studio™ Pro Type SpecimenMedium Two Type Dept. Studio™ Pro Medium Type Specimen Medium Italic
Medium • 100 pts + S Alt ↔ − 15 pt 780 pts • Lowercase a ring Medium Medium Medium Medium Medium Medium Medium
Medium Ttd Studio™ Pro Type Specimen In 1963, he was one of the founders of the Other typefaces from his hand are Fodor wordmark had to be used as a 3D light box. design studio Total Design (currently and Gridnik. In 1970 he designed the Dutch After the 3D application was finalized, named Total Identity). From 1964 onwards, pavilion for Expo ’70 (Osaka, Japan). Later, the 2D design for print was adapted. Crouwel was responsible for the design of Crouwel designed the Number Postage According to Wim Crouwel, New Alphabet the posters, catalogues and exhibitions of Stamps for the Dutch PTT, well known in was ‘over-the-top and never meant to be the Stedelijk Museum in Amsterdam. the Netherlands during its circulation from really used’. However, as unreadable as it In 1967 he designed the typeface New 1976-2002. In the years Crouwel worked was, it made a comeback in 1988 when Alphabet, a design that embraces the for Total Design, he designed many designer Brett Wickens used a version of limitations of the cathode ray tube technol- geometric wordmarks, one of which is the the font on the sleeve of Substance by Joy ogy used by early data display screens and wordmark for the Dutch Rabobank, Division. In addition to his work as a phototypesetting equipment, thus only designed in 1973. The lettershapes have graphic designer, he was also active in the containing horizontal and vertical strokes. been influenced by the fact that the educational field. In the 1950s he worked as
Medium, Medium Italic • 72 pts ↕ 68 pts ↔ −15 pts + S Alt Substance Osaka Japan Dutch PTT Rabobank Joy Division Stedelijk Fodor, ridni 1976 — 2002 Catalogues
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Expansion Regular Edited by Type Specimen Program Regular Italic Two Type Dept. Medium © 2020 Medium Italic Alberto Moreu SemiBold SemiBold Italic All rights reserved Bold Udine, Italy Bold Italic UltraBold UltraBold Italic
Medium • 28 pts ↕ 30 pts + S Alt In 963 w s hij mede-oprichter v n het ontwerpbure u Tot l Design (tegenwoordig Tot l Identity). Hij blijft een l nge tijd bij het bedrijf betro - en ls directeur. V n f 964 w s Crouwel ver ntwoordelij voor het ontwerp v n de ffiches, c t logi en tentoonstellingen v n het Stedelij Museum in Amsterd m. Het lettertype New Alph bet, ontworpen door Crou- wel in 967. In 967 ontwierp hij het lettertype New Alph bet, een letter die de beper ingen v n de thodestr l- buis om rmt en zodoende best t uit lleen m r horizont len en verti- c len. Andere letterontwerpen v n zijn h nd zijn Fodor en ridni . Crouwel w s mede-ontwerper v n het Neder- l ndse p viljoen op de wereldtentoon- stelling v n 970 in Os , J p n.
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro OpenType features Contextual alternates Type Specimen Automatic fractions, case sensitive forms, Ballot box with check and with x, circled circled figures, standard ligatures, figures, interrobang, left right arrows, discretionary ligatures, old style figures, multiply, numero sign, roman numerals ordinals, tabular figures and signs, subscripts, superscripts
Medium • 28 pts ↕ 30 pts Naast werkzaam te zijn als gra- fisch ontwerper was hij ook actief in het educatieve en cul- turele circuit. Zo was hij al in de
Medium • 16 pts ↕ 18 pts Naast werkzaam te zijn als grafisch ontwerper was hij ook actief in het educatieve en culturele circuit. Zo was hij al in de jaren vijftig werkzaam als docent bij de Ko- ninklijke Academie voor Kunst en Vormgeving in ’s-Her- togenbosch en het Instituut voor Kunstnijverheidson- derwijs in Amsterdam. Tussen 1965 en 1985 was hij ver- bonden aan de afdeling industrieel ontwerpen van de Technische Hogeschool Delft, als medewerker, docent, hoogleraar en bijzonder hoogleraar. Van 1987 tot 1993 gaf hij als bijzonder hoogleraar les bij Kunst- en Cultuur- wetenschappen aan de Erasmus Universiteit. Daarnaast was hij van 1985 tot 1993 directeur van Museum Boij- mans Van Beuningen in Rotterdam. Eén van de be- langrijkste aspecten van Crouwel’s grafische werk is de
Medium • 12 pts ↕ 13 pts Naast werkzaam te zijn als grafisch ontwerper was hij ook actief in het educatieve en culturele circuit. Zo was hij al in de jaren vijftig werkzaam als docent bij de Koninklijke Academie voor Kunst en Vormgeving in ’s-Hertogenbosch en het Instituut voor Kunstnijverheidsonderwijs in Am- sterdam. Tussen 1965 en 1985 was hij verbonden aan de afdeling industri- eel ontwerpen van de Technische Hogeschool Delft, als medewerker, docent, hoogleraar en bijzonder hoogleraar. Van 1987 tot 1993 gaf hij als bijzonder hoogleraar les bij Kunst- en Cultuurwetenschappen aan de Eras- mus Universiteit. Daarnaast was hij van 1985 tot 1993 directeur van Museum Boijmans Van Beuningen in Rotterdam. Eén van de belangrijkste
Medium • 8 pts Naast werkzaam te zijn als grafisch ontwerper was hij ook actief in het educatieve en culturele circuit. Zo was hij ↕ 9 pts al in de jaren vijftig werkzaam als docent bij de Koninklijke Academie voor Kunst en Vormgeving in ’s-Hertogen- bosch en het Instituut voor Kunstnijverheidsonderwijs in Amsterdam. Tussen 1965 en 1985 was hij verbonden aan de afdeling industrieel ontwerpen van de Technische Hogeschool Delft, als medewerker, docent, hoogleraar en bijzonder hoogleraar. Van 1987 tot 1993 gaf hij als bijzonder hoogleraar les bij Kunst- en Cultuurwetenschap- pen aan de Erasmus Universiteit. Daarnaast was hij van 1985 tot 1993 directeur van Museum Boijmans Van Beuningen in Rotterdam. Eén van de belangrijkste aspecten van Crouwel’s grafische werk is de typografie.
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Localized forms Catalan Stylistic sets ss Type Specimen Dutch ss Moldavian ss Romanian ss Turkish ss ss ss ss ss ss ss
Medium Italic • 28 pts ↕ 30 pts Naast werkzaam te zijn als gra- fisch ontwerper was hij ook actief in het educatieve en cul- turele circuit. Zo was hij al in de
Medium Italic • 16 pts ↕ 18 pts Naast werkzaam te zijn als grafisch ontwerper was hij ook actief in het educatieve en culturele circuit. Zo was hij al in de jaren vijftig werkzaam als docent bij de Ko- ninklijke Academie voor Kunst en Vormgeving in ’s-Her- togenbosch en het Instituut voor Kunstnijverheidson- derwijs in Amsterdam. Tussen 1965 en 1985 was hij ver- bonden aan de afdeling industrieel ontwerpen van de Technische Hogeschool Delft, als medewerker, docent, hoogleraar en bijzonder hoogleraar. Van 1987 tot 1993 gaf hij als bijzonder hoogleraar les bij Kunst- en Cultuur- wetenschappen aan de Erasmus Universiteit. Daarnaast was hij van 1985 tot 1993 directeur van Museum Boij- mans Van Beuningen in Rotterdam. Eén van de be- langrijkste aspecten van Crouwel’s grafische werk is de
Medium Italic • 12 pts ↕ 13 pts Naast werkzaam te zijn als grafisch ontwerper was hij ook actief in het educatieve en culturele circuit. Zo was hij al in de jaren vijftig werkzaam als docent bij de Koninklijke Academie voor Kunst en Vormgeving in ’s-Hertogenbosch en het Instituut voor Kunstnijverheidsonderwijs in Am- sterdam. Tussen 1965 en 1985 was hij verbonden aan de afdeling industri- eel ontwerpen van de Technische Hogeschool Delft, als medewerker, docent, hoogleraar en bijzonder hoogleraar. Van 1987 tot 1993 gaf hij als bijzonder hoogleraar les bij Kunst- en Cultuurwetenschappen aan de Erasmus Universiteit. Daarnaast was hij van 1985 tot 1993 directeur van Museum Boijmans Van Beuningen in Rotterdam. Eén van de belangrijkste
Medium Italic • 8 pts Naast werkzaam te zijn als grafisch ontwerper was hij ook actief in het educatieve en culturele circuit. Zo was ↕ 9 pts hij al in de jaren vijftig werkzaam als docent bij de Koninklijke Academie voor Kunst en Vormgeving in ’s-Herto- genbosch en het Instituut voor Kunstnijverheidsonderwijs in Amsterdam. Tussen 1965 en 1985 was hij verbon- den aan de afdeling industrieel ontwerpen van de Technische Hogeschool Delft, als medewerker, docent, hoogleraar en bijzonder hoogleraar. Van 1987 tot 1993 gaf hij als bijzonder hoogleraar les bij Kunst- en Cultuur- wetenschappen aan de Erasmus Universiteit. Daarnaast was hij van 1985 tot 1993 directeur van Museum Boijmans Van Beuningen in Rotterdam. Eén van de belangrijkste aspecten van Crouwel’s grafische werk is de typografie.
Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro SemiBold Type Specimen SemiBold Italic
Medium • 100 pts + S Alt ↔ − 15 pt SemiBold SemiBold SemiBold SemiBold SemiBold SemiBold SemiBold
Ttd Studio™SemiBold Pro Type Specimen Two Type Dept. Studio™ Pro SemiBold Type Specimen SemiBold Italic
Medium • 100 pts + S Alt ↔ − 15 pt 780 pts • Lowercase a ring SemiBold SemiBold SemiBold SemiBold SemiBold SemiBold SemiBold
SemiBold Ttd Studio™ Pro Type Specimen Richard Paul Lohse (September , , still lifes. In the s, his work as a graphic time. He continued to protest until the Zurich – September , , Zurich) was a artist and book designer placed him among beginning of World War II. In , Lohse Swiss painter and graphic artist and one of the pioneers of modern Swiss graphic co-founded Allianz, an association of Swiss the main representatives of the concrete design; in paintings of this period, he modern artists, with Leo Leuppi. and constructive art movements. Lohse worked on curved and diagonal construc- The year marked a breakthrough in was born in Zürich in . His wish to tions. Success eventually allowed him to Lohse’s painting: he standardised the study in Paris was thwarted due to his establish his own graphic design studio in pictorial means and started to develop dicult economic circumstances. In , Zürich. He combined art with a political modular and serial systems. In , he he joined the advertising agency Max and moral awareness, which led him to be published the book New Design in Dalang, where he trained to become an an activist for immigrants. In the s, he Exhibitions, and from , he became advertising designer. Lohse, then an was actively involved in protests, which co-editor of the magazine Neue Grak autodidact, painted expressive, late-cubist were illegal under the government of the — New Graphic Design. Lohse’s typical
SemiBold, SemiBold Italic • 72 pts ↕ 68 pts ↔ −15 pts + S Alt Neue rafi Z r ch Autodidct Alli nz Expressive Awareness Exhibitions Late Cubists Dgonl
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Expansion Regular Edited by Type Specimen Program Regular Italic Two Type Dept. Medium © 2020 Medium Italic Alberto Moreu SemiBold SemiBold Italic All rights reserved Bold Udine, Italy Bold Italic UltraBold UltraBold Italic
SemiBold • 21 pts ↕ 25 pts + OS Fig Richard Paul Lohse (September , , Zurich – September , , Zurich) was a Swiss painter and graphic artist and one of the main representatives of the concrete and construc- tive art movements. Lohse was born in Zürich in . His wish to study in Paris was thwarted due to his dicult economic circumstances. In , he joined the advertising agency Max Dalang, where he trained to become an advertis- ing designer. Lohse, then an autodidact, painted expressive, late-cubist still lifes. In the s, his work as a graphic artist and book designer placed him among the pioneers of modern Swiss graphic design; in paintings of this period, he worked on curved and diagonal constructions. Success eventually allowed him to establish his own graphic design studio in Zürich. He com- bined art with a political and moral awareness, which led him to be an activist for immigrants. In the s, he was actively involved in protests, which were illegal under the government of the time. He continued to protest until the beginning of World War II. In , Lohse co-founded Allianz, an association of Swiss modern artists, with Leo Leuppi.
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro OpenType features Contextual alternates Type Specimen Automatic fractions, case sensitive forms, Ballot box with check and with x, circled circled figures, standard ligatures, figures, interrobang, left right arrows, discretionary ligatures, old style figures, multiply, numero sign, roman numerals ordinals, tabular figures and signs, subscripts, superscripts
SemiBold • 28 pts ↕ 30 pts Hartung utvecklade tidigt en uppskattning av Rembrandt och tyska konstnärer som Lovis Corith och expressionisterna
SemiBold • 16 pts ↕ 18 pts Hartung utvecklade tidigt en uppskattning av Rembran- dt och tyska konstnärer som Lovis Corith och expressi- onisterna Oskar Kokoschka och Emil Nolde. År 1924 skrev han in sig vid universitetet i Leipzig, där han stu- derade filosofi och konsthistoria. Därefter studerade han vid Konstakademin i Dresden, där han kopierade målningar av de stora mästarna. Alltifrån 1920-talet var han en av den nonfigurativa konstens främsta europeis- ka företrädare. Mot en monokrom eller en färgrik bak- grund målade han upp ett stort och kraftfullt skrivteck- en, som påminner om österländsk kaligrafi. Hartungs hämningslösa abstrakta målningar utövade starkt infly- tande på många yngre amerikanska målare under 1960-talet, vilket gjorde honom till en viktig föregångare
SemiBold • 12 pts ↕ 13 pts Hartung utvecklade tidigt en uppskattning av Rembrandt och tyska konst- närer som Lovis Corith och expressionisterna Oskar Kokoschka och Emil Nolde. År 1924 skrev han in sig vid universitetet i Leipzig, där han studera- de filosofi och konsthistoria. Därefter studerade han vid Konstakademin i Dresden, där han kopierade målningar av de stora mästarna. Alltifrån 1920-talet var han en av den nonfigurativa konstens främsta europeiska företrädare. Mot en monokrom eller en färgrik bakgrund målade han upp ett stort och kraftfullt skrivtecken, som påminner om österländsk kaligrafi. Hartungs hämningslösa abstrakta målningar utövade starkt inflytande på många yngre amerikanska målare under 1960-talet, vilket gjorde honom
SemiBold • 8 pts Hartung utvecklade tidigt en uppskattning av Rembrandt och tyska konstnärer som Lovis Corith och expressio- ↕ 9 pts nisterna Oskar Kokoschka och Emil Nolde. År 1924 skrev han in sig vid universitetet i Leipzig, där han studerade filosofi och konsthistoria. Därefter studerade han vid Konstakademin i Dresden, där han kopierade målningar av de stora mästarna. Alltifrån 1920-talet var han en av den nonfigurativa konstens främsta europeiska företrädare. Mot en monokrom eller en färgrik bakgrund målade han upp ett stort och kraftfullt skrivtecken, som påminner om österländsk kaligrafi. Hartungs hämningslösa abstrakta målningar utövade starkt inflytande på många yngre amerikanska målare under 1960-talet, vilket gjorde honom till en viktig föregångare till den amerikanska lyriska abstraktionen av 1960 och 1970.
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Localized forms Catalan Stylistic sets ss Type Specimen Dutch ss Moldavian ss Romanian ss Turkish ss ss ss ss ss ss ss
SemiBold Italic • 28 pts ↕ 30 pts Hartung utvecklade tidigt en uppskattning av Rembrandt och tyska konstnärer som Lovis Corith och expressionisterna
SemiBold Italic • 16 pts ↕ 18 pts Hartung utvecklade tidigt en uppskattning av Rembran- dt och tyska konstnärer som Lovis Corith och expressi- onisterna Oskar Kokoschka och Emil Nolde. År 1924 skrev han in sig vid universitetet i Leipzig, där han stu- derade filosofi och konsthistoria. Därefter studerade han vid Konstakademin i Dresden, där han kopierade målningar av de stora mästarna. Alltifrån 1920-talet var han en av den nonfigurativa konstens främsta europe- iska företrädare. Mot en monokrom eller en färgrik bakgrund målade han upp ett stort och kraftfullt skriv- tecken, som påminner om österländsk kaligrafi. Har- tungs hämningslösa abstrakta målningar utövade starkt inflytande på många yngre amerikanska målare under 1960-talet, vilket gjorde honom till en viktig föregångare
SemiBold Italic • 12 pts ↕ 13 pts Hartung utvecklade tidigt en uppskattning av Rembrandt och tyska konst- närer som Lovis Corith och expressionisterna Oskar Kokoschka och Emil Nolde. År 1924 skrev han in sig vid universitetet i Leipzig, där han studera- de filosofi och konsthistoria. Därefter studerade han vid Konstakademin i Dresden, där han kopierade målningar av de stora mästarna. Alltifrån 1920-talet var han en av den nonfigurativa konstens främsta europeiska företrädare. Mot en monokrom eller en färgrik bakgrund målade han upp ett stort och kraftfullt skrivtecken, som påminner om österländsk kaligrafi. Hartungs hämningslösa abstrakta målningar utövade starkt inflytande på många yngre amerikanska målare under 1960-talet, vilket gjorde honom
SemiBold Italic • 8 pts Hartung utvecklade tidigt en uppskattning av Rembrandt och tyska konstnärer som Lovis Corith och expressio- ↕ 9 pts nisterna Oskar Kokoschka och Emil Nolde. År 1924 skrev han in sig vid universitetet i Leipzig, där han studera- de filosofi och konsthistoria. Därefter studerade han vid Konstakademin i Dresden, där han kopierade målning- ar av de stora mästarna. Alltifrån 1920-talet var han en av den nonfigurativa konstens främsta europeiska företrädare. Mot en monokrom eller en färgrik bakgrund målade han upp ett stort och kraftfullt skrivtecken, som påminner om österländsk kaligrafi. Hartungs hämningslösa abstrakta målningar utövade starkt inflytande på många yngre amerikanska målare under 1960-talet, vilket gjorde honom till en viktig föregångare till den amerikanska lyriska abstraktionen av 1960 och 1970.
Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Bold Type Specimen Bold Italic
Medium • 100 pts + S Alt ↔ − 15 pt Bold Bold Bold Bold Bold Bold Bold
TtdBold Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Bold Type Specimen Bold Italic
780 pts • Lowercase a ring
Ttd Studio™ Pro Type Specimen Ben Bos w s born in Amsterd m on for Wim Crouwel, one of his te chers t ped his own design philosophy. In 5 August 7, 930. In 953 he joined furniture the IvNO. “I felt very ttr cted to the ye rs’ time his te m re lized bout 0 m nuf cturer Ahrend s copywriter nd Neue r phi , direction he dhered to house styles. In 99 , by then member 0f publicity ssist nt. He bec me intere- very strongly nd th t stood for cl rity, the m n gement of Tot l Design, Bos left sted in gr phic design nd first too simplicity nd cle r structures in the the design studio bec use he felt diss tis- one-ye r evening course t the Amster- org niz tion of the m teri l.” In 963, he fied with the policy. After short period s d m r phic School nd then five-ye r joined the newly est blished design studio design director t D3D he continued s evening course t the IvNO (errit Tot l Design. He st rted s Chief Studio freel nce designer, consult nt nd writer ietveld Ac demy). He gr du ted cum but soon discovered th t it w s better if he for other comp nies mong which his old l ude from both tr ining colleges. should le d his own design te m. He employer Ahrend. In 99 , on the initi tive In ddition to his full-time job t Ahrend, by speci lized in editori l design nd of Ben Bos, the Nederl nds Archief then s n rt director, Bos lso wor ed corpor te identity nd gr du lly develo- r fisch Ontwerpers (the Dutch
Bold, Bold Italic • 72 pts ↕ 68 pts ↔ − 15 pts + S Alt Total Kunsten rs Randstad Vormgevers Alli nce Gerrit ietveld Amsterdam Hu sst l Continuïteit
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Expansion Regular Edited by Type Specimen Program Regular Italic Two Type Dept. Medium © 2020 Medium Italic Alberto Moreu SemiBold SemiBold Italic All rights reserved Bold Udine, Italy Bold Italic UltraBold UltraBold Italic
Bold • 28 pts ↕ 30 pts + S Alt + OS Fig Bos ging in 963 bij Tot l Design wer- en. Hij stond tot 99 voor de conti- nuïteit binnen het bure u, ls te mlei- der en directeur. Het wer v n Bos wordt wel getypeerd ls leurrij , hel- der en ster gr fisch in vorm en typo- gr fie. Mer b r nwezig in zijn wer is zijn chtergrond ls copywri- ter. Veel v n zijn foto’s werden ge- brui t in public ties. De bel ngrij ste opdr chtgevers w ren Ahrend en ndst d. In 97 ontwi elde Bos het identific tieprogr mm en de huisstijl v n de toen ersverse ge- meente Dronten, die d rmee de eer- ste gemeente in Nederl nd w s die bewust n citym r eting deed. Hij heeft oo opdr chten ge regen v n o. . Nieuw Vredenburgh, Hulp voor Onbehuisden, onin lij Instituut
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro OpenType features Contextual alternates Type Specimen Automatic fractions, case sensitive forms, Ballot box with check and with x, circled circled figures, standard ligatures, figures, interrobang, left right arrows, discretionary ligatures, old style figures, multiply, numero sign, roman numerals ordinals, tabular figures and signs, subscripts, superscripts
Bold • 28 pts ↕ 30 pts Confronted with “What to do?” in his studio soon after graduat- ing, Nauman had the simple but profound realization that “If
Bold • 16 pts ↕ 18 pts Confronted with “What to do?” in his studio soon after graduating, Nauman had the simple but profound reali- zation that “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.” Nauman set up a studio in a former grocery shop in the Mission district of San Francisco and then in a sublet from his university tutor in Mill Valley. These two locations provided the setting for a series of per- formed actions which he captured in real time, on a fixed camera, over the 10-minute duration of a 16mm film reel. Between 1966 and 1970 he made several videos, in which he used his body to explore the poten- tials of art and the role of the artist, and to investigate
Bold • 12 pts ↕ 13 pts Confronted with “What to do?” in his studio soon after graduating, Nauman had the simple but profound realization that “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.” Nauman set up a studio in a former grocery shop in the Mission district of San Francisco and then in a sublet from his university tutor in Mill Valley. These two locations provided the setting for a series of performed actions which he captured in real time, on a fixed camera, over the 10-minute duration of a 16mm film reel. Between 1966 and 1970 he made several videos, in which he used his body to explore the potentials of art and the
Bold • 8 pts Confronted with “What to do?” in his studio soon after graduating, Nauman had the simple but profound ↕ 9 pts realization that “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.” Nauman set up a studio in a former grocery shop in the Mission district of San Francisco and then in a sublet from his university tutor in Mill Valley. These two locations provided the setting for a series of performed actions which he captured in real time, on a fixed camera, over the 10-minute duration of a 16mm film reel. Between 1966 and 1970 he made several videos, in which he used his body to explore the potentials of art and the role of the artist, and to investigate psychologi- cal states and behavioural codes.
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Localized forms Catalan Stylistic sets ss Type Specimen Dutch ss Moldavian ss Romanian ss Turkish ss ss ss ss ss ss ss
Bold • 28 pts ↕ 30 pts Confronted with “What to do?” in his studio soon after gradu- ating, Nauman had the simple but profound realization that “If
Bold • 16 pts ↕ 18 pts Confronted with “What to do?” in his studio soon after graduating, Nauman had the simple but profound reali- zation that “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.” Nauman set up a studio in a former grocery shop in the Mission district of San Francisco and then in a sublet from his university tutor in Mill Valley. These two locations provided the setting for a series of per- formed actions which he captured in real time, on a fixed camera, over the 10-minute duration of a 16mm film reel. Between 1966 and 1970 he made several videos, in which he used his body to explore the poten- tials of art and the role of the artist, and to investigate
Bold • 12 pts ↕ 13 pts Confronted with “What to do?” in his studio soon after graduating, Nauman had the simple but profound realization that “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.” Nauman set up a studio in a former grocery shop in the Mission district of San Francisco and then in a sublet from his university tutor in Mill Valley. These two locations provided the setting for a series of performed actions which he captured in real time, on a fixed camera, over the 10-minute duration of a 16mm film reel. Between 1966 and 1970 he made several videos, in which he used his body to explore the potentials of art
Bold • 8 pts Confronted with “What to do?” in his studio soon after graduating, Nauman had the simple but profound ↕ 9 pts realization that “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art. At this point art became more of an activity and less of a product.” Nauman set up a studio in a former grocery shop in the Mission district of San Francisco and then in a sublet from his university tutor in Mill Valley. These two locations provided the setting for a series of performed actions which he captured in real time, on a fixed camera, over the 10-minute duration of a 16mm film reel. Between 1966 and 1970 he made several videos, in which he used his body to explore the potentials of art and the role of the artist, and to investigate psychologi- cal states and behavioural codes.
Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro UltraBold Type Specimen UltraBold Italic
Medium • 100 pts + S Alt ↔ − 15 pt UltraBold UltraBold UltraBold UltraBold UltraBold UltraBold UltraBold
Ttd Studio™UltraBold Pro Type Specimen Two Type Dept. Studio™ Pro UltraBold Type Specimen UltraBold Italic
Medium • 100 pts + S Alt ↔ − 15 pt 780 pts • Lowercase a ring UltraBold UltraBold UltraBold UltraBold UltraBold UltraBold UltraBold
UltraBold Ttd Studio™ Pro Type Specimen Pino Tovaglia (3 Dec. 1923 — 30 Nov. 1977) advertisement series made for Finmecca- designed the symbol of the Lombardy was an Italian graphic designer. He is nica. In 1956 he founded the NCPT Studio Region in collaboration with Bruno Munari, regarded as one of the major exponents of together with Giulio Confalonieri, Ilio Negri Bob Noorda and Roberto Sambonet. A the Swiss Style in Italy. Born in Milan, and Michele Provinciali. In 1958 he won the member of Alliance Graphique Internatio- Tovaglia was active in the field of graphic Golden Palm at the Cannes Lions Interna- nale, in 1998 he was awarded a posthu- design since his youth, first as an assistant tional Advertising Festival. From 1967 to mous Compasso d’Oro for his career. A of Carlo Carrà, and then as a collaborator 1970 Tovaglia was art director of Pirelli, collection consisting in over 13.000 pieces of Marco Zanuso, Giò Ponti, and the and in the same period he realized famous is kept at the CSAC (Study Center and Castiglioni brothers. From 1946 he was posters such as Italia da salvare (1967), Archives of Communication) of the professor of graphic design in several art Cinturato Pirelli (1967) and Brandy Stock University of Parma, schools of Milan. In 1954 Tovaglia won the (1970). In 1972 he realized the restyling of and several of his works are part of the National Prize of Advertising thanks to an the Alfa Romeo logo, while in 1975 he permanent collection at MoMa, New York.
UltraBold, UltraBold Italic • 72 pts ↕ 68 pts + S Alt Pirelli Quarantasei Nebiolo Alf omeo Ott gono raphque F nmecc n c uota
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Expansion Regular Edited by Type Specimen Program Regular Italic Two Type Dept. Medium © 2020 Medium Italic Alberto Moreu SemiBold SemiBold Italic All rights reserved Bold Udine, Italy Bold Italic UltraBold UltraBold Italic
UltraBold • 28 pts ↕ 30 pts Attivo fin da giovanissimo nell’ambito della grafica pubblicitaria, a partire dal 1946 Tovaglia è insegnante di pro- gettazione grafica presso la Scuola superiore d’Arte applicata all’Indust- ria del Castello Sforzesco di Milano. In seguito insegnerà anche presso l’Umanitaria e presso la Scuola poli- tecnica di design, sempre nella città di Milano. Collabora inoltre con nume- rose aziende sia italiane sia interna- zionali. Tra le opere più celebri è pos- sibile citare i marchi per Alfa Romeo, Ottagono e Nebiolo. Nel 1954 vince il Premio nazionale della pubblicità grazie ad una serie di annunci realiz- zati per Finmeccanica. Nel 1956 fonda lo studio CNPT assieme a Giulio Con- falonieri, Ilio Negri e Michele Provin- ciali. Nel 1958 vince la Palma d’oro
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro OpenType features Contextual alternates Type Specimen Automatic fractions, case sensitive forms, Ballot box with check and with x, circled circled figures, standard ligatures, figures, interrobang, left right arrows, discretionary ligatures, old style figures, multiply, numero sign, roman numerals ordinals, tabular figures and signs, subscripts, superscripts
UltraBold • 28 pts ↕ 30 pts L’Alliance graphique internatio- nale (AGI) est née en 1950 de la rencontre amicale de trois gra- phistes français Jean Picart
UltraBold • 16 pts ↕ 18 pts L’Alliance graphique internationale (AGI) est née en 1950 de la rencontre amicale de trois graphistes fran- çais Jean Picart Le Doux (qui sera le premier pré- sident), Paul Colin et Jacques Nathan-Garamond, et de deux graphistes suisses, Fritz Bühler et Donald Brun, à l’occasion d’une exposition de leurs travaux à Bâle. Les liens ont été maintenus et étendus et l’AGI est fondée ociellement le 22 novembre 1952. Le but de ce “club” international est : 1. De créer des liens d’amitié entre des artistes graphiques de diérents pays que rap- prochent des anités esthétiques et dont la notoriété s’est armée dans le domaine de la publicité, du livre ou de l’art mural. 2. De faire connaître au public par des expositions et des manifestations diverses les
UltraBold • 12 pts ↕ 13 pts L’Alliance graphique internationale (AGI) est née en 1950 de la rencontre amicale de trois graphistes français Jean Picart Le Doux (qui sera le pre- mier président), Paul Colin et Jacques Nathan-Garamond, et de deux graphistes suisses, Fritz Bühler et Donald Brun, à l’occasion d’une exposi- tion de leurs travaux à Bâle. Les liens ont été maintenus et étendus et l’AGI est fondée ociellement le 22 novembre 1952. Le but de ce “club” inter- national est : 1. De créer des liens d’amitié entre des artistes graphiques de diérents pays que rapprochent des anités esthétiques et dont la notoriété s’est armée dans le domaine de la publicité, du livre ou de l’art mural. 2. De faire connaître au public par des expositions et des
UltraBold • 8 pts L’Alliance graphique internationale (AGI) est née en 1950 de la rencontre amicale de trois graphistes français ↕ 9 pts Jean Picart Le Doux (qui sera le premier président), Paul Colin et Jacques Nathan-Garamond, et de deux graphistes suisses, Fritz Bühler et Donald Brun, à l’occasion d’une exposition de leurs travaux à Bâle. Les liens ont été maintenus et étendus et l’AGI est fondée ociellement le 22 novembre 1952. Le but de ce “club” international est : 1. De créer des liens d’amitié entre des artistes graphiques de diérents pays que rapprochent des anités esthétiques et dont la notoriété s’est armée dans le domaine de la publicité, du livre ou de l’art mural. 2. De faire connaître au public par des expositions et des manifestations diverses les recherches que poursuivent à travers le monde les chefs de le de l’art graphique moderne.
Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Localized forms Catalan Stylistic sets ss Type Specimen Dutch ss Moldavian ss Romanian ss Turkish ss ss ss ss ss ss ss
UltraBold Italic • 28 pts ↕ 30 pts L’Alliance graphique internatio- nale (AGI) est née en 1950 de la rencontre amicale de trois gra- phistes français Jean Picart
UltraBold Italic • 16 pts ↕ 18 pts L’Alliance graphique internationale (AGI) est née en 1950 de la rencontre amicale de trois graphistes fran- çais Jean Picart Le Doux (qui sera le premier pré- sident), Paul Colin et Jacques Nathan-Garamond, et de deux graphistes suisses, Fritz Bühler et Donald Brun, à l’occasion d’une exposition de leurs travaux à Bâle. Les liens ont été maintenus et étendus et l’AGI est fondée o ciellement le 22 novembre 1952. Le but de ce “club” international est : 1. De créer des liens d’amitié entre des artistes graphiques de diérents pays que rap- prochent des a nités esthétiques et dont la notoriété s’est a rmée dans le domaine de la publicité, du livre ou de l’art mural. 2. De faire connaître au public par des expositions et des manifestations diverses les
UltraBold Italic • 12 pts ↕ 13 pts L’Alliance graphique internationale (AGI) est née en 1950 de la rencontre amicale de trois graphistes français Jean Picart Le Doux (qui sera le premier président), Paul Colin et Jacques Nathan-Garamond, et de deux graphistes suisses, Fritz Bühler et Donald Brun, à l’occasion d’une exposi- tion de leurs travaux à Bâle. Les liens ont été maintenus et étendus et l’AGI est fondée o ciellement le 22 novembre 1952. Le but de ce “club” international est : 1. De créer des liens d’amitié entre des artistes gra- phiques de diérents pays que rapprochent des a nités esthétiques et dont la notoriété s’est a rmée dans le domaine de la publicité, du livre ou de l’art mural. 2. De faire connaître au public par des expositions et des
UltraBold Italic • 8 pts L’Alliance graphique internationale (AGI) est née en 1950 de la rencontre amicale de trois graphistes français ↕ 9 pts Jean Picart Le Doux (qui sera le premier président), Paul Colin et Jacques Nathan-Garamond, et de deux graphistes suisses, Fritz Bühler et Donald Brun, à l’occasion d’une exposition de leurs travaux à Bâle. Les liens ont été maintenus et étendus et l’AGI est fondée o ciellement le 22 novembre 1952. Le but de ce “club” international est : 1. De créer des liens d’amitié entre des artistes graphiques de diérents pays que rapprochent des a nités esthétiques et dont la notoriété s’est a rmée dans le domaine de la publicité, du livre ou de l’art mural. 2. De faire connaître au public par des expositions et des manifestations diverses les recherches que poursuivent à travers le monde les chefs de le de l’art graphique moderne.
Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Rounded Type Specimen Punctuation (ss )
120 pts ↕ 120 pts ↔ − 30 pts + ss10 Stedel~kU Stedelk Stedelk Stedelk Stedelk
Ttd Studio™ Pro Type Specimen Rounded Punctuation Durúng úts exústence Durng ts exstence Durng ts exstence Durng ts exstence Durng ts exstence (ss10) between 1953 and 1968 the between 1953 and 1968 the between 1953 and 1968 the between 1953 and 1968 the between 1953 and 1968 Ulm School of Desúgn Ulm School of Desgn Ulm School of Desgn Ulm School of Desgn the Ulm School of Desgn became one of the worldcs became one of the worlds became one of the world s became one of the worlds became one of the worlds most únuentúal academúes most nuental academes most n uental academes most nuental academes most nuental academes for desúgnersR Here such for desgners Here such for desgners Here such for desgners Here such for desgners Here such úconúc desúgns as the Ulm conc desgns as the Ulm conc desgns as the Ulm conc desgns as the Ulm conc desgns as the Ulm stool and the stacked stool and the stacked stool and the stacked stool and the stacked stool and the stacked tableware TC 100 were tableware TC 100 were tableware TC 100 were tableware TC 100 were tableware TC 100 were madeU and also the Braun made and also the Braun made and also the Braun made and also the Braun made and also the Braun companycs radúo-phono companys rado-phono company s rado-phono companys rado-phono companys rado-phono combúnatúon SK 4, known combnaton SK 4, known combnaton SK 4, known combnaton SK 4, known combnaton SK 4, known as ZSnow Whútecs coEnRa as Snow Whtes con as Snow Whte s co n as Snow Whtes co n as Snow Whtes con
120 pts ↕ 120 pts ↔ − 30 pts + ss10 Regular • 12 pts ↕ 13 pts Durúng úts exústence between 1953 and 1968 the Ulm School of Desúgn became one of the worldcs most únuentúal academúes for desúgnersR Here such úconúc desúgns as the Ulm stool and the stacked tableware TC 100 were madeU and also the Braun companycs radúo-phono combúnatúon SK 4, known as ZSnow Whútecs coEnRa The ZUlm modela that was developed at the HfG was a desúgn concept based on scúence and technologyU and út sets standards to thús dayR
Medium • 12 pts ↕ 13 pts Durng ts exstence between 1953 and 1968 the Ulm School of Desgn became one of the worlds most nuental academes for desgners Here Stedel~kU such conc desgns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun companys rado-phono combnaton SK 4, known as Snow Whtes con The Ulm model that was developed at the HfG was a desgn concept based on scence and technology and t sets standards to ths day
SemiBold• 12 pts ↕ 13 pts Durng ts exstence between 1953 and 1968 the Ulm School of Desgn became one of the world s most n uental academes for desgners Here such conc desgns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun company s rado-phono combnaton SK 4, Stedelk known as Snow Whte s co n The Ulm model that was developed at the HfG was a desgn concept based on scence and technology and t sets standards to ths day
Bold • 12 pts ↕ 13 pts Durng ts exstence between 1953 and 1968 the Ulm School of Desgn became one of the worlds most nuental academes for desgners Here such conc desgns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun companys rado-phono combnaton SK 4, known as Snow Whtes co n The Ulm model that was developed at Stedelk the HfG was a desgn concept based on scence and technology and t sets standards to ths day
UltraBold • 12 pts ↕ 13 pts Durng ts exstence between 1953 and 1968 the Ulm School of Desgn became one of the worlds most nuental academes for desgners Here such conc desgns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun companys rado-phono combnaton SK 4, known as Snow Whtes con The Ulm model that was developed at the HfG was a desgn concept based on scence and technology and t Stedelk sets standards to ths day Stedelk
Ttd Studio™ Pro Type Specimen Rounded Punctuation Dur ng ts ex stence Dur ng ts ex stence Dur ng ts ex stence Dur ng ts ex stence Dur ng ts ex stence (ss10) between 1953 and 1968 the between 1953 and 1968 the between 1953 and 1968 between 1953 and 1968 between 1953 and 1968 the Ulm School of Des gn Ulm School of Des gn the Ulm School of Des gn the Ulm School of Des gn Ulm School of Des gn became one of the world s became one of the world s became one of the world s became one of the worlds became one of the worlds most n uent al academ es most nuent al academ es most nuent al academ es most nuent al academ es most nuent al academ es for des gners Here such for des gners Here such for des gners Here such for des gners Here such for des gners Here such con c des gns as the Ulm con c des gns as the Ulm con c des gns as the Ulm con c des gns as the Ulm con c des gns as the Ulm stool and the stacked stool and the stacked stool and the stacked stool and the stacked stool and the stacked tableware TC 100 were tableware TC 100 were tableware TC 100 were tableware TC 100 were tableware TC 100 were made and also the Braun made and also the Braun made and also the Braun made and also the Braun made and also the Braun company s rad o-phono company s rad o-phono company s rad o-phono companys rad o-phono companys rad o-phono comb nat on SK 4, known comb nat on SK 4, known comb nat on SK 4, known comb nat on SK 4, known comb nat on SK 4, known as Snow Wh te s con as Snow Wh te s con as Snow Wh te s con as Snow Wh tes con as Snow Wh tes con
Regular • 12 pts ↕ 13 pts Dur ng ts ex stence between 1953 and 1968 the Ulm School of Des gn became one of the world s most n uent al academ es for des gners Here such con c des gns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun company s rad o-phono comb nat on SK 4, known as Snow Wh te s con The Ulm model that was developed at the HfG was a des gn concept based on sc ence and technology and t sets standards to th s day
Medium • 12 pts ↕ 13 pts Dur ng ts ex stence between 1953 and 1968 the Ulm School of Des gn became one of the world s most nuent al academ es for des gners Here such con c des gns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun company s rad o-phono comb nat on SK 4, known as Snow Wh te s con The Ulm model that was developed at the HfG was a des gn concept based on sc ence and technology and t sets standards to th s day
SemiBold• 12 pts ↕ 13 pts Dur ng ts ex stence between 1953 and 1968 the Ulm School of Des gn became one of the world s most nuent al academ es for des gners Here such con c des gns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun company s rad o-phono comb nat on SK 4, known as Snow Wh te s con The Ulm model that was developed at the HfG was a des gn concept based on sc ence and technology and t sets standards to th s day
Bold • 12 pts ↕ 13 pts Dur ng ts ex stence between 1953 and 1968 the Ulm School of Des gn became one of the worlds most nuent al academ es for des gners Here such con c des gns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun companys rad o-phono comb nat on SK 4, known as Snow Wh tes con The Ulm model that was developed at the HfG was a des gn concept based on sc ence and technology and t sets standards to th s day
UltraBold • 12 pts ↕ 13 pts Dur ng ts ex stence between 1953 and 1968 the Ulm School of Des gn became one of the worlds most nuent al academ es for des gners Here such con c des gns as the Ulm stool and the stacked tableware TC 100 were made and also the Braun companys rad o-phono comb nat on SK 4, known as Snow Wh tes con The Ulm model that was developed at the HfG was a des gn concept based on sc ence and technology and t sets standards to th s day
Ttd Studio™ Pro Type Specimen