Founders Grotesk

Klim Type Foundry

Founders Grotesk

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Founders Grotesk Light 104 Point RÉGION

Founders Grotesk Regular 104 Point CHOLD

Founders Grotesk Medium 104 Point GRince

Founders Grotesk Semibold 104 Point SKOLM

Founders Grotesk Bold 104 Point METRE www.klim.co.nz Klim Type Foundry

Founders Grotesk Light 104 Point ROGUE

Founders Grotesk Regular 104 Point NORTH

Founders Grotesk Medium 104 Point VENOM

Founders Grotesk Semibold 104 Point GRASS

Founders Grotesk Bold 104 Point SNAKE

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Founders Grotesk Light 104 Point Machine

Founders Grotesk Regular 104 Point Science

Founders Grotesk Medium 104 Point Antique

Founders Grotesk Semibold 104 Point Nothing

Founders Grotesk Bold 104 Point Chamís

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Founders Grotesk Light 104 Point Helghän

Founders Grotesk Regular 104 Point Engrave

Founders Grotesk Medium 104 Point Chroma

Founders Grotesk Semibold 104 Point Sympie

Founders Grotesk Bold 104 Point Reklam

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Founders Grotesk Light 53 Point horseradish Skonlitteraturen

Founders Grotesk Regular 53 Point Renassaince Chronologische

Founders Grotesk Medium 53 Point Fantastique Halbmenschen

Founders Grotesk Semibold 53 Point griechaliÉr Mathematisch

Founders Grotesk Bold 53 Point FRANKREICH D’architecture

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Founders Grotesk Light 53 Point ZwiErzĘcych Merovingianism

Founders Grotesk Regular 53 Point DiscothÈque Schriftgiesserei

Founders Grotesk Medium 53 Point nederlands Charakterissin

Founders Grotesk Semibold 53 Point poltergeist Eigenschapen

Founders Grotesk Bold 53 Point coincidence Instrumentaal

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Founders Grotesk Light 53 Point The International office Elaina Hamilton & Duncan Forbes Multidisciplinary Graphic Design

Founders Grotesk Regular 53 Point 1556 counter reformation A General System of Ornament Lightness, Elegance and Grace

Founders Grotesk Medium 53 Point miller & Richard specimen New Architectural Framework Key Ornamental Arrangements

Founders Grotesk Semibold 53 Point his righteous vengeance Against Grotesque Decoration An Influential New Roman Villa

Founders Grotesk Bold 53 Point 120 tonne Stucco Fresco Charming Italian Surrounding Grammar of Classical Orders

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Founders Grotesk Light, Italic & Medium 11/12 Point

In art, grotesques are ornamental arrangements of arabesques with interlaced garlands and small and fantastic human and animal figures, usually set out in a symmetrical pattern around some form of architectural framework, though this may be very flimsy. Such designs were fashionable in ancient Rome, as fresco wall decoration and floor mosaics, and were decried by Vitruvius, who in dismi ssing them as meaningless and illogical, offered a good description: reeds are substituted for columns fluted appendages with curly leaves and volutes take the place of pediments, candelabra support representations of shrines, and on top of their roofs grow slender stalks & volutes with human figures senselessly seated upon them. When Nero’s Domus Aurea was rediscovered in the late fif teenth century, buried in fifteen hundred years of fill, so that the rooms had the aspect of underground grottoes, the Roman wall decorations in fresco and del icate stucco were a revelation; they were introduced by Raphael Sanzio and a team of decorative painters who developed grottesche into a system of ornam

Founders Grotesk Regular, Italic & Semibold 11/12 Point

When Nero’s Domus Aurea was inadvertently rediscovered in the late fifteen th century, buried in fifteen hundred years of fill, so that the rooms had the as pect of underground grottoes, the Roman wall decorations in fresco and deli cate stucco were a revelation; they were introduced by Raphael Sanzio and his team of decorative painters, who developed grottesche into a complete system of ornament in the Loggias that are part of the series of Raphael’s Ro oms in the Vatican Palace, Rome. The decorations astonished and charmed a generation of artists that was familiar with the grammar of the classical ord ers but had not guessed till then that in their private houses the Romans had often disregarded those rules, and had adopted instead a more fanciful and informal style that was all lightness, elegance and grace. In these grotesque decorations a tablet or candelabrum might provide a focus; frames were ext ended into scrolls, forming part of the surrounding designs as a kind of scaff old. Light scrolling grotesques could be ordered by confining them within the

Founders Grotesk Medium, Italic & Bold 11/12 Point

In these grotesque decorations a tablet or candelabrum provides a focus; frames were extended into scrolls that formed part of the surrounding de signs as a kind of scaffold.L ight scrolling grotesques could be ordered by confining them within the framing of a pilaster to give them much more st ructure. Giovanni da Udine took up the theme of grotesques when decor ating the Villa Madama, the most influential of the new Roman villas.I n Mi chelangelo’s Medici Chapel Giovanni da Udine composed during 1532–33 most beautiful sprays of foliage, rosettes & other ornaments in stucco and gold in the coffers and sprays of foliage, birds, masks and figures with a re sult that did not please Pope Clement VII Medici, however, nor Giorgio Va sari who whitewashed the grottesche decor in 1556. Counter Reformation writers on the arts, notably Cardinal Gabriele Paleotti, bishop of Bologna, turned upon grottesche with a righteous vengeance. In the meantime, thr ough the medium of engravings the grotesque mode of surface ornament

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Founders Grotesk Light, Italic & Medium 10/11 Point +5

In art, grotesques are ornamental arrangements of arabesques with interlaced garlands and small and fantastic human & animal figures, usually set out in a sym metrical pattern around some form of architectural framework, though this may be very flimsy.S uch designs were fashionable in ancient Rome, as fresco wall de coration and floor mosaics, and were decried by Vitruvius, who dismissed them as meaningless and illogical, offered quite a good description: reeds are substitu ted for columns fluted appendages with curly leaves and volutes take the place of pediments, candelabra support representations of shrines, and on top of their roofs grow slender stalks & volutes with human figures senselessly seated upon them. When Nero’s Domus Aurea was inadvertently rediscovered in the late fift eenth century, buried in fifteen hundred years of fill, so that the rooms had the as pect of underground grottoes the Roman wall decorations in fresco and delicate stucco were a revelation; they were introduced by Raphael Sanzio and a team of decorative painters, who developed grottesche into a complete system of orna ment in the Loggias that are part of the series of Raphael’s Rooms in the Vatican

Founders Grotesk Regular, Italic & Semibold 10/11 Point +5

When Nero’s Domus Aurea was inadvertently rediscovered in the late fifteenth century, buried in fifteen hundred years of fill, so that the rooms had the aspect of underground grottoes, the Roman wall decorations in fresco and delicate st ucco were a revelation; they were introduced by Raphael Sanzio and his team of decorative painters who developed grottesche into a complete system of or nament in the Loggias that are part of the series of Raphael’s Rooms in the Vat ican Palace. The decorations astonished and charmed a generation of artists that was familiar with the grammar of the classical orders but had not guessed until then that in their private houses the Romans had often disregarded those rules and had adopted instead a more fanciful and informal style that was all li ghtness, elegance and grace. In these grotesque decorations a tablet or cand elabrum might provide a focus; frames were extended into scrolls that formed part of the surrounding designs as a kind of scaffold. Light scrolling grotesques could be ordered by confining them within the framing of a pilaster, giving them more structure. Giovanni da Udine took up the theme of grotesques in decorat

Founders Grotesk Medium, Italic & Bold 10/11 Point +5

In these grotesque decorations a tablet or candelabrum might provide a fo cus; frames were extended into scrolls that formed part of the surrounding designs as a scaffold.L ight scrolling grotesques could be ordered by confin ing them within the framing of a pilaster to give them much more structure. Giovanni da Udine took up the theme of grotesques in decorating the Villa Madama, the most influential of the new Roman villas.I n Michelangelo’s Me dici Chapel Giovanni da Udine composed during 1532–33 most beautiful sp rays of foliage, rosettes and other ornaments in stucco & gold in the coffers and sprays of foliage, birds, masks and figures, with a result that did not ple ase Pope Clement VII Medici, nor Giorgio Vasari, who then whitewashed the grottesche decor in 1556. Counter Reformation writers on the arts, notably Cardinal Gabriele Paleotti, bishop of Bologna, turned upon grottesche with a righteous vengeance. In the meantime through the medium of engravings the grotesque mode of surface ornament passed into the European artistic repertory of the sixteenth century, from Spain to Poland. Later in Mannerist

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Founders Grotesk Light, Italic & Medium 9/10 Point +10

In art, grotesques are ornamental arrangements of arabesques with interlaced ga rlands and small and fantastic human and animal figures, usually set out in a sym metrical pattern around some form of architectural framework, although this may be very flimsy. Such designs were fashionable in ancient Rome, as fresco wall dec oration and floor mosaics, and were decried by Vitruvius, who dismissed them as meaningless and illogical, offered quite a good description: reeds are substituted for columns fluted appendages with curly leaves and volutes take the place of pe diments, candelabra support representations of shrines, and on top of their roofs grow slender stalks and volutes with human figures senselessly seated upon them. When Nero’s Domus Aurea was rediscovered in the late fifteenth century, buried in fifteen hundred years of fill, the rooms had the aspect of underground grottoes, the Roman wall decorations in fresco & delicate stucco were a revelation; they we re introduced by Raphael Sanzio and his team of decorative painters, who develo ped grottesche into a complete system of ornament in the Loggias that are a part of the series of Raphael’s Rooms in the Vatican Palace, Rome. These decorations astonished and charmed a generation of artists that was now familiar with the gra mmar of the classical orders but had not guessed till then that in their private hou

Founders Grotesk Regular, Italic & Semibold 9/10 Point +10

When Nero’s Domus Aurea was inadvertently rediscovered in the late fifteenth century, buried in fifteen hundred years of fill, so that the rooms had the aspect of underground grottoes, the Roman wall decorations in fresco and delicate stu cco were a revelation; they were introduced by Raphael Sanzio and his team of decorative painters, who developed grottesche into a complete system of orna ment in the Loggias that are a part of the series of Raphael’s Rooms in the Vatic an Palace, Rome. The decorations astonished and charmed a generation of arti sts that was familiar with the grammar of the classical orders but had not guess ed till then that in their private houses the Romans had often disregarded those rules and had adopted instead a more fanciful and informal style that was all lig htness, elegance and grace. In these grotesque decorations a tablet or candela brum might provide a focus; frames were extended into scrolls that formed part of the surrounding designs as a kind of scaffold. Light scrolling grotesques were ordered by confining them within the framing of a pilaster to give them more str ucture. Giovanni da Udine took up a theme of grotesques in decorating the Villa Madama, the most influential of the new Roman villas. In Michelangelo’s Medici Chapel Giovanni da Udine composed during 1532–33 the most beautiful sprays

Founders Grotesk Medium, Italic & Bold 9/10 Point +10

In these grotesque decorations a tablet or candelabrum might provide some focus; frames were extended into scrolls that formed part of the surrounding designs as a kind of scaffold. Light scrolling grotesques could be ordered by confining them within the framing of a pilaster to give them much more struc ture. Giovanni da Udine took up the theme of grotesques in his decoration of the Villa Madama, the most influential of the new Roman villas. In Michelang elo’s Medici Chapel Giovanni da Udine composed during 1532–33 most beau tiful sprays of foliage, rosettes and other ornaments in stucco and gold in the coffers and sprays of foliage, birds, masks & figures, with a result that did not please Pope Clement VII Medici, however, nor Giorgio Vasari, who then white washed the grottesche decor in 1556. Counter Reformation writers on these arts, notably Cardinal Gabriele Paleotti, the bishop of Bologna, turned upon grottesche with a righteous vengeance. In the meantime, through the vague medium of engravings the grotesque mode of surface ornament passed into the European artistic repertory of the sixteenth century, from Liechtenstein to Poland. Later Mannerist impressions, especially in engraving, were much more densely filled than the airy well-spaced style used by the Romans and

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Deutsch, Founders Grotesk Regular 10/11 Point +5

Das Groteske bezeichnet das Seltsam-fantastische, Hässliche oder Bizarre. Groteske als Kunstform ist eine willkürlich verzerrte, übersteigerte Darstellung, die lächerlich, absurd oder schaurig wirkt. In Renaissance und im Historismus steht Groteske für eine ornamentale Komposition aus Tieren, Halbmenschen und Fabelwesen. Groteske Anteile als künstlerische Gestaltungsmittel finden sich in der Antike zu mythologischen Themen, im Spät-Mittelalter als Buchsch muck in Form von Randleisten. Spätere Beispiele für groteske Bildelemente en thalten die Werke von Hieronymus Bosch, Francisco di Goya und George Gro sz. Im Theater von der Renaissance bis zur Französischen Revolution ist das Groteske gleichbedeutend mit Darstellungen, die nicht zur Welt des Adels ge

Français, Founders Grotesk Regular 10/11 Point +5

L’Art grotesque comprend des motifs d’ornementation peints, dessinés ou scu lptés reproduisant des sujets de caractères bizarres ou formant des enroulem ents de feuillages en guise de colonnes dans l’entrelacement desquels appara issent des figures extravagantes comme les mascarons, des personnages ou des animaux fantastiques ; cet ensemble porte le nom d’architecture illusionni ste. Ce style de représentation de petits démons, têtes de faunes et corps de nymphes stylisées, entourées de dorures et d’arabesques fines, est propice au raffinement des sens. Sans autre prétention, c’est d’ailleurs tout ce que l’on de mandait à ces petites décorations situées entre les stalactites des grottes da ns lesquelles les courtisans venaient chercher ombrage et rafraîchissement a

Español, Founders Grotesk Regular 10/11 Point +5

Grotesco deriva del italiano grottesco. El sentido original de la palabra hace re ferencia a un estilo extravagante del arte decorativo romano que fue redescu bierto e imitado en Roma en el siglo XV. Se descubrieron en esa época varias cuevas decoradas, que, según se supo después, eran en realidad habitaciones y pasillos de la Domus Aurea, el complejo palaciego que el emperador Nerón mandó construir tras el gran incendio del año 64. Se llamó también grotesco al arte inspirado en la decoración de estas supuestas grutas, caracterizado por la presencia de elementos ridículos, chabacanos, vulgares o absurdos, con pr ofusión de adornos en forma de bichos, sabandijas, quimeras y follajes. La pie za más destacada de este estilo ha sido El conventillo de la Paloma de Alberto

Italiano, Founders Grotesk Regular 10/11 Point +5

Il nome, come spiega Benvenuto Cellini nella sua autobiografia, deriva dalle gr otte del colle Esquilino a Roma che altro non erano che i resti sotterranei della Domus aurea di Nerone, scoperti nel 1480 e divenuti immediatamente popola ri tra i pittori dell’epoca che spesso vi si fecero calare per studiare le fantasios pitture rinvenute. Tra questi vi furono il Pinturicchio, Raffaello, Giovanni da Udi ne, il Morto da Feltre, Marco Palmezzano (il primo a portare le grottesche a no rd dell’Appennino) e altri che in seguito diffusero questo stile. Durante il Cinqu ecento, l’utilizzo di questo tipo di decorazione fu motivo di irritazione e disprez zo per molti teorici dell’arte, tra i quali il Vasari, che le definì pitture licenziose e ridicole molto. Difatti non è difficile credere come le grottesche, caratterizzate

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Português, Founders Grotesk Regular 10/11 Point +5

Grotesco é um derivado do termo latino grotto que significa gruta ou pequena caverna. A expressão grotesco surgiu no século XIV quando foram descobert os soterrados em Roma, por acaso, corredores e salões do antigo complexo p alacial Domus Aurea, uma construção requisitada pelo imperador Nero após o grande incêndio que consumiu boa parte da cidade em 64 d.C. (o qual se atr ibui a ele). Nesses espaços subterrâneos reabertos depois de quase mil e quin hentos anos foram descobertas imagens, figuras, estátuas compostas de pes soas ou deidades metade gente e metade animal ou metade figura mítica. A p alavra grotesco passou a ser utilizada não somente em meios artísticos mas t ambém em outras áreas como, por exemplo, na literatura e arquitetura. Os pin

Svenska, Founders Grotesk Regular 10/11 Point +5

I första hand är det Dante och Dolce stil nuovo som representerar den skönlitt erära renässansen, trots att Dante ibland härförs till medeltiden. I och med Do lce stil nuovo inträder en brytning med latin som skriftspråk, och litteratur börj ar allt oftare skrivas på folkmål. Under medeltiden hade den lärda litteraturen huvudsakligen varit av religiös, politisk eller vetenskaplig karaktär, och den skö nlitteratur som skrivits var som regel folklig. Temat i renässansens skönlitterat ur var kärleken och påverkad av humanismen var diktarens upplevelser i cent rum. Under renässansen upphöjdes skönlitteraturen, och upplevde en blomstr ing. Vid denna tid uppkommer metaforer i litteraturen. Petrarca var den förste författare som verkade under renässansen. Hans diktning var visserligen i hög

Nederlands, Founders Grotesk Regular 10/11 Point +5

De gotiek wordt gezien als de eerste echt vernieuwende stijl sinds de val van h et Romeinse Rijk. De term gotiek heeft geenszins een eenduidige betekenis. Er waren grote regionale verschillen met een duidelijke chronologische ontwikkel ing. Ondanks deze verschillen zijn er ook gemeenschappelijke kenmerken. De belangrijkste eigenschapen van de gotiek zijn de drang naar verticaliteit en na ar licht. Dat licht werd binnengehaald door hoge vensters en grote roosvenste rs. Gebouwen werden steeds hoger en daardoor ogenschijnlijk smaller. In de b eeldhouwkunst en schilderkunst zien we langgerekte figuren zowel in de uitbe elding van menselijke figuren als in de weergave van vegetatieve decoratie. De gotiek won het al snel van zijn voorganger, de romaanse architectuur. Profane

Polski, Founders Grotesk Regular 10/11 Point +5

Termin groteska pochodzi od włoskiego słowa la grottesca, wywodzącego się od wyrazu la grotta, oznaczającego jaskinię lub piwnicę. Pojawił się we Włosze ch na przełomie XV i XVI w. kiedy to w podziemiach odkryto malowidła ścienn e złotego domu Nerona. Owe późnoantyczne freski, charakteryzujące się wys tępowaniem hybryd zwierzęcych i roślinnych. Wówczas nie zdawano sobie sp rawy z odkrytego pałacu, dlatego nazwa malowideł o wymienionych cechach wzieła się od groty w której je znaleziono. W epoce Renesansu typ tego malars twa zaczął być naśladowany, początkowo we Włoszech (m.in. w kaplicy Strozz ich), a następnie we Francji (m.in. w pałacach w Fontainebleau), Niemczech i A nglii. Naśladownictwa te nazywano groteskami, terminu zaczęto również używ

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OpenType Features Deactivated OpenType Features Activated

Ligatures Kafka fishing flick Kafka fishing flick

Stylistic Alternates Hässliche Bizarre Hässliche Bizarre

All Caps (Q–R) Baum & Co (Q–R) Baum & Co

Default Figures $9.50 £6.32 €6.95 $9.50 £6.32 €6.95

Tabular Lining $9.50 £6.32 €6.95 $9.50 £6.32 €6.95

Fractions 1/2 Cup, 3/8 Inch 1/2 Cup, 3/8 Inch

Language (Română) Şi al compuşilor Şi al compuşilor

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Basic Character Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

Accented Characters

ÁÀÂÄÃÅǺĀĂĄÆǼĆĈČĊÇĎĐÉĔÈÊËĚĒĖĘ ÐĜĞĠĢĤĦÍĬÎÏİÌĪĮĨIJĴĶĹĽĻĿŁŃŇÑŅŊ ÓŎÔÖÒŐŌØǾÕŒŔŘŖŚŠŞŜȘŦŤŢ ÚŬÛÜÙŰŪŲŮŨŴẂẀẄỲÝŶŸŹŽŻÞ áàâäãåǻāăąæǽćĉčċçďđéèêëěēėęðĝğġģ ĥħıíĭîïiìīįĩijȷĵķĺľŀļłńňñņŋóŏôöòőōøǿõœ ŕřŗßśšşŝșŧťţúŭûüùűūųůũŵẃẁẅỳýŷÿźžżþ

Numeral Sets, Currency & Math Operators

0123456789 $£€¥ƒ¢ %‰ +−=÷×<>±≤≥≈≠ 0123456789 $£€¥ƒ¢ %‰ +−=÷×<>±≤≥≈≠

Ligatures & Fractions

fb ffb ff fh ffh fi ffi fj ffj fk ffk fl ffl 1/2 ¼ ¾ ⅓ ⅔ ⅛ 3/8 ⅝ ⅞

Punctuation & Symbols

@()[]{}/|\!?¿!•·-–—«»‹› @()[]{}/|\¿!•·-–—«»‹› &#©℗®™°'" *†‡§¶^~_ªº¹²³ .,:;…‘’„‚

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Basic Character Set

ABCDEFGHIJKLMNOPQRSTUVWXYZ aabcdefghijklmnopqrstuvwxyz

Accented Characters

ÁÀÂÄÃÅǺĀĂĄÆǼĆĈČĊÇĎĐÉĔÈÊËĚĒĖĘ ÐĜĞĠĢĤĦÍĬÎÏİÌĪĮĨIJĴĶĹĽĻĿŁŃŇÑŅŊ ÓŎÔÖÒŐŌØǾÕŒŔŘŖŚŠŞŜȘŦŤŢ ÚŬÛÜÙŰŪŲŮŨŴẂẀẄỲÝŶŸŹŽŻÞ áàâäãåǻāăąæǽáàâäãåǻāăąæǽ ćĉčċçďđéèêëěēėęðĝğġģ ĥħıíĭîïiìīįĩijȷĵķĺľŀļłńňñņŋóŏôöòőōøǿõœ ŕřŗßśšşŝșŧťţúŭûüùűūųůũŵẃẁẅỳýŷÿźžżþ

Numeral Sets, Currency & Math Operators

0123456789 $£€¥ƒ¢ %‰ +−=÷×<>±≤≥≈≠ 0123456789 $£€¥ƒ¢ %‰ +−=÷×<>±≤≥≈≠

Ligatures & Fractions

fb ffb ff fh ffh fi ffi fj ffj fk ffk fl ffl ½ ¼ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞

Punctuation & Symbols

@()[]{}/|\!?¿!•·-–—«»‹› @()[]{}/|\¿!•·-–—«»‹› &#©℗®™°'" *†‡§¶^~_ªº¹²³ .,:;…‘’„‚

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