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Remi

Aperçu

Antwerp

Graphik

Al lumi

Neue Helvet ica

Lexicon

Ruse

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Remi

Aperçu

Antwerp

Graphik

Al lumi

Neue Helvet ica

Lexicon

Ruse

Font Guide

Designer URTD

Country S lovakia

Created 2012

Site www.urtd.net/fonts/remi

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Remi

Remi is a geometr ic monospace sans-ser i f, w i th f ive weights , two sets of capitals and plenty of OpenType features intended for d isplay typography but w i th i ts true i ta l ics and var ious features des igned specif ical ly for text sett ing, i ts usage poss ib i l i t ies are w ide.

The construct ion and the proport ions are based on the c lass ic segmented LCD fonts : the capitals are the same height as the ascender and the x-height is exact ly in the middle of the capital he ight . For th is reason, another set of ‘shorter ’ capitals was added. They can be used as ordinary smal l capitals or as short capitals v ia the Sty l ist ic Set 1 OpenType feature.

The fonts have more than 40 special l igatures : compound glyphs contain ing abbreviat ions of both imper ial and metr ic measurement units as wel l as some frequent short words from f ive major languages.The name Remi isn’ t in any way connected to the o ld American typewr i ter manufacturer Remington. The name was chosen s imply because i t sounded and looked just r ight .

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Designer The Entente

Country England

Created 2009

Site www.colophon-foundry.org/ fonts/apercu

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Aperçu

Aperçu was started in December 2009, and has been tr ia l led and tested through a number of des ign comiss ions taken on by The Entente through 2010. The conceit behind Aperçu was to create a synopsis or amalgamation of c lass ic real ist typefaces:

JohnstonGi l l SansNeuzeitFrankl in Gothic .

S ince i ts re lease in August 2010, Aperçu quickly found i ts pos i t ion in the market , be ing used across a var iety of d i f ferent media and sectors around the world in both pr int and web. I t has been ut i l ized by inst i tut ions such as MOMA , De Wiels , Ze i t Magazine and the Walker Art Center.

I t seemed a f i t t ing point to look at extending i ts support for Central Eastern European and Cyr i l l ic-based languages. Now with more than 530 characters per weight , Aperçu Pro f inal ly arr ives .

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Designer Henr ik Kubel

Country England

Created 2010

Site www.a2-type.co.uk/html/ antwerp

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Antwerp

Antwerp is a 16th-Century typeface wi th contemporary proport ions . The des ign is a free sp ir i ted amalgamation and interpretat ion of the al l inspir ing archives of type on d isplay in the Museum Plant in-Moretus in the Belg ium c i ty Antwerp — hence the fonts name.

The typeface was developed as part of Kubel’s studies at the Expert c lass Type des ign 2010–11 at Plant in Inst i tute of Typography. The concept behind the typeface was to create a contemporary family of text typefaces w i th h istor ical references. The f inal des ign incorporates a large x-height and has a warm appearance on the pr inted page as wel l as on screen. The f i rst drawings were done by hand on paper before i t was developed into d ig i tal format, on screen in FontLab.

The family of typefaces evolved s lowly over a per iod of ten months dur ing my many journeys between London to Antwerp.

Font Guide

Designer Chr ist ian Schwartz

Country New York

Created 2009

Site www.commercialtype.com/ typefaces/graphik

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Graphik

The dominant trend of the mid twent ieth century s imple sans ser i fs st i l l reverberates in v isual culture . Graphik proves that i t i s st i l l poss ib le to create something refreshing inspired by th is era .

Taking cues from the less-known anonymous grotesques and geometr ic sans ser i fs , Graphik is perfect ly su i ted for graphic and publ icat ion des ign. Or ig inal ly des igned for the Schwartz ’s own corporate ident i ty, i t was later f in ished for Condé Nast Portfol io and then expanded for Wal lpaper* and later T, the New York T imes Sty le Magazine.

In a swelter ing typographic c l imate that favours ‘organic’ look-at-me typefaces burst ing wi th a thousand OpenType tr icks , Graphik is a refreshing splash of cool rat ional i ty. I ts ser ious, pared-back forms reference c lass ic sans ser i fs but remain thoroughly modern and never get fr ig id .

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Designer Jean Francois Porchez

Country France

Created 2008

Site www.typofonder ie .com/fonts/ a l lumi-family/

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Al lumi

Al lumi is a perfect font family for any communicat ion concerning des ign, robot ics , or funct ional i ty. Pushed to i ts extreme l imits , the Al lumi shapes are ne i ther perfect ly round or geometr ical ly square. I t ’s a human des ign wi th a h igh tech touch. Al lumi can be descr ibed as the Eurosty le (des igned by Aldo Novarese in 1964) of the new century, mixed wi th Frut iger. Al lumi is a ser ious typeface because of the unique des ign and sturdy form.

The family has been bui l t around two ser ies of w idths , standard and extended. I ta l ics have been careful ly des igned as s lanted roman with al l necessary opt ical and human correct ions to create a perfect and neat i ta l ic .

Each ser ie feature obviously a fu l l g lyph set who cover most of lat in languages, a l l aspects of typographic needs such smal l caps, var ious set of f igures & so on. In addit ion to that , few alternates g lyphs can change the overal l aspect of text sett ing. Last but not least , more than 70 d ingbats are included on the 27 ser ies and adapt to them.

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Designer Max Miedinger & Edward Hoffman

Country Switzer land

Created 1983

Site www. l inotype.com/en/1266/ NeueHelvet ica-family

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Neue Helvet ica

Neue Helvet ica is a reworking of the typeface wi th a more structural ly uni f ied set of he ights and widths . I t was developed at D. Stempel AG, a L inotype subsid iary. The studio manager was Wolfgang Schimpf, and h is ass istant was Reinhard Haus; the manager of the pro ject was René Kerfante.

Er ik Spiekermann was the des ign consultant and des igned the l i terature for the launch in 1983. Other changes include improved leg ib i l i ty, heavier punctuat ion marks, and increased spacing in the numbers .

Neue Helvet ica uses a numerical des ign c lass i f icat ion scheme, l ike Univers . The font family is made up of 51 fonts including 9 weights in 3 w idths (8, 9 , 8 in normal , condensed, extended widths respect ively) , and an out l ine font based on Helvet ica 75 Bold Out l ine (no Textbook or rounded fonts are avai lable) .

L inotype d istr ibutes Neue Helvet ica on CD. Neue Helvet ica also comes in var iants for Central European and Cyr i l l ic text .

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Designer Bram de Does

Country Nether lands

Created 1992

Site www.teff.n l/fonts/ lex icon

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Lexicon

Lexicon (des igned in 1992 by Bram de Does) is pre-eminent ly su i table for output on laser and other low-resolut ion pr inters and for typesett ing in smal l s izes .

I t i s therefore the perfect typeface for use in off ice correspondence) and appl icat ions that require h ighly economical sett ing (d ict ionar ies , B ibles , t imetables , encyclopedias etc . ) . Lex icon has been used for example in Van Dale ’s Het Groot Woordenboek der Nederlandse Taal .

Lex icon consists of two main groups: Lex icon No.1 and Lexicon No. 2 . Lex icon No.1 has short stems (ascenders and descenders) ; Lex icon No. 2 has ‘normal’ stems. Both groups share the same widths thus making i t poss ib le to change fonts w i thout ref lowing text .

Each main group contains 12 var iants : s ix upr ight weights (A to F) and s ix i ta l ic weights (A to F) . A is the regular weight , and F is the boldest weight .

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Designer Gerr i t Noordzi j

Country Nether lands

Created 2000

Site www.teff.n l/fonts/ruse/

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Ruse

Ruse is remarkably extens ive and complete . From 000 to 100 the family is d iv ided into 1 1 var iants of increasing contrast . Each var iant contains s ix d i f ferent k inds of f igures (hanging proport ional , l in ing proport ional , hanging tabular, hanging proport ional , super ior and infer ior) and a large number of l igatures . Prebui l t fract ions are also included together w i th an OpenType feature that automatical ly composes fract ions . The roman sty les contain smal l caps as wel l . Any typesett ing job for f igures , whether i t be in tables or p la in text , can be carr ied out eas i ly w i th Ruse.

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