ŧ Inter - Font Bureau · 2010-11-23 · font services like Typekit, Fontspring, and many others have come on the market. In fact, it seems like new web font services have been popping

02IN

TERLINEA

NEWTYPEFACES

Bou�angerieRi�k’� D�li Améri�ain

Queso B�an�oWe’�� a�wa�� ave Provo�one

Monte C�isto

FRANÇAISParis Beaux-ArtsNon-Conformist Youth

9 Rue Gît-le-Cœur

BEATNIK QUARTER

Maze of Narrow Streets

HUGE MOVING TRUCK

CONTINENTFrom one coast to the other

Sleeping with intent to snore

HIT SI�GL�SSensational Ensemble

Made Out of Whole Cloth

FashionableCLOTHES HORSE

Polite Fiction

PEACEFUL VOYAGESYou �re in need of � l�titude �djustment

EARTHGiven the sizable magnetic field

København

TangierBY RICHARD LIPTON

With Tangier, Richard Lipton continues to ex-

plore the possibilities of the elegant Spencerian

form in its infinite variety. Inspired by lettering

on a catalog cover, Lipton developed this lively

series, exuberant yet disciplined, with a black

weight that pushes the boundaries for contrast

in a script. Captivated by Tangier’s flair and

joie de vivre, Glamour magazine incorporated

two weights into their 2008 redesign; FB 2010

ParkaBY DANIEL PERRAUDIN

Daniel Perraudin began the sketches for Parka

in 2007. The design became a central part of his

thesis for a diploma in Information Design from

the University of Applied Sciences in Graz, Aus-

tria. Parka benefited from the support of design-

ers Georg Salden and Günter Gerhard Lange.

With its sturdy forms and humanistic influences,

Parka performs evenly through all weights, show-

ing great strength in smaller sizes; FB 2010

FB HermesBY MATTHEW BUTTERICK

Schriftguss and Wollmer called it Hermes;

Berthold called it Block. Heinz Hoffmann’s

1908 design inspired FB Hermes, which evokes

the German grotesks that were workhorses of

factory printing 100 years ago. Blunt corners

suggest the wear and tear of rough presswork.

Matthew Butterick created the original styles

in 1995. In 2010, he added more weights, italics,

and alternate glyphs to expand the family’s

versatility; FB 1995, 2010

Williams Caslon TextBY WILLIAM BERKSON

In 18th-century England & America, Caslon

fonts came to dominate printing. Hot-metal

revivals in the 20th century were legendary for

readability. The letterpress printers’ adage was:

“When in doubt, use Caslon.” William Berkson

drew Williams Caslon to bring this comfortably

readable classic into the 21st century, capturing

in digital form the warm, dark, and open look

at the heart of this perennial favorite; FB 2010

TrilbyBY DAVID JONATHAN ROSS

The 19th-century French Clarendon, with its

unorthodox reversed stress, never achieved the

versatility of its Victorian siblings: the slab-serif

Antique and the sans-serif Grotesque. In Trilby,

David Jonathan Ross reined in this topsy-turvy

style, cultivating its formal essence. Unburdened

of excess ornamentation, Trilby transcends mere

novelty as a wholly useful contemporary design

with offbeat charm and subtle wit; FB 2009

Juliana TextBY DAVID BERLOW

In 1952 Walter Tracy at Linotype & Machinery

commissioned Juliana from Sem Hartz, Jan van

Krimpen’s successor at Enschedé. Released in

1958, the high style and narrow width of Juliana’s

engraved letterforms opened the British paper-

back market to L&M. Elegance and economy

return to fashion as David Berlow’s faithful cut-

ting shaves a graceful seven per cent off normal

paper costs with no loss of readability; FB 2009

Skilt GothicBY MÅRTEN THAVENIUS

In the 1920s, Danish architect, printer, and de-

signer Knud V. Engelhardt (1882–1931) prepared

a series of striking types for signage, including

those for the street signs in Gentofte, north of

Copenhagen. Swedish designer Mårten Thave-

nius built upon some of the structural elements

from Engelhardt’s work to arrive at Skilt Gothic.

The middle weights are well-suited for text, while

the extremes work best in display; FB 2010

Æ Ŋ £ ŧ

RO&

F�BRICNo Style Weft Behind

Daring Feats of Jacquard Weave

GabardinePROMISES TO BE QUITE A TWILL

SURREALIST IMAGE

InconceivableSomething uplifting about appliances

Hello waffle iron!

DISPLAY

ENTERTAINMENT CONSOLE

RadiophileSonic EnvironmentsTEXT

PHASE SHIFTERSet yourself between the speakers

Echo Chambers Ibis Text & DisplayBY CYRUS HIGHSMITH

As he explains the origin and purpose of this

design, it becomes clear that Cyrus Highsmith

undertook Ibis as a real typographic adventure.

Studying the Font Bureau library, he found open-

ings that were filled elsewhere by Justus Erich

Walbaum’s 1919 Walbaum and Hermann Zapf’s

1952 Melior. Combining these two diverse influ-

ences may be far from obvious, but Highsmith

found the result to be truly inspirational; FB 2010

03INTERLINEA

UPCOMINGTYPEFACESStratocumulusCONDOR – BY DAVID JONATHAN ROSS

A Good Barometer of Things to ComeBULLEN – BY JULIET SHEN

SKY TURNS AN AZURE SHADEPROTIRE – BY PETR VAN BLOKLAND

PRESSURE AT 1058 MILLIBARS AND RISINGSubstantialBOOMER SANS & SERIF – BY CYRUS HIGHSMITH

White Clouds Drawn Like GauzeBIG CASLON – BY MATTHEW CARTER

GOSSAMERBIG FIGGINS – BY MATTHEW CARTER

It Was an Exquisite Deep Blue Just ThenHERON SANS – BY CYRUS HIGHSMITHНичего но Сине НебесаSLOOP WGL – BY RICHARD LIPTON

SHAPES PORTEND AN AUSPICIOUS FUTUREVONNESS – BY DAVID BERLOW

Forecasting the Past is EasyPOSTONI – BY MATTHEW CARTER & FONT BUREAU

I can see clearly now; the rain is goneTURNIP – BY DAVID JONATHAN ROSS

Favorable OutlookBENTON SANS WIDE – BY CYRUS HIGHSMITHRose-colored Glasses CANTO – BY RICHARD LIPTON

A partnership of expertsspin out a new web font service.

BY NICK SHERMAN

Weaving a neW Type

of Web

In the past, technical issues limited how fonts could be used on web-sites, but a lot has changed in the last couple years. Any designer who

hasn’t been living under a rock has prob-ably heard about new options for using fonts other than the handful of “web-safe” choices like Verdana and Georgia in their web designs.

As all the major web browsers have ad-opted support for the @font-face technol-ogy for linking fonts to web pages, web font services like Typekit, Fontspring, and many others have come on the market. In fact, it seems like new web font services have been popping up on a monthly basis during the past year, each with its own take on font licensing, delivery, and opti-mization for the web.

Naturally, Font Bureau has spent a lot of time and energy thinking about the best way to provide web fonts to its customers. While many of the existing services offer viable solutions for some cases, it was de-cided that the only way to maintain certain essential requirements was to start from scratch and build a new service from the ground up.

The result of that decision has been re-alized as Webtype, a collaborative effort between Font Bureau, Ascender Corpora-tion, Petr van Blokland, and DevBridge. Within that group sit some of the most re-spected leaders in type and technology — people uniquely suited to take on the issue of web fonts.

So, what is so different about Webtype? Why bother with a whole new web font service?

One significant distinction is the licensing model. The Web-type service is modular by design, so you only pay for the fonts you need, for the length of time that you need them, and for the level of traffic that your site draws.

Another major feature is that any font on Webtype can be tested for free for a month. This way, designers and their cli-ents have an opportunity to evaluate any of the fonts in real-world settings without the risk or guesswork sometimes associ-ated with font licensing.

Also, building on their history of custom font work for print publications — services like feature expansions or proprietary

typeface development — Font Bureau can provide specialized fonts through Webtype to meet any individual client’s particular needs for their website.

While a flexible licensing model, free tri-als, and custom services are important, the most crucial component that sets Web-type apart is the standard of quality for the fonts offered.

For starters, each Webtype font has been carefully hinted — instructions are programmed into a font to optimize how it is rendered onscreen. While such instruc-tions are often automated, only a human eye can evaluate and tune a font to the op-timal level of quality. Therefore, each and every font on Webtype has been hand-tweaked by the experts at Ascender Cor-poration, the people behind many of the web-safe fonts we’ve all relied on in the past. The result is type that renders crisply and cleanly across all browsers and operat-ing systems.

But hinting isn’t everything. When it comes to the nitty-gritty task of setting paragraphs of small text onscreen, even the best hinting in the world can’t en-sure the success of any font. Because the computer screen is a unique format with its own particular properties (and con-straints), achieving the most readable text fonts for the screen requires that they be designed from the ground up, with all the technological quirks in mind.

Font Bureau and Ascender have done just that, investing significant amounts of time to develop the Reading Edge™ (RE) series of fonts. These fonts are styled to correspond to existing print typefaces from the Font Bureau library, but are in fact totally new designs produced specifically

for setting highly readable onscreen text. The series, which is only available through Webtype, currently consists of five font families and provides web designers with a flexible palette of hard-working text type-faces.

In addition to the new RE series, users can also expect to see many of the other classic Font Bureau typefaces optimized and made available for web use through Webtype. Keep an eye on webtype.com for a steady stream of new fonts and function-ality over the coming weeks and months.

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Inter lInea InSIDe

ParaGraPHSbY CYrUSHIGHSMItH

neW anD UPCoMInG tYPefaCeS

02IN

TERLINEA

neWtYPefaCeS

BoulangerieRick’s Deli AméricainQueso BlancoWe’ll always have Provolone

Monte Cristo

FRANÇAISParis Beaux-ArtsNon-Conformist Youth

9 Rue Gît-le-CœurBeatnik Quarter Maze of Narrow Streets

huge moving truck

continentFrom one coast to the otherSleeping with intent to snore

HIT SINGLESSensational ensemble

Made Out of Whole Cloth

FashionableClothes horse

Polite Fiction

PEACEFUL VOYAGEsYou are in need of a latitude adjustment

EARTHGiven the sizable magnetic field

København

Tangierby richard lipton

With Tangier, Richard Lipton continues to ex-plore the possibilities of the elegant Spencerian form in its infinite variety. Inspired by lettering on a catalog cover, Lipton developed this lively series, exuberant yet disciplined, with a black weight that pushes the boundaries for contrast in a script. Captivated by Tangier’s flair and joie de vivre, Glamour magazine incorporated two weights into their 2008 redesign; Fb 2010

Parkaby daniel perraudin

Daniel Perraudin began the sketches for Parka in 2007. The design became a central part of his thesis for a diploma in Information Design from the University of Applied Sciences in Graz, Aus-tria. Parka benefited from the support of design-ers Georg Salden and Günter Gerhard Lange. With its sturdy forms and humanistic influences, Parka performs evenly through all weights, show-ing great strength in smaller sizes; Fb 2010

FB Hermesby matthew butterick

Schriftguss and Wollmer called it Hermes; Berthold called it Block. Heinz Hoffmann’s 1908 design inspired FB Hermes, which evokes the German grotesks that were workhorses of factory printing 100 years ago. Blunt corners suggest the wear and tear of rough presswork. Matthew Butterick created the original styles in 1995. In 2010, he added more weights, italics, and alternate glyphs to expand the family’s versatility; Fb 1995, 2010

Williams Caslon textby william berkson

In 18th-century England & America, Caslon fonts came to dominate printing. Hot-metal revivals in the 20th century were legendary for readability. The letterpress printers’ adage was: “When in doubt, use Caslon.” William Berkson drew Williams Caslon to bring this comfortably readable classic into the 21st century, capturing in digital form the warm, dark, and open look at the heart of this perennial favorite; Fb 2010

Trilbyby david jonathan ross

The 19th-century French Clarendon, with its unorthodox reversed stress, never achieved the versatility of its Victorian siblings: the slab-serif Antique and the sans-serif Grotesque. In Trilby, David Jonathan Ross reined in this topsy-turvy style, cultivating its formal essence. Unburdened of excess ornamentation, Trilby transcends mere novelty as a wholly useful contemporary design with offbeat charm and subtle wit; Fb 2009

Juliana Textby david berlow

In 1952 Walter Tracy at Linotype & Machinery commissioned Juliana from Sem Hartz, Jan van Krimpen’s successor at Enschedé. Released in 1958, the high style and narrow width of Juliana’s engraved letterforms opened the British paper-back market to L&M. Elegance and economy return to fashion as David Berlow’s faithful cut-ting shaves a graceful seven per cent off normal paper costs with no loss of readability; Fb 2009

Skilt Gothicby mårten thavenius

In the 1920s, Danish architect, printer, and de-signer Knud V. Engelhardt (1882–1931) prepared a series of striking types for signage, including those for the street signs in Gentofte, north of Copenhagen. Swedish designer Mårten Thave-nius built upon some of the structural elements from Engelhardt’s work to arrive at Skilt Gothic. The middle weights are well-suited for text, while the extremes work best in display; Fb 2010

Æ Ŋ £ ŧ

RO&

FABRICNo Style Weft BehindDaring Feats of Jacquard Weave

GabardinepromiSeS to Be quite a tWill

SurrealiST image

InconceivableSomething uplifting about appliances

Hello waffle iron!

DISPLAY

entertainment console

RadiophileSonic EnvironmentsTEXT

PHASE SHIFTERSet yourself between the speakers

Echo Chambers Ibis Text & Displayby cyrus highsmith

As he explains the origin and purpose of this design, it becomes clear that Cyrus Highsmith undertook Ibis as a real typographic adventure. Studying the Font Bureau library, he found open-ings that were filled elsewhere by Justus Erich Walbaum’s 1919 Walbaum and Hermann Zapf’s 1952 Melior. Combining these two diverse influ-ences may be far from obvious, but Highsmith found the result to be truly inspirational; Fb 2010

03INTERLINEA

UPCoMInGtYPefaCeSStratocumulus

CONDOR – by DAVID JONATHAN ROSS

A Good Barometer of Things to ComebulleN – by JulIeT SHeN

Sky TurnS an azure ShadepROTIRe – by peTR VAN blOklAND

Pressure at 1058 millibars and rising

SubstantialbOOMeR SANS & SeRIF – by CyRuS HIgHSMITH

White Clouds Drawn Like GauzebIg CASlON – by MATTHew CARTeR

GOSSAMERbIg FIggINS – by MATTHew CARTeR

It Was an Exquisite Deep Blue Just ThenHeRON SANS – by CyRuS HIgHSMITH

Ничего но Сине НебесаSlOOp wgl – by RICHARD lIpTON

ShapeS portend an auSpiciouS futureVONNeSS – by DAVID beRlOw

Forecasting the Past is EasypOSTONI – by MATTHew CARTeR & FONT buReAu

I can see clearly now; the rain is goneTuRNIp – by DAVID JONATHAN ROSS

Favorable OutlookbeNTON SANS wIDe – by CyRuS HIgHSMITH

Rose-colored Glasses CANTO – by RICHARD lIpTON

INTER

LINEA

04

CUStoM tYPefaCeS

GlamourMagazineTangier by Richard Lipton

tangier was originally inspired by the masthead lettering on a catalog cover for Rue de France. a three-weight script family was developed from this small sampling of letters, with the black weight pushing the boundaries of contrast for a script design. before the family was fully developed, Glamour magazine was looking for a new display script, saw the tangier samples, and commissioned two weights for their redesign. additional contextual and stylistic alternates and ligatures were added to the retail family to enhance the design. With tangier, lipton continues to explore the possibilities of this elegant form in its infinite variety.

Washington Post MagazinePostoni Display by Matthew Carter and Richard Lipton

The Washington Post has revamped its Sunday Washington Post Magazine from the ground up. the goal: to provide a distinctive, engaging platform with a local focus – including features, profiles, reviews, and the popular “Going out Guide.”

as part of a redesign project with consultant roger black, The Post commissioned display cuts of its signature headline face, postoni – inspired by the classic newspaper type bodoni.

Working with matthew carter, who designed The Post’s trademark typeface, richard lipton tuned up the bodoni-style forms, increasing the contrast and elegance for bigger headlines. the expanded series was developed in two weights with italics and includes a full complement of condensed styles.

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For 20 years, the Font Bureau has specialized in custom type design — outfitting publications, corporations, and device manufacturers alike with impeccably crafted and award-winning fonts. Our designers have experience reviving historic sources, expanding existing families, and creating entirely new designs — all to fit a client’s specific needs.

Shown here are a few of our most recent collaborations.

INTERLINEA

05

Rolling StoneHutch by David Berlow

With its unique blend of pop culture coverage mixed with serious political reporting, Rolling Stone magazine requires a headline face that can cover the gamut. When art director Joe Hutchinson decided he wanted a new display type that still looked like it belonged at Rolling Stone, consultant Roger Black suggested something based on Cochin, which he himself had used in the magazine in the mid 1970s.

David Berlow adapted the 18th-century engraved style to create Hutch for more contemporary usage – expanding the weights, heightening the contrast, and adjusting letterfit for display sizes. Idiosyncrasies in the original French italic were tamed for everyday use, but were retained as stylistic alternates, along with a wide array of “crazy Cochin” swashes drawn by Jim Parkinson.

Los Angeles TimesFB Kis by David Berlow

in 2002, consulting with the Los Angeles Times on a complete redesign, roger black approached David berlow with the request for a sweet, new oldstyle for headlines and display. throughout the 1980s and 90s, times roman had been the L.A. Times’ venerable headline face.

berlow looked to the Dutch oldstyle predecessors of times roman, in particular the types of amsterdam-trained Hungarian punchcutter nicholas Kis, as a starting point. from there he drew a charismatic, gutsy old-style in two display weights. the crispness of fb Kis offers a fresh, but still familiar, headline face that the L.A. Times designers use to great effect, livening up the paper’s SnD-award-winning pages.

later, a corresponding text series was developed in four weights for magazine and newspaper use.

PalmPrelude & Apres by David Berlow

to build a unique visual experience for the palm pre smartphone, palm commissioned a suite of screen fonts from the font bureau. co-founder David berlow designed prelude, a simple sans serif design with generous letterforms, to provide a clear and inviting experience for navigation and readability. a related set of fonts, named apres, were tuned specifically for use in print and marketing.

noted publication designer roger black consulted with the palm team on the project and suggested berlow. “David berlow has worked on fonts for all kinds of screen and print uses,” said black. “With his unrivaled understanding of web standards, and palm’s dedication to a high quality solution, the pre is able to deliver an obvious improvement in readability – as well as bringing a consistent and stylish visual experience to the user.”

in 2010 palm commissioned the expansion of prelude to 18 styles with WGl character sets.

Prelude

studio jetsGourmet kibble flambé, yum!

StarletPurebred BorzoiAPreS

POUNDRefused many invitationsPROFESSIONAL QUADRUPED

Discovered

INTER

LINEA

06

DeSIGnerPortfolIoS

founded in 1917, Excélsior cemented itself as the leading newspaper in mexico city during the first half of the 20th century. When Danilo black began the strategic planning of the redesign project, three areas were defined – the brand, the editorial concept, and the product design.

“We found a significant gap in relation to other newspapers. Excélsior kept a harder line of journalism, it was monochromatic, and it employed a layout system that was somewhat backward. We imagined how Excélsior might have evolved and we engaged in an exercise of looking

at its evolution through three decades, in order to find the natural identity of Excélsior in the 21th century,” explains Eduardo Danilo, Danilo black co-founder.

five lines of action were defined: products versus sections; diversity of the graphically identifiable, journalistic elements; modular and vertical reading, with synergy in relation to web-browsing usability; a highly creative design borrowing from magazine layout; and, finally, the incorporation of strong and independent editorial voices.

font bureau fonts played a critical role in consolidating the identity. antenna embodies the power of tradition with its pronounced features and strong shapes, in headings as well as in text. in the Sports section, antenna sets the precedent, infusing the section head with raw adrenaline. the popular family is used as a bridge between the lightness of Didot headlines and the strength of antenna, becoming a visual accent in the typographic texture.

the redesign of Excélsior made quite an impression with the Society of newspaper Design. it won 72 awards, including a gold medal for the best redesign and third place worldwide, achieving the greatest number of awards received in the history of a mexican newspaper.

Each Saturday, avid readers of the sports daily L’Equipe anxiously await the weekend insert, L’Equipe Mag. in addition to supplementing the newspaper’s all-inclusive sports coverage, the mag (as it is called by fans) adds a variety of features, personality profiles, and eye-catching photography and extends coverage to lifestyle areas such as travel, fitness, fashion, and tech/gadgets.

on april 18, 2009, these sports fans turned to find a new design, developed by García media. the goal was to improve the navigation, maximize the cover with more direct entry points, and refresh the overall style in ways that did not upset the very loyal readership.

L’Equipe Mag editor Jean-philippe leclaire reports, “from the start, readers have told us that they like the easier-to-navigate magazine, the more interesting covers, and the way inside stories are displayed. . . . they like what has been done to make reading so much easier and pleasurable.”

the majority of headlines are set in the sturdy, highly visible itc franklin, a time-tested workhorse, recently revised by David berlow. Dr. mario r. García and his team never had a second thought about franklin for the mag. “it has the strength one seeks in headlines that will deal with the drama of sports,” explains Garcia. “it could very well be seen on the scoreboard at the top of a stadium.”

for a complementary serif, García media chose cyrus Highsmith’s Zócalo, which successfully combines oldstyle characteristics with a lively, contemporary flair. its agile, athletic forms provide a supple contrast to the robust franklin. “for a sports magazine,” says Garcia, “just perfect.”

Danilo Black Inc.Excélsior

García MediaL’Equipe Mag

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NUMÉRO 1407 4 JUILLET 2009www.lequipemag.fr


30 L’ÉQUIPE MAG Nº 1415 29 AOÛT 2009

magacTu> PAR BENOÎT HEIMERMANN, À AKRON (OHIO, ÉTATS-UNIS) > PHOTOS JOSH RITCHIE ET ANDREA RENAULT/POLARIS POUR L’ÉQUIPE MAG

Le meilleur joueur 2009 de la NBA a le cœur ancré à Akron, dans l’Ohio,où il est né. Il y vit encore, puisque les Cavaliers, équipe dont il faitles beaux jours depuis 2003, sont installés à Cleveland, la ville voisine.Et il y œuvre auprès des jeunes grâce à des camps de basket. Le « Mag »l’y a retrouvé à l’occasion de la prochaine sortie de « More than a Game »,un film documentaire retraçant son parcours de jeune star de l’équipedu lycée, et avant son passage à Paris cette semaine.

LeBronJamesPROCHE DE L’OHIO


Publication: ExcélsiorLocation: méxico city, méxicoDesign Consultant: Danilo blackFonts Used: antenna, popular

Publication: l’Equipe magLocation: issy-les-moulineaux, franceDesign Consultants: García media – paula ripoll, rodrigo fino, christian fortanetFonts Used: itc franklin, Zócalo Display, Zócalo text

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TØR - HVOR ANDRE TIER *tirsdag 11. marts 2008 nr. 29 uge 11 105. årg. ekstrabladet.dk 12,50 kr.

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Ekstra Bladet is Denmark’s leading morning tabloid – a hard-hitting “people’s paper” specializing in exposés, exclusives, and a lively approach to popular culture. it’s a brash, in-your-face newspaper, and its design has long reflected this with strength and impact. nevertheless, editor poul madsen felt the paper was ready for a redesign that would make it feel more contemporary without losing any of that personality, one that could accommodate more variety in content and presentation in order to broaden the paper’s appeal.

palmer Watson had worked previously with the paper on several occasions, stretching back five years, redesigning the sports section, the front page, and weekend supplements. Director ally palmer and his team were brought in again for this redesign and were fully involved in all aspects of the new Ekstra Bladet, from initial concepts through to the launch and beyond.

looking for a modern sans serif typeface that would provide a striking, contem-porary voice, the palmer Watson team turned to cyrus Highsmith’s extensive antenna family, with its taut curves and open counters. “its full range of styles and weights were perfect and were a genuine inspiration while working on the prototypes,” explains palmer.

as a result, the new Ekstra Bladet is still punchy and still has plenty of attitude, but now with added dimensions in both its content and its design. in one of the toughest markets in Europe, if not the world, it continues to outperform its rivals.

launched in fall 2006, the redesign of the Telegraph-Journal by lacava Design inc. was conceived to help the newspaper realize its full potential to produce beautiful pages every day with the limited resources of a smaller in-house staff. While the structure is anchored in a strong grid, overall the design avoids formulaic, highly formatted pages in favor of more variety and an organic flow from page to page.

among the many changes were a dramatic new nameplate, a highly functional palette of fresh, distinctive colors, and a switch in

typography to make the paper more legible and appealing. “We gave the paper a very bold nameplate so as a brand it has a presence,” said design consultant lucie lacava. “all the typography choices we made are forward-looking as well.”

for headlines, lacava chose the stately Whitman Display family, leveraging the compressed widths for news heads and normal widths for features and section flags. the distinctive sans serif Vonness family, from font bureau’s Studio library, was selected for all navigation and infographics, as well as the unique nameplate.

the following January, two new weekly sections were unveiled – “Salon” and “Escapade,” the crowning stages of the redesign. the arts-and-culture weekly “Salon,” formerly published as the New Brunswick Reader in tabloid format, is an elegant broadsheet magazine featuring literary reviews and showcasing the province’s visual art scene. the completely new “Escapade” is a hybrid feature section about travel, society, and the local scene, presented in one swanky, attractive package.

Palmer WatsonEkstra Bladet

Lacava Design Inc.Telegraph-Journal

Publication: Ekstra bladetLocation: copenhagen, DenmarkDesign Consultant: palmer WatsonFonts Used: antenna

Publication: telegraph-JournalLocation: Saint John, new brunswick, canadaDesign Consultant: lacava Design inc.Fonts Used: Whitman Display, Vonness

INTER

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08

A New Way to Design PublicationsReady-Media changes the way magazines and newspapers are designed. With a complete set of templates provided for every kind of page, publication production is vastly streamlined.

he first template libraries are now available at ready-media.com. Each is stocked with hundreds of pre-de-signed pages created as Adobe InDe-sign® files.

“Designers are freed to concen-trate on visual content,” said Ready-Media partner Robb Rice, a New York–based magazine designer who created the first set of Ready-Media magazine templates.

A series of newspaper templates were designed by Eduardo Danilo, one of the world’s foremost news-paper designers and a Ready-Media partner. “The use of templates can create a better, unified visual brand, while substantially decreasing pro-duction time,” Danilo said.

By going to the web site, Ready-Media president Roger Black ex-plained, a designer, editor, or pub-lisher can select a package of tem-plates that fit their publication needs.

“Ready-Media provides a design solution for a redesign or a startup

at a fraction of the cost of a custom design,” Black said.

The initial offering includes five unique libraries for both newspapers and magazines and will be followed by “matching” templates for the web, according to Black. “This allows a print publication to publish on the web with the same design style and branding, overnight,” he said.

Template libraries include a choice of fonts, carefully curated by Font Bureau’s general manager Sam Ber-low, also a partner at Ready-Media.

Ready-Media can create additional templates and design logos and sec-tion headings through its Design Room, which is managed by Rice.

“Never before has it been easier to design great-looking newspapers and magazines,” said Berlow.

ready-media, llcNew York 212 918 0990www.ready-media.com

reaDY-MeDIa

T

VERNIER a versatile modern design

system perfect for any trade, b2b, or corporate publication, available in three unique type palettes.

TRUMBULL a modern design for city-

regional publications, available in three unique type palettes.

NOsARA featuring a clean and pragmatic

design perfect for news content, this modern library is ideal for corporate, trade, or b2b publications. available in two unique type palettes.

LOCHMOOR a classically elegant library

created for city-regional publications, available in two unique type palettes.

GILMAN created for enthusiast titles,

this classic design has a sturdy framework optimized for strong visuals and comes in three unique type palettes.

Beijing’s Grand SpectaclePaul Andreu’s ellipsoid dome of titanium and glass proves that it’s not all about sport in the People’s Republic. p32

ARC Magazine | Architecture, Research and Construction October 2009 N°1

DESIGN

Spanish Block PartyFOA’s colorfully dramatic Spanish Pavilion for Japan’s World Expo. p28

INTERVIEW

Zaha HadidThinking outside of the box and one step ahead of the curve delore modit ut lant. p54

COMMUNITY

Tending the GardenOborper sequipit lut lore

eras wis a modit dorp

SURFING

New Wave Rider

Dane Hoffman’s quest to bring a world title to the Shore

REAL ESTATE

Space Invaders

How the building boom is effecting our skyline

NATURE

Bloom County

Oborper sequipit lut lore eras wis a modit dorp

Cheap EatsGreat food on a tight budget.

LAKE SHORELAKE SHORELAKE SHORE

The Food IssueGreat food on a tight budget

SURFING

New Wave RiderDane Hoffman’s quest to bring a world title to the Shore

REAL ESTATE

Space InvadersHow the building boom is affecting our skyline

FALL FASHION

Cut Above the RestOborper sequipit lut wis a dolor feum modit et fontsiv eras dom atreu.

SPECIAL CARIBBEAN TRAVEL SECTION

00 ARC | October 2009 Photo: PhotoLibrary.com

About: Anthony Weiss Oborper a sequipit lut nis ut nibh eugueros dolore feum modit ut la at, vel doluquis etuer se mod duis ex eu feugiat lum nim delisl esto consectem iril a ulla amconse.

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Is the Bauhaus still relevant?

Haus of Style

R he bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture depart-ment during the first years of its existence.

Nonetheless it was founded with the idea of creating a ‘total’ work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. Bauhaus had a profound

In Focus | by Anthony Weiss

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00 BAY SHORE, AUGUST 2009

Bringing It Back HomeOborper sequipit lut wis nis dit ut nibh eugueros dolore feum ipsum. By Author Longname

radar > MEET THE PARENTS

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OCP Magazine | March 2010 Nº18

NorthGem Expands in KenyaDevelopment activities climb new heights as exploration in Africa accelerates

PEOPLE

The Australian Seven SpeakSurvivors of the tragic GBH collapse tell their story. p32

DEALS

Weak Companies, Strong MergersThe latest remedy for struggling mineral companies? p46

2 XXXXXXXX, MONTH 20XX

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00Materials: modip euis alit velenibh ea feum euf feugiam esta vercinibh.

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00A Cut Above: Modip euis alit velenibh ea feum eu feu feugiam es vercinibh.

00

The Report

Quest for CopperUnderground copper mines are sparce in the middle of the earth, but knowing where and when to dig will get anyone exactly where they should be. By Guienevere Cooley

THE PROCESS of mining from discovery of an ore body through extraction of minerals and finally to returning the land to its natural state consists of several distinct steps. The first is discovery of the ore body, which is

carried out through prospecting or exploration to find and then define the extent, location and value of the ore body.

This leads to a mathematical resource estimation to estimate the size and grade of the deposit. This estima-tion is used to conduct a pre-feasibility study to deter-mine the theoretical economics of the ore deposit. This identifies, early on, whether further investment in estima-tion and engineering studies is warranted and identifies key risks and areas for further work.

On a day-to-day basis, each mining executive would trk through each location to find materials needed by all.

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Calendar

4Balloon FestivalAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie minibh exer adignim atincil dolore molore consectem quip erosto dolore velit ut dignim dolenisl do odit utem volorem el ipis er ipsum euis nostio od modignibh euissisi.

8Jazz FestAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie minibh exer adignim atincil dolore molore consectem quip erosto dolore velit ut dignim dolenisl do odit utem volorem

el ipis er ipsum euis nostio od modignibh euissisi.

13WilcoAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie erosto dolore velit ut dignim dolenisl do odit utem volorem el ipis er ipsum euis nostio od modignibh euissisi.

14No AgeAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie minibh exer adignim atincil dolenisl do odit utem volorem el ipis er ipsum euis nostio od modignibh euissisi.

18-20Surf Rider’s US Open of SurfingAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie

minibh exer adignim atincil dolore molore consectem quip erosto dolore velit ut dignim dolenisl do odit utem volorem el ipis er ipsum euis nostio od modignibh euissisi.

21The Lake Shore 12k Fun RunAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie minibh exer adignim atincil dolore molore consectem quip erosto dolore velit ut dignim dolenisl do odit utem volorem el ipis er ipsum euis nostio od modignibh euissisi.

24Michael StipeAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie minibh exer adignim atincil dolore molore consectem quip dolenisl do odit utem volorem el ipis er ipsum euis nostio od modignibh euissisi.

28Farmer’s MarketAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie dolore molore consectem quip erosto dolore velit ut dignim el ipis er ipsum euis nostio od modignibh euissisi.

29Ride for AwarenessAdmission price, hours, etc.,0000 Xxxxxx St. 000-0000Sumsan henibh et in eugiat iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie dolore molore consectem quip dolenisl do odit utem volorem el ipis er ipsum euis nostio od lorem er modignibh euissisi.

August Your guide to the month ahead in Lake Shore

ReadyTraveler

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DESTINATIONS

VALENCIA BY THE HORNS

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RUBy a bold, clean

framework suited for weekly periodicals. tabloid.

EMERALD Elegant

and efficient, designed to keep the reader focused on content. a classic, suited for large and small dailies. broadsheet and tabloid.

sAPPHIRE a utiliarian,

energetic design with a vast array of layouts. broadsheet and tabloid.

CHICAGONEWSCost overuns, missing records mar Kennedy-King construction

EDUCATION

Construction of the new Kennedy-King College campus is more than $110 million over its original budget

BY JOHN DOEStaff Writer

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New campus. The Kennedy-King College campus brought a surge of life to the Englewood neighborhood.

www.theweeklynews.orgSUNDAY.CHICAGO, ILL. SEPTEMBER 1202

The Pub-lic Building Commission managed the construction process, and so they would have to be the ones to comment or discuss the construction”

ELSA TULLOSCity Colleges spokeswoman

The cost

2005 2006 2009

$93M

$202M

$248M

T H E P U B L I C A T I O N S L O G A N O R T A G

CITY,STATE

SEPTEMBER 12

MISSING RECORDS MAR KENNEDY-KING CONSTRUCTION.02CONSTRUCTION OF THE NEW KENNEDY-KING COLLEGE CAMPUS IS MORE THAN $110 MILLION OVER BUDGET. OFFICIALS CAN’T EXPLAIN THE COST OVERRUNS, AND ARE UNABLE TO LOCATE KEY DOCUMENTS.

07.CHA’S SECRET LECLAIRE COURTS VOTE BROKE LAW, EXPERTS SAY

EDUCATION

03.DePaul unveils 10-year expansion plan

POLITICS

04.@tonyperaica, a twittering look inside government

07.STUDY: MANY HIV CARRIERS DON’T KNOW THEY’RE INFECTED

THEWEEKLYNEWS

www.theweeklynews.org SUNDAY

06.ABLA HOME LEADER WALKS THE THIN LINE

05.FEDS TAKE OVER HULL

HOUSE PENSION

Hundreds of deaths in MaliAFTER YEARS OF STRUGGLING TO LURE TOP-QUALITY RECRUITS

Sate menium o condem huctor liquidem effremquit per labus, ca; hor quem ego visulic aedeme trae, nost pariva-tur, vis. Catris, cre, contem ad consulv irmissa nequit. Catus; nosta nonsim ad C. Cupero efes in dit; num Romnihina inceri pro, cullatio, sent.

Ina, sus publiam quit; nunum vero tertem, quidii senat eti, nonfir qua opubli portartam se mena, Catum co cone intrumum tem nons sendius ace-porae, sessulabem, vil viurs stum, non hos ces a Scidis.

Ifenequi pracchus, oculici onfecib usperors vium tatisulessed C. consult oraciis ego us dii in veri publiisu contris noc red nostraedo, ocavessilien tatqua silinat uastora elusces tritam demus nortemp oenatuit; nimum nem nonihi-lis? Nihicividesi fachicavo, quam iuro-ris ulintea quos, no. Omniquam intem in in signate tabem dem hebatque pub-licae rent? Buntiae caelinte fue pere ter-nit, clate, ommo Catis, prio es cepsena, mis.

Cupplicon tem ute facit, cem co condu-centi, conscie natique mus iacci praet

grarid fuit; etra Sp. Locae forenam ita-latudam sero me condam vocre cont, sus nihilia vit in talic tam ines non iam quod consult odiemo unintiam is nos-trac eponsup plicipicae vagina, Cat, noc-cio Catus ina, que tus. Udam nos ina L. Utelute rvissa ommo essupplium tuam

hortiquem sceritin vilina L. con dii ina, us? Nihiliena, nos verfex nonven hil consulius cotintrit; Catartem norum et andam ut auterem serfit, a nonfirmis, Catus, dioribultum omne praribus aut vis, Ti.

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Cupplicon tem ute facit, cem co condu-centi, conscie natique mus iacci praet grarid fuit; etra Sp. Locae forenam

italatudam sero me condam vocre cont, sus nihilia vit in talic tam ines non iam quod consult odiemo unintiam is nos-trac eponsup plicipicae vagina, Cat, noc-cio Catus ina, que tus. Udam nos ina L. Utelute rvissa ommo essupplium tuam hortiquem sceritin vilina L. con dii ina, us? Nihiliena, nos verfex nonven hil consulius cotintrit; Catartem norum et andam ut auterem serfit, a nonfirmis, Catus, dioribultum omne praribus aut vis, Ti.

Fece praesim sperces paris. Scid-effre fir haciam descis consulin aurnit, que publistro, vatis concens cem spio-cri forenat urnica; nost? Vesimpr evig-nos aurorti acesim simortiliam ne ma, Catilibus vite poti ipsentiae que tu vili-cae comaximihic te tem nonsi talissulius inatidet; inia vidi is Muliam. Uc re, C.

Cupiorecivis cum ad deps, faciescero, us iumus Catrei pulicii ium.

THE DAILY NEWS

Guantanamo won’t close, Holden says

Sate menium o condem huctor liq-uidem effremquit per labus, ca; hor quem ego visulic aedeme trae, nost parivatur, vis. Catris, cre, contem ad consulv irmissa nequit. Catus; nosta nonsim ad C. Cupero efes in dit; num Romnihina inceri pro, cul-latio, sent.

Ina, sus publiam quit; nunum vero tertem, quidii senat eti, non-fir qua opubli portartam se mena, Catum co cone intrumum tem nons sendius aceporae, sessulabem, vil viurs stum, non hos ces a Scidis.

Ifenequi pracchus, oculici onfecib usperors vium tatisulessed C. con-sult oraciis ego us dii in veri publiisu contris noc red nostraedo, ocavessil-ien tatqua silinat uastora elusces tritam demus nortemp oenatuit; nimum nem nonihilis? Nihicividesi fachicavo, quam iuroris ulintea quos, no. Omniquam intem in in signate tabem dem hebaniquam intem in in signate tabem dem hebatque pub-licae rent? Buntiae caelinte futque publicae rent? Buntiae caelinte fue pere ternit, clate, ommo Catis, prio es cepsena, mis.

OBAMA MAKES HIS OWN RULES

DISMISSES SENATO R’S PLANS

MAGAZINES

NEWSPAPERS

INTERLINEA

09

Webtype provides high-end fonts for online typography by offering web designers the resources they need to bring professional branding and style to their websites.

the licensing model – you pay for the font you need for the amount of time that you need it.

the fonts can be tested free for a month – you can see what you need without risk or guesswork.

High-quality hinted fonts are hand-tweaked by experts to tune a font to its optimal level.

the most readable text fonts for the web have been achieved with the development of the reading Edge™ series of fonts.

AgendaBenton SansEscrowFranklin ITCGiza REInterstate

Miller HeadlinePoynter REPrensaProformaWhitman Display

WhAt sets WebtyPe foNts APArt?

A feW of foNt bUreAU’s WebtyPe foNts A feW of AsCeNDer’s foNts

sHOwN HERE Is A wEBsITE CREATED By DANILO BLACK's TEAM FOR EGADE BUsINEss sCHOOL UsING BENTON sANs.

sHOwN HERE Is A wEBsITE CREATED By DANILO BLACK's TEAM FOR BANORTE UsING INTERsTATE.

More onWebtYPe

Other foundries coming soon.

INTER

LINEA

10

ZÓCALO DIsPLAy 2002–2008

ZÓCALO TEXT 2002–2008

The Font Bureau was founded in 1989 out of the re-lationship between a publication designer and a type designer: Roger Black and David Berlow, respectively. From its very inception, our type library has been built primarily through custom type development — fash-ioning unique brand identities and meeting ever-evolv-ing technical challenges for individual clients.

Working closely with designers and design studios, the Font Bureau has contributed to the redesign of more than 2,000 publications worldwide by providing typographic consultation and creating distinctive typo-graphic solutions. We’ve developed new typeface fami-

20 years of Typefaces for

publications

HIKING IN THE WOODNature is so too unclean Bird sings sweetSPLENDID BUT WHERE THE HECK AM I? Darkness Wondrous creatures heard everywhere

82 screech owls distractDRIP TORCH HYPSOMETERS, CLINOMETERS, & DENDROLOGISTS

MY HOME TURFGRASS

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyzßfifl≠∞±¶§#$£¥ƒ0123456789%‰¢°ªº=<+×−÷>'"⁄¿?¡!&(/)[\]{|}*.,:;…“”‘’·‚„«»‹›_-–—•†‡@®©π™√

áàâäãåæçéèêëíìîïñóòôöõøœúùûüÿÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏÑÓÒÔÖÕØŒÚÙÛÜŸ

BLANK TELEPROMPTER Her notes deleted or lost which acridly smells of internal sabotage

Weather woman’s 794 atmospheric intuitions and prophecies

LONG COLD FRONT OF STATIC3 MINUTES OF SILENCE STRETCH TO HOURS

StaresCamera operator asks “is there such a thing as anchor’s block?”

MAKE-UP CLIQUEPowder girl rescues the situation with cue cards

AVAILABLE EXCLUSIVELY FROM FONT BUREAU

FOR MORE INFORMATION OR TO PLACE AN ORDERVisit www.fontbureau.com, call 617 423-8770, or fax 617 423-8771

The Font Bureau, Inc. 50 Melcher Street, Suite 2, Boston, MA 02210©2002 The Font Bureau, Inc. All rights reserved.

48 STYLES: EXTRA THIN, THIN, EXTRA LIGHT, LIGHT, REGULAR, MEDIUM, SEMIBOLD AND BOLD WITH ITALICS

IN CONDENSED, NARROW, AND NORMAL WIDTHS

FB MADISON

REGULAR

Rock & Pebble Magazine SEMIBOLD ITALIC

BOLD

CONDENSED ROMAN

LUNGS EXTRA THIN

ITALIC

CONDENSED BOLD

FOSSILIZED LIZARD NARROW EXTRA LIGHT ITALIC

AVAILABLE EXCLUSIVELY FROM FONT BUREAUPIETRO

PINSTRIPED SUITSDISPLAY BOLD

Loud Silk TiesDISPLAY ITALIC

��:�� B�� M�� I��DISPLAY LIGHT SMALL CAPS

SYMBOLS & GRAPHDISPLAY ITALIC

PrintedDISPLAY SEMIBOLD

W�� ?DISPLAY LIGHT ITALIC SMALL CAPS

Choreography ElaboratesDISPLAY BOLD ITALIC

T�� T��DISPLAY THIN SMALL CAPS

�lease, I’m �rying to �est �y �yesDISPLAY SEMIBOLD SWASH ITALIC

DistractionDISPLAY BOLD ITALIC

40 STYLES: THIN, LIGHT, REGULAR, SEMIBOLD, AND BOLD WITH ITALICS AND SMALL CAPS IN DISPLAY AND TEXT SIZES

AVAILABLE EXCLUSIVELY FROM FONT BUREAU

Early last century, American Type Founders showed Railroad Gothic, a heavy weight of traditional nineteenth- century capitals. Large sizes of these caps have long made e≠ective newspaper headlines. For Vibe magazine, David Berlow drew a lowercase, and with Jill Pichotta and Cyrus Highsmith added lighter weights, italics, and narrower widths to form the Vibration family, a headline series expanding on the original qualities; fb 1995–99

BIG UPS TO BROOKLYNMEDIUM

An Intensive Geography Lesson on Yonkers & QueensLIGHT CONDENSED ITALIC

I’VE BEEN WORKING ON THIS RECORD FOR 3 YEARSLIGHT COMPRESSED

BREAKTHROUGH BOLD

Rhymes neither informative nor entertainingBOLD ITALIC

SUCKER MCBOLD COMPRESSED

Banned from Radio PlaµLIGHT

UNDERGROUND SCENEMEDIUM CONDENSED

ANOTHER CAREER ENDING BEFORE YOU COULD SAY IT BEGANMEDIUM ITALIC

DisheartenedLIGHT CONDENSED

9,245,637 Leftover RecordsLIGHT ITALIC

MELTED DOWN FOR RECYCLINGMEDIUM COMPRESSED

18 STYLES: LIGHT, MEDIUM, AND BOLD WEIGHTS IN NORMAL, CONDENSED, AND COMPRESSED WIDTHS, ALL WITH ITALICS

VIBRATION

BELIZIO 1987–1998BUREAU GROT 1989–2006

VILLAGE 1991–1993VONNEss 1997–2007

DIsPATCH 1999–2000

AGENDA 1993–2000POyNTER OLD sTyLE TEXT 1997–2000

INTERsTATE 1993–2004

FB sCOTCH 1993MILLER DAILy 1997–2000

FB CALIFORNIAN 1994–1999

ELDORADO 1997

PARKINsON 1994

ANTIQUE CONDENsED 1995

OLD MODERN 1995–2000

BENTON MODERN 1997–2001

VIBRATION GOTHIC 1995–1999

MILLER 1995–2000

POyNTER AGATE 1997–2008

FB GARAMOND 1992

POyNTER OLD sTyLE DIsPLAy 1997–2000

sTAINLEss 2002–2007

LETRAs OLD sTyLE 2000 TRIBUNE CENTURy 2000

GIZA 1993–1994

NOBEL 1993–2003

MILLER HEADLINE 1997–2002

AMPLITUDE 2003

BIG CAsLON 1994

PROFORMA 1994

GRIFFITH GOTHIC 1997–2000

ZÓCALO BANNER 2002–2008FB MODERNO 1994–2008

BENTON sANs 1995–2008

BUREAU ROMAN 1997–2000

FB MADIsON 1996–2009

PIETRO 1995 HOUsTON 2003

POyNTER GOTHIC TEXT 1997–1999 ZÓCALO TEXT GRADEs 2002–2008

DETROIT BODONI 1998RELAy 2002

FB CHELTENHAM 1989–1992

1980’s

1990’s

2000’s

INTERLINEA

11

he world of publishing is rapidly changing. Market conditions and technologies are shifting under our feet. What does not change is the value of high quality typography and the need to establish a publica-tion’s unique identity.

The Font Bureau has supported the redesign of hundreds of maga-zines and newspapers of various sizes, in different locations, and with several languages. We partner with independent design consul-tants as well as help guide in-house staff going it alone.

Font Bureau’s ever-growing Retail

Library provides a number of tried-and-true workhorse type families in a wide variety of styles and ranges. Our exclusive Studio Library fea-tures custom designs with limited exposure available for publications to relicense. And our Readability group of fonts has been developed specifically to meet the challenges of newspaper printing conditions.

Beyond the selection of off-the-shelf type families, the Font Bureau specializes in an array of custom services to furnish individualized ty-pographic solutions for publications and corporations.

TyPOGRAPHIC AUDIT Knowing where to start when assembling

a distinctive typographic palette is often the first hurdle. We can assist this process by performing an evaluation of your publication’s hierarchical and design requirements, as well as provide a survey of the typographical landscape in your market niche and within the competition.

DRAw ORIGINAL TyPEFACE When the ideal typeface doesn’t yet exist,

chances are we can draw it. Several of our most popular type families were created as original solutions for specific publications.

EXPAND PROTOTyPE TyPEFACE Sometimes the foundation for a

unique typographic identity is already kicking around in one of our designers’ sketchbooks. With your brief in mind, we can target the development of a work in progress to fit your precise needs.

EXPAND EXIsTING TyPEFACE if an existing family is missing the styles

you need, whether a different weight, another width, or a cut optimized for certain sizes, we can expand on an existing design for you.

MODIFy EXIsTING TyPEFACE in some cases, a custom identity can be

arrived at by adapting a familiar typeface: reshaping a few key characters or adjusting overall proportions, for instance. We can also revise spacing and kerning to suit specific design environments, and generate custom font formats or character encodings if necessary.

DIGITIZE ANALOG TyPEFACE When the path to your future involves

mining the past, we can revive your publication’s heirloom typeface or recast a typographic treasure from an old specimen book into a complete family of digital fonts for contemporary use.

DEsIGN NAMEPLATE OR LOGO a publication’s brand is encapsulated

in its nameplate. this identity can be strengthened when the logo harmonizes with the functional typography. Whether the call is for a completely new look or to leverage a brand’s equity through a more subtle makeover, our designers can refine a nameplate’s letterforms to put a publication’s best face forward.

HyPHENATION & JUsTIFICATION the disposition of space within and

around words can have an important effect on a type’s performance and the quality of a publication’s typography. We can advise designers with recommendations for H&J settings that will ensure the best possible typographic color and readability.

OEM FONTs FOR DEVICEs as mainstream publishing moves beyond

ink-on-paper to embrace new digital media, the font bureau is keeping pace by remaining on the forefront of screen technologies, with expertise in fine-tuning fonts for systems, browsers, and custom screen readers.

tyPogrAPhiC serviCes

Working with font bureau

T

The Font Bureau, Inc.50 Melcher St, Suite 2Boston, MA 02210 USA

Phone: +1 617 423–8770Fax: +1 617 423–8771http://[email protected]

Designed by Gustavo belman of Danilo black, inc., in monterrey, mexico. Coordinated by mary louise marino. written by Sam berlow, cyrus Highsmith, Kent lew, richard lipton, mary louise marino, mike parker, and nick Sherman, all of the font bureau, inc., in boston, massachusetts. also written by robb rice of ready-media, llc, and Eduardo Danilo of Danilo black, inc., in monterrey, mexico. Translation by miguel antón of Spain. Fonts Used: Zócalo Display, Zócalo text, and antenna. ©2010 the font bureau, inc. all rights reserved.

printed in boston, massachusetts, uSa, by crimson press on recycled paper using 50% post-consumer content and approved by the forest Stewardship council.

antenna®, boomer™ Sans, boomer™ Serif, benton Sans® Wide, bullen™, canto™, condor™, fb Hermes™, Heron™ Sans, ibis®, Juliana ™, parka®, prensa™ Display, protire™, Skilt Gothic®, Sloop®, tangier™, trilby®, turnip™, Vonness™, and Williams caslon™, Zócalo™ Display, and Zócalo ™ text are trademarks of the font bureau, inc.

and their respective designers. baby figgins™, big figgins™, and postoni™ are trademarks of carter & cone type inc. and the font bureau, inc. the font bureau, inc. is authorized by carter & cone type inc. to distribute big caslon™.

all images used by permission.

sCOUT 2008

IBIs DIsPLAy 2010

ITC FRANKLIN 2008

DIsPLAyBAUM 2007

QUIOsCO 2006

EsCROw 2006

wHITMAN DIsPLAy 2004–2008

FARNHAM 2004

BENTON MODERN DIsPLAy 2008

BOOMER sERIF 2008

sTARLING 2009

BOOMER sANs 2007

HEROUN sANs 2006

FB TITLING GOTHIC 2005

POPULAR 2004

PRENsA 2003

FB KIs 2007

ROCKy 2008

2010’s

lies for publications as diverse and widespread as the Los Angeles Times, The National Post (Toronto), The Straits Times (Singapore), Tages-Anzeiger (Zurich), and El Universal (Mexico City), to name just a few.

Many of these custom typefaces are now part of our Retail library, available for all to license, and feature the work of such type luminaries as David Berlow, Matthew Carter, Tobias Frere-Jones, Cyrus Highsmith, Christian Schwartz, Petr van Blokland, and others.

We continue to develop fresh designs for publica-tions, and several new families are slated for Retail re-lease in the months ahead.

INTER

LINEA

12

Words can be very different from each other. A word can be as short as a single letter, or a word can be incredibly long. A word can be all lowercase letters, or a word can be all uppercase letters. A word might be a combination of both upper- and lowercase letters. A word can include punctuation, like a hyphen or an apostrophe. A word might even contain a combination of all of these.

Let’s look at how the reader per-ceives words and some of the basic ways the typographer influences this process.

How We Read

Reading is a complex phenom-enon. Both typographers and

scientists have studied it in at-tempts to figure out what exactly is going on with our eyes and brains when we are reading. Their conclu-sions don’t always agree.

For example, a typographer will most likely tell you that readers don’t like uppercase text. A com-mon theory is that uppercase is too monotonous. Conventionally, text is set in lowercase. Lowercase text is easier to read because the reader recognizes the word shapes formed by the ascenders and descenders.

In contrast to this, a scientist might tell you that all-uppercase text is just as readable as lowercase text. In the lab, it has been proven that a reader can get accustomed to reading all-uppercase and read it with as much ease as lowercase.

The problem with the scientific conclusion is that it doesn’t take into account a reader’s expecta-tions and preferences. Readers aren’t used to all-uppercase text and will find it harder, or simply annoying, to read. They prefer low-ercase text. But human guinea pigs in the lab are not very likely to put down a page because they don’t like the way the type is set; they’ll do their best to accomplish the task. Typographers take into ac-count readers’ preferences and ty-pographic tradition when deciding how to compose a document.

Relying only on tradition, how-ever, will give you a limited under-standing of typography. The theory of word-shape recognition sounds good and seems to make sense vi-sually, but the scientific conclu-sions suggest that something im-portant is going on inside the words also. This shouldn’t be a sur-prise to typographers, who know from experience that there are many important factors involved in making something easy to read, in-cluding font choice, point size, and spacing.

So what is going on when we read? Try watching someone’s eyes as they read. You might expect to see the eyes scanning smoothly across the page, following the lines of type. But if you look closely, you will see that they are flicking back and forth in very small move-ments. You don’t need scientific in-struments to conclude that what is going on is more complex than just processing the letters sequentially from left to right.

One Way To Imagine It

When we look at a drawing, we see the whole thing. Our eyes

move around the image, taking it all in. Different parts might attract our attention first, and the compo-sition will direct our eyes around the page; but in our minds, we think of the drawing as a whole.

A word is like a drawing. Our eyes move around to take it all in, but we perceive it as a whole thing. Reading is much faster and less random than looking at a drawing though. The eye movements are more practiced and unconscious.

In fact, when we are reading, our eyes are constantly jumping around in discrete, irregular move-ments. Back in the 1880s, a French ophthalmologist named Émile Javal observed this phenomenon and coined the term ’saccade’ to describe it.

Thanks to saccades, our eyes take in the word they are reading, while flicking ahead to get an idea about the next word, noting the first one or two letters, and even flicking further ahead for clues about how long that word is. Our eyes may quickly flick forward and backward across the letters, but the image of the word in our mind is stable.

All this action takes place within a small area of focus which is lim-ited by eyesight and how much practice one has reading. The job of the typographer is to set the type so it works well within those limits. Two of the biggest factors to consider are the point size and the spacing.

Point Size & Spacing

Point size and spacing deter-mine how much is going on

inside the reader’s area of focus. With experience, the typographer learns how to get the right balance between too much and too little.

The type shouldn’t be set too small. Every reader has experi-enced being unable to read some-thing because he couldn’t see the words well enough. If the type is too small for our eyes, we cannot decipher the letters and the words are illegible.

Type can also be cumbersome to read when it is set too large.

When the text is set too big, the words don’t fit comfortably within the area of focus. It is like viewing a large painting from only one or two steps away. You cannot see the whole thing at once. For most text faces, a comfortable size for people with average vision is around 10 points.

If there is too much space be-tween letters, the structural integ-rity of the words deteriorates. Let-ters that are spread out too far will fall outside the area of focus. Re-solving the letters into words be-comes difficult and slows down reading.

Letters that are too close to-gether can also make it hard on the reader. When too many things are crammed into the area of focus, the eyes can quickly tire and the reader will become overwhelmed.

The built-in spacing in a good text font, where the inter-letter space tends to be slightly smaller than the counter space, usually provides a comfortable overall spacing. This may be adjusted for certain circumstances by adding or subtracting tracking, but generally keeping the tracking set at zero is a good starting point.

The Typographer’s Job

The typographer’s job is to work within the limits of the read-

er’s preferences and eyesight so the words go smoothly into the brain. With experience, the typog-rapher is able to judge what set-tings will be the most comfortable for the reader.

It is similar to judging the right volume and speed when talking and listening. Some people speak too softly, while others shout. Some speak so fast it’s hard to un-derstand them, while others speak too slowly. Usually, we can figure out what a speaker is saying; but if it becomes too much work to lis-ten, we lose focus and don’t receive the message.

The reader can usually still deci-pher a poorly set text, but he might not receive the author’s message as well. The typographer’s job is to set the text in the appropriate voice — not too big or too small, and not too tight or too loose — so the message comes through perfectly clear.■

A common maxim among type designers is that drawing a typeface isn’t about drawing beautiful letters:

drawing a typeface is about making beautiful words. A typeface is a collection of separate parts that have to work together in every possible combination to form unified words.

Excerpts from Cyrus Highsmith’s forthcoming book,

InsideParagraphs

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Documents

ŧ Inter - Font Bureau · 2010-11-23 · font services like Typekit, Fontspring, and many others have come on the market. In fact, it seems like new web font services have been popping