neW anD UPCoMInG tYPefaCeS

Transcripción

Inter
lInea
NEW AND
UPCOMING
TYPEFACES
Æ Ŋ £ ŧ F�BRIC
NEW
TYPEFACES
ind
Style Weft Beh
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le Cloth No
Jacquard Weav
Daring Feats of
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rie CLOTHES HORSE Trilby
Bou�angeéri�a
in Polite Fiction
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Caslon Text
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PROMISES TO
vo�one
BY WILLIAM
IN
TER
LINEA
Monte C�isto
TWILL
on, with its
tury French Clarend achieved the
The 19th-cen
stress, never
: the slab-serif
unorthodox reversed
Victorian siblings ue. In Trilby,
versatility of its
sans-serif Grotesq topsy-turvy
Antique and the
this
Ross reined in
. Unburdened
David Jonathan
ng its formal essence
transcends mere
style, cultivati
tation, Trilby
of excess ornamen useful contemporary design
novelty as a wholly and subtle wit; FB 2009
with offbeat charm
Stratocumulus
UPCOMING
leCES
hiFA
TY
op
PE
Radi
Tangier
BY RICHARD
BERKSON
, Caslon
England & America
. Hot-metal
In 18th-century
dominate printing legendary for
fonts came to
were
20th century
’ adage was:
revivals in the
letterpress printers Berkson
readability. The
use Caslon.” William
“When in doubt,
this comfortably
Caslon to bring
capturing
drew Williams
century,
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into
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in digital form
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LIPTON
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CONDOR
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, Richard Lipton
Spencerian
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N ROSS
ities of the elegant
plore the possibil variety. Inspired by lettering
form in its infinite Lipton developed this lively
on a catalog cover, disciplined, with a black
nt yet
ies for contrast
series, exubera
boundar
theBULLEN
– BY’sJULIET
flair and
SHEN
weight that pushes ted by Tangier
in a script. Captiva r magazine incorporated
Glamou
joie de vivre,
redesign; FB 2010
2008
their
two weights into
DISPLAY
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CYRUS HIGHSMI
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ITH
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purpose of this
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Highsmith
As he explains
s clear that Cyrus
re.
design, it become real typographic adventu
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Font Bureau library, Justus Erich
Studying the
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far from obvious
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ences may be
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be
to
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BY MATTHEW
CARTER
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for Parka
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Daniel Perraud
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Design from
in 2007. The
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s in Graz, Austhesis for a diploma
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d from the support Lange.
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MATTHEW
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forms and humanis
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FB 2010
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BY MÅRTEN
THAVENIUS
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31) prepared
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signer Knud V.
types for signage,
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r Mårten ThaveSwedish designe
al elements
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at
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are well-suited
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FB Hermes
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WGL – BY RICHARD
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the German grotesksyears ago. Blunt corners
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VONNESS – BY created the original styles
k
DAVID
BERLOW weights, italics,
Matthew Butteric added
more
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2010,
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in 1995.
glyphs to expand
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1995, 2010
versatility; FB
to the other
From one coast t to snore
Sleeping with
inten
e & Machinery
Tracy at Linotyp Hartz, Jan van
In 1952 Walter
Juliana from Sem Released in
commissioned
r at Enschedé.
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CANTO – BY RICHARD
Illustration: Gustavo Belmán
I
n the past, technical issues limited
how fonts could be used on websites, but a lot has changed in the
last couple years. Any designer who
hasn’t been living under a rock has probably 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 adopted support for the @font-face technology 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 optimization 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 decided 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 realized as Webtype, a collaborative effort
between Font Bureau, Ascender Corporation, Petr van Blokland, and DevBridge.
Within that group sit some of the most respected 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 Webtype 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 clients have an opportunity to evaluate any
of the fonts in real-world settings without
the risk or guesswork sometimes associated 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 trials, and custom services are important,
the most crucial component that sets Webtype 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 instructions are often automated, only a human
eye can evaluate and tune a font to the optimal level of quality. Therefore, each and
every font on Webtype has been handtweaked by the experts at Ascender Corporation, 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 operating 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 ensure the success of any font. Because the
computer screen is a unique format with
its own particular properties (and constraints), 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 typefaces.
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 functionality over the coming weeks and months.
Weaving
a New TYPE
of WEB
A partnership of experts
spin out a new web font service.
BY NICK SHERMAN
HIGHSMITH
LIPTON
03
IN
TER
LINEA
NEW
TYPEFACES
Æ Ŋ £ ŧ FABRIC
Made Out of Whole Cloth No Style Weft Behind
Fashionable
Gabardine
Boulangerie
Daring Feats of Jacquard Weave
Rick’s Deli Américain
Queso Blanco
02 We’ll always have Provolone
IN
TER
LINEA
Monte Cristo
Tangier
by richard lipton
With Tangier, Richard Lipton continues to explore 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
Clothes Horse
Polite Fiction Trilby
Williams Caslon Text
by 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
RO
&
FRANÇAIS PEACEFUL VOYAGEs
Paris Beaux-Arts
Non-Conformist Youth
9 Rue Gît-le-Cœur
Beatnik Quarter
Maze of Narrow Streets
Parka
EARTH
You are in need of a latitude adjustment
Given the sizable magnetic field
København
Skilt Gothic
by daniel perraudin
by Mårten Thavenius
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, Austria. Parka benefited from the support of designers Georg Salden and Günter Gerhard Lange.
With its sturdy forms and humanistic influences,
Parka performs evenly through all weights, showing great strength in smaller sizes; FB 2010
In the 1920s, Danish architect, printer, and designer 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 Thavenius 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
FB Hermes
by 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
promises to be quite a twill
huge moving truck
continent
From one coast to the other
Sleeping with intent to snore
HIT SINGLES
Sensational Ensemble
by 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
DISPLAY
enterTainment console
Radiophile
Sonic Environments
TEXT
PHASE SHIFTER
Set yourself between the speakers
Echo Chambers
Ibis Text & Display
by 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 openings that were filled elsewhere by Justus Erich
Walbaum’s 1919 Walbaum and Hermann Zapf’s
1952 Melior. Combining these two diverse influences may be far from obvious, but Highsmith
found the result to be truly inspirational; FB 2010
Surrealist image
Inconceivable
Something uplifting about appliances
Hello waffle iron!
Juliana Text
by 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 paperback market to L&M. Elegance and economy
return to fashion as David Berlow’s faithful cutting shaves a graceful seven per cent off normal
paper costs with no loss of readability; FB 2009
Stratocumulus
UPCOMING
TYPEFACES
A Good Barometer of Things to Come
CONDOR – by DAVID JONATHAN ROSS
bullen – by juliet shen
Sky Turns an Azure shade
protire – by petr van blokland
Pressure at 1058 millibars and rising
Substantial
BOOMER SANS & SERIF – by cyrus highsmith
White Clouds Drawn Like Gauze
big caslon – by matthew carter
GOSSAMER
big figgins – by matthew carter
It Was an Exquisite Deep Blue Just Then
Ничего но Сине Небеса
heron Sans – BY cyrus highsmith
sloop WGL – by richard lipton
Shapes Portend an auspicious future
Vonness – by david berlow
Forecasting the Past is Easy
postoni – by matthew carter & font bureau
I can see clearly now; the rain is gone
turnip – by david jonathan ross
Favorable Outlook
Rose-colored Glasses
benton sans wide – by cyrus highsmith
CANTO – by RICHARD LIPTON
03
IN
TER
LINEA
CUSTOM
TYPEFACES
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.
04
IN
TER
LINEA
Shown here are a few of our most recent
collaborations.
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PLUS: A
Washington
Post
Magazine
Postoni 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.
8
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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.
8
Los Angeles Times
FB 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 oldstyle 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-awardwinning pages.
Later, a corresponding text series was
developed in four weights for magazine and
newspaper use.
05
IN
TER
LINEA
Rolling Stone
Hutch 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.
Palm
Prelude & 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
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PORTRAIT D’UN BLEU
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Objectifs séduction
Comment Lance Armstrong contrôle son image
34
LES PHOTOGRAPHES QUI L’ONT SUIVI LORS DES GRANDES ÉTAPES DE SA CARRIÈRE
DÉCODENT LA COM’ DE L’AMÉRICAIN, LANCÉ DANS SON 12e TOUR DE FRANCE.
SUPPLÉMENT DE L’ÉQUIPE Nº 20 083/NE PEUT ÊTRE VENDU SÉPARÉMENT COMMISSION PARITAIRE N° 1212 1 82523 ISSN 02453312
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James
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 fait
les 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’équipe
du lycée, et avant son passage à Paris cette semaine.
30
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L’ÉQUIPE MAG Nº 1415 29 AOÛT 2009
García Media
L’Equipe Mag
Publication:
L’Equipe Mag
Location: Issy-lesMoulineaux, France
Design
Consultants:
García Media –
Paula Ripoll,
Rodrigo Fino,
Christian Fortanet
Fonts Used: ITC
Franklin, Zócalo
Display, Zócalo Text
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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 timetested 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
Publication:
Excélsior
Location:
México City, México
Design
Consultant:
Danilo Black
Fonts Used:
Antenna, Popular
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.
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Lacava Design Inc.
Palmer Watson
Publication:
Telegraph-Journal
Location:
Saint John, New
Brunswick, Canada
Design
Consultant:
Lacava Design Inc.
Fonts Used:
Whitman Display,
Vonness
Publication:
Ekstra Bladet
Location:
Copenhagen,
Denmark
Design
Consultant:
Palmer Watson
Fonts Used:
Antenna
Telegraph-Journal
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.
Ekstra Bladet
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, contemporary 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.
07
IN
TER
LINEA
ready-media
MAGAZINES
ARC Magazine |
INTERVIEW
FOA’s colorfully
dramatic Spanish
Pavilion for Japan’s
World Expo. p28
Thinking outside of the
box and one step ahead
of the curve delore
modit ut lant. p54
Spanish
Zaha
Block Party Hadid
Architecture, Research and Construction
October 2009 N°1
Lochmoor
COMMUNITY
A classically elegant library
created for city-regional
publications, available in two
unique type palettes.
Tending
the Garden
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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
Gilman
NATURE
Created for enthusiast titles,
this classic design has a sturdy
framework optimized for strong
visuals and comes in three unique
type palettes.
Bloom
County
Oborper sequipit lut lore
eras wis a modit dorp
Cheap Eats
Great food on a tight budget.
SPECIAL CARIBBEAN TRAVEL SECTION
LAKE SHORE
Paul Andreu’s ellipsoid dome of titanium
and glass proves that it’s not all about
sport in the People’s Republic. p32
by Anthony Weiss
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 department 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
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ARC | October 2009
Vernier
NorthGem
Expands in Kenya
Development activities climb new heights
as exploration in Africa accelerates
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SURFING
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In Focus |
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Photo: PhotoLibrary.com
A versatile modern design
system perfect for any trade, B2B,
or corporate publication, available
in three unique type palettes.
New Wave
Rider
The
Food
Issue
Great food
Dane Hoffman’s quest
to bring a world title to
the Shore
The Report
REAL ESTATE
Space
Invaders
How the building boom
is affecting our skyline
radar
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on a tight
budget
FALL FASHION
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the Rest
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Jazz Fest
14
No Age
Admission price, hours, etc.,
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el ipis er ipsum euis nostio od
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Farmer’s Market
Underground 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.
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T
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 estimation is used to conduct a pre-feasibility study to determine the theoretical economics of the ore deposit. This
identifies, early on, whether further investment in estimation and engineering studies is warranted and identifies
key risks and areas for further work.
14
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Trumbull
A modern design for cityregional publications, available in
three unique type palettes.
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design perfect for news content,
this modern library is ideal
for corporate, trade, or B2B
publications. Available in two
unique type palettes.
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NEWSPAPERS
Emerald
Elegant
and efficient,
designed
to keep the
reader focused
on content. A
classic, suited
for large and
small dailies.
Broadsheet
and tabloid.
Ready-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-designed pages created as Adobe InDesign® files.
“Designers are freed to concentrate on visual content,” said ReadyMedia 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 newspaper designers and a Ready-Media
partner. “The use of templates can
create a better, unified visual brand,
while substantially decreasing production time,” Danilo said.
By going to the web site, ReadyMedia president Roger Black explained, a designer, editor, or publisher can select a package of templates that fit their publication needs.
“Ready-Media provides a design
solution for a redesign or a startup
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Bringing
It Back
Home
A New Way to
Design Publications
T
The latest remedy
for struggling mineral
companies? p46
| March 2010 Nº18
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PHOTO: PHOTOLIBRARY.COM
IN
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LINEA
Weak
Companies,
Strong
Mergers
Survivors of the
tragic GBH collapse
tell their story. p32
ReadyTraveler
Beijing’s
Grand Spectacle
PHOTOS: PHOTOLIBRARY.COM
08
OCP Magazine
DEALS
The
Australian
Seven
Speak
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PHOTOS: PhotoLibrary.com
6G8
DESIGN
PEOPLE
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 Berlow, also a partner at Ready-Media.
Ready-Media can create additional
templates and design logos and section 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, LLC
New York
212 918 0990
www.ready-media.com
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THE DAILY NEWS
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design with
a vast array
of layouts.
Broadsheet
and tabloid.
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SUNDAY
THE
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www.theweeklynews.org
SUNDAY.CHICAGO, ILL. SEPTEMBER 12
CHICAGONEWS
06.ABLA
HOME
LEADER
WALKS THE
THIN LINE
EDUCATION
Cost overuns,
missing records
mar KennedyKing construction
MISSING RECORDS
CITY,
STATE
SEPTEMBER 12
05.FEDS TAKE
OVER HULL
HOUSE PENSION
THE PUBLICATION SLOGA N OR TAG
MAR KENNEDY-KING
CONSTRUCTION.02
C
Ruby
Construction of the new Kennedy-King
College campus is more than $110 million
over its original budget
BY JOHN DOE
Staff Writer
The Public Building
Commission
managed the
construction
process, and so
they would have
to be the ones
to comment
or discuss the
construction”
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Pisi. CAMPUS IS
CONSTRUCTION OF THE NEW KENNEDY-KING COLLEGE
Con esse erostrud exer sit et
iure consecte dolut
augiam quat.
MORE THAN $110 MILLION OVER BUDGET. OFFICIALS CAN’T
EXPLAIN
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dunt venim veration velit alit vulTHE COST OVERRUNS, AND ARE UNABLE TO LOCATE KEY
DOCUMENTS.
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City Colleges
spokeswoman
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
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07.CHA’S
SECRET
LECLAIRE
COURTS
VOTE
BROKE LAW,
EXPERTS SAY
New campus. The Kennedy-King College campus brought a surge of
life to the Englewood neighborhood.
The cost
$248M
$202M
$93M
2005
2006
2009
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A bold, clean
framework
suited for
weekly
periodicals.
Tabloid.
Shown here is a website created by DaniLo Black's team
for EGADE BUSINESS SCHOOL using BENTON SANS.
MORE ON
WEBTYPE
09
IN
TER
LINEA
Shown here is a website created by DaniLo
Black's team for Banorte using Interstate.
Webtype provides highend fonts for online
typography by offering web
designers the resources
they need to bring
professional branding and
style to their websites.
What sets Webtype
fonts apart?
The licensing model
– you pay for the
font you need for the
amount of time that
you need it.
High-quality hinted
fonts are handtweaked by experts
to tune a font to its
optimal level.
The fonts can be
tested free for a
month – you can
see what you need
without risk or
guesswork.
The most readable
text fonts for the web
have been achieved
with the development
of the Reading Edge™
series of fonts.
A FEW OF FONT BUREAU’S WEBTYPE FONTS
Agenda
Benton Sans
Escrow
Franklin ITC
Giza RE
Interstate
A FEW OF ASCENDER’S FONTS
Miller Headline
Poynter RE
Prensa
Proforma
Whitman Display
Other foundries coming soon.
20 Years of
Typefaces for
Publications
The Font Bureau was founded in 1989 out of the relationship 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 — fashioning unique brand identities and meeting ever-evolving 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 typographic solutions. We’ve developed new typeface fami-
1980’s
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Belizio 1987–1998
BUREAU GROT 1989–2006
FB CHELTENHAM 1989–1992
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HYPSOMETERS, CLINOMETERS, & DENDROLOGISTS
MY HOME TURFGRASS
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dispatch 1999–2000
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BLANK TELEPROMPTER
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Her notes deleted or lost which acridly smells of internal sabotage
2000’s
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Weather woman’s 794 atmospheric intuitions and prophecies
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LONG COLD FRONT OF STATIC
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Stares
3 MINUTES OF SILENCE STRETCH TO HOURS
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Camera operator asks “is there such a thing as anchor’s block?”
TRIBUNE CENTURY
2000
MAKE-UP
CLIQUE
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Powder girl rescues the situation with cue cards
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RELAY 2002
VILLAGE 1991–1993
detroit bodoni 1998
Vonness 1997–2007
FB GARAMOND 1992
AGENDA 1993–2000
poynter old style display
1997–2000
poynter old style text
1997–2000
STAINLESS 2002–2007
GIZA 1993–1994
INTERSTATE 1993–2004
poynter gothic text 1997–1999
ZÓCALO TEXT GRADES 2002–2008
poynter agate 1997–2008
NOBEL 1993–2003
FB SCOTCH 1993
ZÓCALO TEXT 2002–2008
miller headline 1997–2002
miller daily 1997–2000
BIG CASLON 1994
FB CALIFORNIAN 1994–1999
ZÓCALO DISPLAY 2002–2008
griffith gothic 1997–2000
eldorado 1997
FB MADISON
AVAILABLE EXCLUSIVELY FROM FONT BUREAU
:IL:@8CCP@DGFIK8EKKF><FCF>@JK
REGULAR
Rock & Pebble Magazine
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SEMIBOLD ITALIC
FB MODERNO 1994–2008
PARKINSON 1994
Bureau roman 1997–2000
BOLD
LUNGS
CONDENSED ROMAN
PIETRO
EXTRA THIN
8[ij_\Wcfb[jeiêkjm_j^
PINSTRIPED
SUITS
D Z]ZT]RdeZTc`T\
Loud
Silk Ties
ITALIC
DISPLAY BOLD
PROFORMA 1994
ANTIQUE CONDENSED 1995
CONDENSED BOLD
DISPLAY ITALIC
FOSSILIZED LIZARD
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DISPLAY LIGHT SMALL CAPS
fb madison 1996–2009
SYMBOLS & GRAPH
NARROW EXTRA LIGHT ITALIC
Printed
DISPLAY ITALIC
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FOR MORE INFORMATION OR TO PLACE AN ORDER
Visit 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.
DISPLAY SEMIBOLD
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48 STYLES: EXTRA THIN, THIN, EXTRA LIGHT, LIGHT, REGULAR, MEDIUM, SEMIBOLD AND BOLD WITH ITALICS
BeNTON SANS 1995–2008
old modern 1995–2000
IN CONDENSED, NARROW, AND NORMAL WIDTHS
Choreography Elaborates
DISPLAY LIGHT ITALIC SMALL CAPS
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DISPLAY BOLD ITALIC
pietro 1995
DISPLAY THIN SMALL CAPS
�lease, I’m �rying to �est �y �yes
Distraction
DISPLAY SEMIBOLD SWASH ITALIC
DISPLAY BOLD ITALIC
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VIBRATION
BIG UPS TO BROOKLYN
MEDIUM
An Intensive Geography Lesson on Yonkers & Queens
LIGHT CONDENSED ITALIC
I’VE BEEN WORKING ON THIS RECORD FOR 3 YEARS
ZÓCALO BANNER 2002–2008
Benton
modern 1997–2001
BREAKTHROUGH
LIGHT COMPRESSED
BOLD
Rhymes neither informative nor entertaining
SUCKER MC
BOLD ITALIC
Banned from Radio Plaµ
BOLD COMPRESSED
UNDERGROUND SCENE
LIGHT
AMPLITUDE 2003
MEDIUM CONDENSED
ANOTHER CAREER ENDING BEFORE YOU COULD SAY IT BEGAN
Disheartened
9,245,637 Leftover Records
MEDIUM ITALIC
vibration gothic 1995–1999
LIGHT CONDENSED
MELTED DOWN FOR RECYCLING
LIGHT ITALIC
MEDIUM COMPRESSED
Early last century, American Type Founders showed Railroad Gothic, a heavy weight of traditional nineteenthcentury 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
18 STYLES: LIGHT, MEDIUM, AND BOLD WEIGHTS IN NORMAL, CONDENSED, AND COMPRESSED WIDTHS, ALL WITH ITALICS
miller 1995–2000
HOUSTON 2003
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 publications, and several new families are slated for Retail release in the months ahead.
2010’s
T
Working with
Font Bureau
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 publication’s unique identity.
The Font Bureau has supported
the redesign of hundreds of magazines and newspapers of various
sizes, in different locations, and
with several languages. We partner
with independent design consultants as well as help guide in-house
staff going it alone.
Font Bureau’s ever-growing Retail
Library provides a number of triedand-true workhorse type families in
a wide variety of styles and ranges.
Our exclusive Studio Library features 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-theshelf type families, the Font Bureau
specializes in an array of custom
services to furnish individualized typographic solutions for publications
and corporations.
ibis displaY 2010
Typographic Services
STARLING 2009
Typographic audit
SCOUT 2008
ROCKY 2008
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
ITC FRANKLIN 2008
BOOMER SERIF 2008
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
BeNTON MODERN DISPLAY 2008
FB KIS 2007
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.
DISPLAYBAUM 2007
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
QUIOSCO 2006
HEROUN SANS 2006
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
Expand existing typeface
BOOMER SANS 2007
Digitize analog 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.
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.
The Font Bureau, Inc.
50 Melcher St, Suite 2
Boston, MA 02210 USA
ESCROW 2006
FB TITLING GOTHIC 2005
Phone: +1 617 423–8770
Fax: +1 617 423–8771
http://www.fontbureau.com
[email protected]
WHITMAN DISPLAY 2004–2008
POPULAR 2004
FARNHAM 2004
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.
PRENSA 2003
Printed in Boston, Massachusetts, USA, by Crimson Press on recycled paper using 50%
post-consumer content and approved by the Forest Stewardship Council.
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.
11
IN
TER
LINEA
Excerpts from Cyrus Highsmith’s forthcoming book,
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.
Inside
Paragraphs
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.
12
IN
TER
LINEA
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 upperand 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 perceives words and some of the basic
ways the typographer influences
this process.
All illustrations by Cyrus Highsmith.
How We Read
R
eading is a complex phenomenon. Both typographers and
scientists have studied it in attempts to figure out what exactly is
going on with our eyes and brains
when we are reading. Their conclusions don’t always agree.
For example, a typographer will
most likely tell you that readers
don’t like uppercase text. A common 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 expectations and preferences. Readers
aren’t used to all-uppercase text
and will find it harder, or simply
annoying, to read. They prefer lowercase 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 account readers’ preferences and typographic tradition when deciding
how to compose a document.
Relying only on tradition, however, will give you a limited understanding of typography. The theory
of word-shape recognition sounds
good and seems to make sense visually, but the scientific conclusions suggest that something important is going on inside the
words also. This shouldn’t be a surprise to typographers, who know
from experience that there are
many important factors involved in
making something easy to read, including 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 movements. You don’t need scientific instruments 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
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 movements. 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 limited 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
P
oint size and spacing determine 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 experienced being unable to read something 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.
W
hen 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 composition will direct our eyes around
the page; but in our minds, we
think of the drawing as a whole.
Type can also be cumbersome
to read when it is set too large.
If there is too much space between letters, the structural integrity of the words deteriorates. Letters that are spread out too far will
fall outside the area of focus. Resolving the letters into words becomes difficult and slows down
reading.
Letters that are too close together 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
T
he typographer’s job is to work
within the limits of the reader’s preferences and eyesight so
the words go smoothly into the
brain. With experience, the typographer is able to judge what settings 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 understand them, while others speak
too slowly. Usually, we can figure
out what a speaker is saying; but
if it becomes too much work to listen, we lose focus and don’t receive
the message.
The reader can usually still decipher 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.■

neW anD UPCoMInG tYPefaCeS

Transcripción

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