neW anD UPCoMInG tYPefaCeS
Transcripción
neW anD UPCoMInG tYPefaCeS
Inter lInea NEW AND UPCOMING TYPEFACES Æ Ŋ £ ŧ F�BRIC NEW TYPEFACES ind Style Weft Beh e le Cloth No Jacquard Weav Daring Feats of Made Out of Who Fashionable Gabardine rie CLOTHES HORSE Trilby Bou�angeéri�a in Polite Fiction Ri�k’� D�li Am Caslon Text Queso B�an�o Williams 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, 21st the into readable classic warm, dark, and open look the in digital form l favorite; FB 2010 this perennia at the heart of �� �ave Pro 02 We’�� a�wa LIPTON R&O s to excontinue CONDOR – BY DAVID JONATHA , Richard Lipton Spencerian With Tangier 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 ENTERTAINMENT CONSOLE A Good Baromete ic Envsironments Soning r of Th to Come IFTER SKY TURNS AN FRANÇAIS PROTIRE – BY TEXT E SH AS AZPH URE SHADE en the speakers Set yourself betwe AGES Echo Chambers PRESSUREPEA VOY ULl�titud ATCEF e �djustment 105 of � 8 MIL LIBARText You �re in need & Disp D lay RISING Ibis S AN Paris Beaux-Arts PETR VAN BLOKLAN D TH SubEAsRt an nh Købe avn tial Non-Conformist Youth r 9 Rue Gît-le-CœuR BOOMER SANS INSIDE PARAGRAPHs by CYRUS HIGHSMITH BE QUITE A AN ROSS BY DAVID JONATH RTE BEATNIK QUAStre ets & SERIF – BY Given the sizable magnetic field CYRUS HIGHSMI BIG CASLON – Skilt Gothic ITH BY CYRUS HIGHSM purpose of this the origin and Highsmith As he explains s clear that Cyrus re. design, it become real typographic adventu as a he found openundertook Ibis Font Bureau library, Justus Erich Studying the re by filled elsewhe ings that were Hermann Zapf’s Walbaum and diverse influWalbaum’s 1919 ing these two Combin 1952 Melior. , but Highsmith far from obvious FB 2010 ences may be inspirational; truly be to found the result White Clouds Drawn Maze of Narrow TH Like GaIMA uzGEe onceivable GOSSAMIncE R Parka BY MATTHEW CARTER DIN BY DANIEL PERRAU for Parka in began the sketches part of his Daniel Perraud a central design became Design from in 2007. The in Information s in Graz, Austhesis for a diploma of Applied Science of designthe University d from the support Lange. tria. Parka benefite and Günter Gerhardinfluences, Salden FIGGINS – BY tic ers GeorgBIG MATTHEW CARTER forms and humanis , showweights With its sturdy all s evenly through FB 2010 Parka perform in smaller sizes; ing great strength BY MÅRTEN THAVENIUS det, printer, and Danish architec 31) prepared In the 1920s, Engelhardt (1882–19 including signer Knud V. types for signage, a series of striking signs in Gentofte, north of street those for the r Mårten ThaveSwedish designe al elements Copenhagen. some of the structurSkilt Gothic. at nius built upon rdt’s work to arrive for text, while Engelha from are well-suited The middle weightsbest in display; FB 2010 work the extremes SURREALIST g about Something upliftin appliances It Was an Exquisite ING TRUCK Hello waffle iron! HUGE MOV Deep Blu Textt Th e naJus Julia en ENT Ничего CO ноNTСINине Небеса HERON SANS – BY CYRUS HIGHSMI TH FB Hermes BY MATTHEW BY DAVID BERLOW BUTTERICK it Hermes; Wollmer called Schriftguss and Hoffmann’s it Block. Heinz evokes called SLOOP Berthold WGL – BY RICHARD FB Hermes, whichses of workhor 1908 design inspired that wereLIPTON the German grotesksyears ago. Blunt corners 100 presswork. factory printing and tear of rough wear the suggest VONNESS – BY created the original styles k DAVID BERLOW weights, italics, Matthew Butteric added more he 2010, In family’s the in 1995. glyphs to expand and alternate 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. Krimpen’s successoand narrow width of Juliana’s style British paper1958, the high ms opened the y engraved letterfor e and econom L&M. Eleganc faithful cutback market to Berlow’s as David return to fashion per cent off normal graceful seven ity; FB 2009 ting shaves a no loss of readabil paper costs with SHAPES PO GL�S SI� RTEN HIDTAN AUSP emble Sensational Ens ICIOUS FUTURE Forecasting the Past POSTONI – BY MATTHEW CARTER & FONT BUREAU I can see clearly TURNIP – BY DAVID JONATHA is Easy now; the rain is gone Favorable O utlo N ROSS Rose-colored Glassok es BENTON SANS WIDE – BY CYRUS 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. M^Zl^k`h^l a^k^Zg]fhk^ m^Zl^k`h^lZg] fhk^mhd`QQ :n`n l m*- %+) )2 :n`n l m*- %+) )2 M^Zl^k`la Zg``]f`hk^ M^Zl^k`h^l a^k^Zg]fhk^ m^Zl^k`h^lZg] fhk^mhd`QQ M^Zl^k`la Zg``]f`hk^ M^Zl^k`la Zg``]f`hk^ M^Zl^k`h^l a^k^Zg]fhk^ m^Zl^k`h^lZg] fhk^m`d`QQ M^Zl^k`h^l a^k^Zg]fhk^ m^Zl^k`h^lZg] fhk^m`d`QQ <Wj^[h Bel[ M^Zl^k`la Zg``]f`hk^ M^Zl^k`h^l a^k^Zg]fhk^ fhk^m`d`QQ N UA RY 1 , 2 0 0 9 | T H E WA S H I N G T O N P O S T M A G A Z I N E dd lk @ m^ `Z BG fZ rhn BG l^ Zk = b^m hn L ` d r hf n M h^ ` Zr dd lk @ m^ `Z BG fZ rhn BG l^ Zk = b^m hn L ` d r hf n M h^ ` Zr :n`n l m*- %+) )2 M^Zl^k`la Zg``]f`hk^ M^Zl^k`la Zg``]f`hk^ Glamour Magazine M^Zl^k`h^l a^k^Zg]fhk^ fhk^m`d`QQ Not every teen dad is looking for the exit Tangier by Richard Lipton BY L AURA SESSIONS STEPP J^[X[ijh[WZ_d] \ehj^[Ze]ZWoi e\ikcc[h J^[X[ijh[WZ_d] \ehj^[Ze]ZWoi e\ikcc[h ELIZ ABETH STROUT ELIZ ABETH STROUT URSULA HEGI URSULA HEGI AIMEE BENDER 8 AIMEE BENDER JA N UA RY 1 , 2 0 0 9 | T H E WA S H I N G T O N P O S T M A G A Z I N E 8 JA N UA RY 1 , 2 0 0 9 | T H E WA S H I N G T O N P O S T M A G A Z I N E 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 match that could light the world – in Date Lab :n`nlm+%+))2 M^Zl^k`la Zg``]f`hk^ M^Zl^k`la Zg``]f`hk^ M^Zl^k`h^l a^k^Zg]fhk^ m^Zl^k`h^l a^k^ebd^mabl Zg]fhk^ `h^al^kQQ M^Zl^k`h^l a^k^Zg]fhk^ m^Zl^k`h^l a^k^d^mabl Zgmd]fhk^ `h^a^kQQ M^Zl^k`la Zg``]f`hk^ AUGUST 2, 2009 M^Zl^k`h^l a^k^Zg]fhk^ m^Zl^k`h^l a^k^ebd^mabl Zg]fhk^ `h^al^kQQ !"#$"%& '"%%"$! J^[I[Yh[jB[jj[hi e\j^[ ()!*+,-%., J]\kcafk $"/!0+,! BY SAMU QURESHI AND VALERIE GRIS SOM 1 2 & ! ) 3 4 & 5 4 $ " ! * + & ) , / & 6) ' " $ + " & - $ + ! ! . 3 @7 D K7 HO ' " ( & & / r J > ; M7 I > ? D = J E D F E I J C 7 = 7 P ? D ; . !"#$%&'()$*+$,+-.+-//$$$0 1201234$$$5603607$89 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. JA N UA RY 1 , 2 0 0 9 | T H E WA S H I N G T O N P O S T M A G A Z I N E 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 studio jets Gourmet kibble flambé, yum! Starlet Purebred Borzoi APRES POUND Refused many invitations PROFESSIONAL QUADRUPED Discovered designER portfolios <CG<I@ä;@:F;<C8M@;8E8:@FE8C '&$& & 7eN9#JeceL"Dc[he)("+,( Cn_Ye":$<$ -(f|]_dWi PEC8?IJ;9DEBâ=?9EI0J\ljXe \eDo`ZfXgXiXkfj\`ejkild\ekfjhl\\e fkifjgXj\jj\glckXe\ecXYXjliX%4:_d[he%'& 03/07/2009 17:18 A^X^iVc iVg_ZiV YZ>9 Page 1 ;:K979?âD:;7F;IE0Ef Zfe]\dlZ_f\e\ci`^fipgi\Z`j`e [\cXjdfef^iX]Xj\jZfcXi\j%4Fh_c[hW%', 978H?JEF?9EIE0<c^ilgfi\^`f B`ebpXck\ieZfeI\[?fk:_`c`G\gg\ij \ele]\jk`mXc\eEl\mXFic\}ej%4<kdY_d%* B77FFE787D:ED7;BPâ97BE:;B797F?J7B FHEO;9JE9ED<?:;D9?7B 96585.GRP:Mise en page 1 B K D ; I ) & Z[eYjkXh[Z[(&&, mmm$dk[le[nY[bi_eh$Yec$cn mmm$[nY[bi_eh$Yec$cn E;EidbVDVmVXV CXd`ZX`eZcl`i}efdYi\# ]fkf#[`i\ZZ`ep:LIG[\c gfikX[fi#XjZfdf[\k\ZZ`e [\_l\ccXj[XZk`cXi\j# `[\ek`ÔZXZ`egfiiX[`f]i\$ Zl\eZ`XpZ_`g[\[Xkfj FEH>?HEI>?J7A7>7I>? 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H[WbCWZh_Z Ij[WkW 9[bj_Y 8[d\_YW 7hi[dWb 9IA7 B_bb[ 7;A ]gcn_Ye BASTAREAUD PORTRAIT D’UN BLEU DANS LA TOURMENTE MARIE�JOSÉ PÉREC : � IL FAUT ÊTRE AUPRÈS DE MATHIEU � >50 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 LeBron 9edj[cWiZ[WYjkWb_ZWZo lWd]kWhZ_ijWi"Z_h_]_ZeifWhW [b^ecXh[Æc[jhei[nkWbÇ"i[ fh[i[dj[dkdW[nYbki_lW \_[ijW"bW[Z_Y_dc[n_YWdWZ[ bWh[l_ijW=G$ 7bWYje[d^edehWbWfh[i# j_]_eiWfkXb_YWY_d"gk[iWb[ [ij[c[i"Wi_ij_[hedf[hie# dWb_ZWZ[iZ[bi^emX_pYece 9Wc_bWIeZ_"7dW9bWkZ_WJW# bWdYd"B_pW;Y^[l[hhW"B[e# dWhZeZ[BepWdd["HeX[hje FWbWpk[beio;k][d_e:[hX[p" [djh[ejhei4( 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 B?IJEF7H7IKDK;LEH;JE 9EC?;DP7B7ØBJ?C787J7BB7 ;I>EH7 :;=H?J7H PROCHE DE L’OHIO XkiYWdZeWd[ce Be[dYedjhWh|i[dkdcki_YWb ;b[d\Wdjj[hh_Xb[Z[bfefXh_j|d_Yegk_[dWo[hbb[]WbfWii[fh[i[djWcWWdWo [bZec_d]e[d[b<eheIeb"Yedik]_hWckdZ_Wb9bei[[dYekdj[hi4.O/ :_id[oWdkdY_ikifbWd[iZ[Yedl[hj_hbWY_djWWd_cWZW"fheZkY_ZWfehF_nWh[d (&&)"[dkdcki_YWbZ[8heWZmWo$8kiYWdZeWD[ce[ibWbj_cW[dW]h[]Whi[W bWb_ijWZ[^_ijeh_WiYWdZ_ZWjWifWhWWZWfjWhi[Wbj[Wjhe"_d\ehcbWYecfWW$ ;dkd_d_Y_eYedi_ij_h|[dkdWeXhWZ[)&c_dkjei"gk[i[fh[i[djWh|[d[b fWhgk[j[c|j_YeZ[EhbWdZeoi[h|[ijh[dWZe[d[d[hefhn_ce$7=;D9?7I 9>?L7IOJEBK9778H;D>EOB7<?D7B:;B 7F;HJKH7(&&,$FEHFH?C;H7L;P;IJEI :EI;GK?FEII;L;HÛDB7I97H7I;D;IJ7 ?DIJ7D9?74(")o* B77KJEFI?707dZhCWhdWZ[bWdjW fei_Xb[ijhWifWiei #F|]$+ 4EIM7B:E:?9;GK; L77@K=7H0F[i[Wgk[ [ij|b[i_edWZe"[bfehj[he jWfWjei[h|j_jkbWh 4GK?;H;>79;H >?IJEH?707Z[c|i"[b Whgk[heZ[bH[XWegk_[h[ ikfh_c[hjjkbe >[hcei_bbeh_dZ_ fhej[ijW[dbW9edWZ[ ;b[n\kjXeb_ijWWhhWdYik][ij_dYe# ceh[ifediWXb[Z[bZ[fehj[[dCn_# YeZkhWdj[beifhn_ceii[_iWei$ Kd_ZWZoWfeoeWbeiWjb[jWi\k[hed fWhj[Z[ikfh_c[hZ_iYkhie4'' 4J;HC?D7D7=EBF;I0 BWj[di_dbb[]WJebkYW$ Ikbj_ce[djh[dWc_[dje WYWX[dkdYedWjeZ[ XhedYW 4>78HÚBB;DEI;=KHE0 BeiXeb[jei"jWdjefWhWbW _ZWYecebWlk[bjW"[ij|d W]ejWZei F7I?ED;IO=BEH?70:Wl_Z<W_j[biedobW #F|]$/ ^_ijeh_WZ[H_YWhZeBWLebf[ ;bCWjWZehj[f[hc_j[^WY[h kdW]hWdÆ\W[dWÇ[dYedjhWZ[b dWhYejh|\_Ye[dj[hh_jeh_e ikZWc[h_YWde$9edl_hj[j[[d kdW][dj[Z[bW:;7o[dYWX[pW bWbkY^W[d[ij[l_Z[e`k[]e4'( 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 :_h_]_ZWWb c[jhei[nkWb 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. IFEHJE<BKD7J?9I4 >ef[b[iihecWdj_YiH;7:;H* VIND FEDE PRÆMIER 15 HVERT 2@;II?97H>7O; I[YedZWbXkch[b[Wi[C7=7P?D;;' MINUT TØR - HVOR ANDRE TIER *tirsdag 11. marts 2008 nr. 29 uge 11 105. årg. ekstrabladet.dk 12,50 kr. 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Ifehji$$$$$$$$$$ 8. IjeYai$$$$$$$$$$ 9* JLb_ij_d]i$$$$$ ;+ M[Wj^[h$$$$$$$9( '$)& !>IJ FK8B?97J?EDC7?B7=H;;C;DJ&&*&&,)(** (PMETNJUI4UVEJPBU FOTO: MARTIN ZAKORA / LINDA JOHANSEN / ANDERS BROHUS / HENNING HJORTH HE8B?DA; J;B;=H7F>#@EKHD7B MIT LIV BLIVER ALDRIG DET SAMME LÅN OP TIL 40.000 ANSØG ONLINE PÅ WWW.VEKO.DK OG FÅ SVAR INDEN FOR 24 TIMER 12 sider sport TERRORSAGEN SMULDRER Millionregning til staten SUZANNES KLUMME Kærlighed skal fejres Vesterbrogade 63 1620 København V Tlf. 702 36 702 TFFVTGPSUIFmOFTURVBMJUZJOKFXFMMFSZSFQBJSDVTUPNEFTJHOT 0 OF PG U I F -B SHF TU 4F M FD U J POT PG 4 FU -PPTF %J BN PO ET J O &BTUF S O $BO BE B KFXFMMFSTPOQSFNJTFTRVJDLSFMJBCMFTFSWJDF 0QQPTJUF 4FBST 5SBWFM 1PSUSBJU 4UVEJP &YDMVEFTTQFDJBMPSEFST3FE%PU*OTUPDLNFSDIBOEJTFPOMZ 6HHXVIRUWKHODUJHVWVHOHFWLRQDQGWKHYHU\EHVWLQ .0/5)4 1":.&/5 /0*/5&3&45 3ULFH4XDOLW\6HUYLFH*XDUDQWHHG 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 Oborper 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 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 Oborper a sequipit lut wis nis dit ut nibh eugueros dolore a feum ipsum vel fontsiv aros handgloves ute duis etuero dionum accum a dolore modit ut la vel dolutat, tio a lorem erat a odiat. Ibh et, consequat, a sectet il dolore del ex et wis amet la facipsum do euiscipit alissi tet accummy nibh eugiamet alis nulputat wis nisim a duisit ipit wist aliquat wisl dit iurerostrud tin heniam quam zzrilissim dolendi amcommolessi eu feum il iliqui exerostie dolorer aessit aliquis acing ercilis nos niat. Ut lan hent pratuer se veliquat accum verci 00 tet prat prat ulla atio od euipit autat, corercing erat. Ummod utat, duipissit adipit et consed etum quat. Riuscidunt lore te corperos nos amet dit nulla faccummodiam et ulluptat la faci bla amcon veniatisim vel eriliquis eugiamet vel et illum iure consecte consequisse vel dolortin ver ilit ullamco dion henit lamet lore facilla faciduis alit, adigniamet vent wissim duisim vel iliqui ex etue ting esecte magna faccum ipsumsandiam dolore facipissed magna ad dunt vullandignim dolobor eetuero euissent venit lor sum illamcore Et lan ARC | October 2009 Vernier NorthGem Expands in Kenya Development activities climb new heights as exploration in Africa accelerates I[gk_i_i[cZ[b_iWZ_Wcl[d_c$f$,( SURFING 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. In Focus | dipit numsand iamcommy nim augiam in henim autpat wis nisim in exer at, volorperatem vero cortion sequam, ver sis dolum vullut wisi. La faci tiscidunt lobore molobor sis dit, quatis ad duiscil landrero del ea tatie magniam consent et, qeras etro nos ad mod mod ero consecte vel eum quiscilit liquismod tat. Iquatin utat. Rad eras reetum et velit al ari diores odoit loreet aliquisim el et lore delesequat liam, et consequamet velissit num velit lamconse we vullandre tie commolo rtincipsusto exer sit ipit lore conse mod a tem zzril euguer sequatio odignim in ulluptatisl a inim niscidunt estis aliquisci bla feugait amet eras aut wisim nullaorperit velisi et alti tatinis alisciduisi et lutpate etummy nibh ea aciliquis dolum in dunt lamcons equipit uscidunt et forum a augiat. Pat. Ugiam dolore commodolor sed tate vel el do eriure facinim duis nit augiam, velis duipsummy nostrud mod exerius ciliquis nummolo borperat. Ibh exerostrud ea faccum delendre modiat et, velisse quisim nosto ea consed doluptat am num quat. Pit laor sequisl ut nis adit eugait wisismo dignibh eugait ipsuscidunt ad enim quisim ing eugait ullutet, con ut lumsandre tin henit ulpute dolortio coreet, quametum quatum iuscip exeros num velisi tat nullan voloborer sisl ea commodipit vel in eraestrud tisi tio odit et lam ilit, sisim velismodiam dit, sectem vero endrera esecte faccum duissendrem velit ing ea corer alit incinismod a et, commy nibh eu feu facipisl endio eu faccummod tetummod ea faccum venibh et wisis dui enibh ea aut velenim alit veliquat in essequis nonsectem ipisi. Im dolent irit niat, quat lore. Vel exerostissi tat aliquis ismolorer sustio od et ulla commy nulputat alit Iquamconse a minim et vullaorem. Tis doloboreros ad dolore consequam dolorperos nisisi. Vullandit accum quipismolore dolor ad ex ea feum acing estio con lorem eras et euguerc. Equipsustisit lore dolobore delis dolore. In eugait alit nim nummodio elent utat, sumsandio erostrud te eraestrud duis nullaore dolorerci bla facillam, quat ametuer il iureet, sustio dolutat 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 > M E E T T H E PA R E N T S 00 on a tight budget FALL FASHION Cut Above the Rest Oborper sequipit lut wis a dolor feum modit et fontsiv eras dom atreu. Oborper sequipit lut wis nis dit ut nibh eugueros dolore feum ipsum. L_djW][9^_b[ By Author Longname Calendar August La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. 8 Jazz Fest 14 No Age Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan 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 Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan 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. Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan 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. 18-20 Surf Rider’s US Open of Surfing Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie 4 La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. Beh[c[hWi_fikcf$)& La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. 9 13 6 La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. 10 7 La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem er suscilit nonulla. La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. 11 La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin lutpat. La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. 28 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. La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin lutpat. 12 La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. By Guienevere Cooley 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 15 Trumbull A modern design for cityregional publications, available in three unique type palettes. T [j WZ_]d_X^ [j Wb_i [W Wb_gk_i Y_Zk_i dei d_Wc[j B[d_iceZ eb[dZ_Wc pph_j kbbkc dkbbWdZh[ Z_j behf[h_j WcdkbbWeh[Z_]dW\WY_fikijeZebehWZ_Wc"l[bkjded[k# ]_WcYeh[Yedi[gkWjfhW[ii_[WWb_ii[djWkjm_iWb_j[ijhkZ j_i_$J[cl[b[d_c[hjlebehWi[gkWc[j"l[b_ice[Zebeh[ Yedi[d_idkbbkc_h_bbWehj_d][jbeh[cZebkfjWjfhW[ijeZk_f_id_c Z[bkjWkjl[bZebeXeh[[W\WY_b_iZ_eZebeXehf[heeZ_e[k\WY_b_i_ XbW\WY_bbWehWb_jfhWjl[bkjbWcl[b_gk_f_i_j[IkciWdZh[cd_Wc l[dZh[W\[k]k[heiWZj[cZ_f[k\WY_fikcl[bkbbkfjWj_edl[bkb# bkfjWj[c_dW^[d_c[he[b_i_j_eeZ_f_jdedkbbWdkbbWdZ_f[b_i$ <WYYkc pph_j m_ii[ l[b kbbkfjWj$ :k_i dedi[gk _i_ii_$ 7c l[b[i[gkWc" gkWj m_i dedi[Yj[cl[b[ii_cWZ_e[b_j"Yedi[Yj[j_e Z_f_iceZeeZZkdjl[b_jWZZebeh[heijhkZ Z_f_ii_c Zk_ XbWeh i[Z jWjkc l[h Wb_gk_i ceZebeh j_dY_bb WdZ_Wc[jkc [n[he Z[b Zebehf[h i[Yj[c [i[gkWc l[hY_b_j Wk]W_j" Yedi[\[k_ice$7d[k\[k\[k_i_$ ?i_j fhW[ije [ii_j _f_j" gkWc" l[b Zebe# Xeh_d^[d_cWk]_WcZkdjm_iY_Zk_iWZjWj" Yedi[gkWcZeb[ij_[YecceZebeh[Zk_iceZ Zeb[ijeYecceZ_Wj$ JWj_kh[jWj$?cpph_kij_[[jkcl[b_ice# b[dj lkbbW Wb_iY_bbWc" i_j bkc l[b ZebkfjWj lkbbWehf[hWZZebeh[cdedkciWdkbbW\[k# ]W_jWb_jWk]W_jWb_gk_fikciWdZh[ceZZe# behf[heYehj_[ZkdjZ_edkcWYYkcZk_i_c gkWj lkbfkj kj[ Z_j dkbfkj bkfjWj _dY_ j_e Yedkc_dY_XbWWZ_jWb_gk_f_ii[gk_id_jWk# ]k[ZkdjWZ[heij_i_iZ_Wc[j_f_ib_dY_fikc dkbbkjWj[j_[Zebehf[hi[Yj[cW]dWWb_jlkbbW WZj[c[hWj"i_XbWeh[l[b_i_iZ_jfhW[ijhkZ [h_kh[lebeh[[jWb_j_d[kc_d^[d_X^[j"l[b kj _d ^[d_Wjk cceZ_]dW \[kc _d kbbkfjWj Nosara Uptat wis nulla feugiat dolese faccummy nos. Ut veraessim non veriustrud a verostio eumsan ese feum quissequam a dolobore magna. _d][W\[k]W_jfhW[i[Yj[jkccodkbbkcd_i dedi[d_Wc[n[hW[ij_[l[hY_b[hi[Yj[Yedi[# gk _iY_Zkdj bWeh[c d_icebkfjWj bkjfWj _k# h[[jk[hW[i[Yj[ZeZ_Wc[jd_c_dl[b[d_Wc dkcZeeZ_eZebehWb_jWZ_jdkbbW\WY_d^[dj Wk]k[hY_b_jWj[Zeb[i[dZ_edi[djl[dZ_]d_c d_c gkWc[j WY_d [hY_d] [k \WY_bbW \WY_bbW YecceZ_]d_cZebeh[h_kh[heijeeZebkfjWj" Yedi[gk _ii[gkWc _fikcceZebeh Wb_j _h_# kij_i_i Ze Ze Zebeh[[j behj_ib Zeb[dZ_]dW WZ[k]W_jm_i[k\[k\WY_f_jd_iWb_iWZ_edi[ \WYYkciWd lkbbkfjWj$ :k_f_j m_i_ib Zkdj WZ_f_j" Yehf[he Z[b ZebkciWdZh[c pph_j _kije eZebeh[[jk[ \WY_b_i Wb_gkWj" Yedkbbk jfWjkcgk_[heYehWkj[jkcceZjWj$:k_f# ikijeYed[ii[Yj[cpph_kh[YedkbbkjWj$7d [heije Yecco dedkc [j Wb_ii[Z c_dY_b_j _d ^[d_X^ [j" l[b_gkWj deijhkZ Z_]d_X^ [j _kiY_f[h_kh[\WY_Zk_i_jWj_i_j_dY_f[hWj$:k_ [k]k[heiZebeh[Zebeh[c_dkjl[hY_Zkdj 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. '(H[WZoJhWl[b[h"7k]kij(&&/ 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 On a day-to-day basis, each mining executive would trk through each location to find materials needed by all. HE PROCESS of mining from discovery of 2 XXXXXXXX, MONTH 20XX 00 BAY SHORE, AUGUST 2009 Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan 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. 00 LAKE SHORE, AUGUST 2009 Quest for Copper Nonseniatie ea delorem eras ipsum cor sissi eum eras a blamconsed attiriu. 8 La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan 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. Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan 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. 8o@ K I J ? D O E K D = La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. 5 29 Ride for Awareness Ulput dionsecte modolore molor aliquis modolore Materials: modip euis alit velenibh ea feum euf feugiam esta vercinibh. /=h[Wj>_a[i Beh[c[hWi_fikcf$+( VALENCIA BY THE HORNS La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. 24 Michael Stipe 13 Wilco FWYa_d]B_]^j 3 Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan henibh et in eugiat nostio conulla feu feugait iuscipis nullaorem dit ad tatum aliquat. Enim duismod olortie minibh exer adignim atincil dolore molore consectem quip erosto dolore velit ut dignim dolenisl do odit utem volorem el ipis er ipsum euis nostio od modignibh euissisi. el ipis er ipsum euis nostio od modignibh euissisi. Beh[c[hWi_fikcf$') 00 Trekking through modip alit velenibh feu feugiam esta a vercinibh. B_jlebehikij_dl[b_gkWcZ[b[j^[d_c[ii_c_fikcZebeh_di[gk_f_idkbfkj La faccumm odionsequi ea feum ea commy num qui enim in ulpute modolobore feuis nonsectem dolorperos er sim dolorper suscipsuscin hent lutpat vendrem vel er suscilit ip et nonulla. 21 The Lake Shore 12k Fun Run Admission price, hours, etc., 0000 Xxxxxx St. 000-0000 Sumsan 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. DESTINATIONS 2 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. 4 Balloon Festival >Wkj[>eij[bi Beh[c[hWi_fikcf$*, 00 A Cut Above: Modip euis alit velenibh ea feum eu feu feugiam es vercinibh. 1 Your guide to the month ahead in Lake Shore Ulput dionsecte modolore molor aliquis modolore magnisci blaore ver inciliquam quate te feuguerit adigna feummy nullandrer sismolobor ipit in vero et nummodiam consequissi. 00 Materials: modip euis alit velenibh ea feum euf feugiam esta vercinibh. Bringing It Back Home A New Way to Design Publications T The latest remedy for struggling mineral companies? p46 | March 2010 Nº18 ?ibWdZie\ ?dZed[i_W PHOTO: PHOTOLIBRARY.COM IN TER 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 H[WZoM^[dOek7h[r7k]kij(&&/ 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 >CF98CE<NJ THE DAILY NEWS K?<E<NJG8G<IJCF>8E J\Zk`feVHlfk\oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooKpg\XeÇ\e[ e\jk\[jkpc\ÈZ_XiXZk\i_\i\%E8D<F=G<IJFE#:_Xi^\fiafY%"G8><'' ;Xp''#Dfek_)''/%Ef%'''''''P\Xi''' @I8E@B@;JD@>I8K@FE K_`jJldd\i YcfZbYljk\ij :Xcc)VK\okoooooooooooooooooooooooooo ooooooooooooooooooooooooooooooo"'' K?<98;:8CCJ :Xcc(VK\okoooooooooooooooooooooo ooooooooooooooooooooooooooooooo ooooooooooooooooooooooooooo ooooooooooooooooooooooooo%"'' Sapphire Guantanamo won’t close, Holden says A utiliarian, energetic design with a vast array of layouts. Broadsheet and tabloid. 9PC@E< 8><E:P#:@KP Sate menium o condem huctor liquidem 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, 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 aceporae, 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 nonihilis? Nihicividesi fachicavo, quam iuroris ulintea quos, no. Omniquam intem in in signate tabem dem hebaniquam intem in in signate tabem dem hebatque publicae rent? Buntiae caelinte futque publicae rent? Buntiae caelinte fue pere ternit, clate, ommo Catis, prio es cepsena, mis. :Xcc)VK\okoooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooo ooooooooooooo%"'' DISMISSES SENATO R’S PLANS OBAMA MAKES HIS OWN RULES :Xgk`fe_\i\kpg\XeÇ\e[e\jk\[jkpc\ÈZ_XiXZk\ioooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo% AFTER YEARS OF STRUGGLING TO LURE TOP-QUALITY RECRUITS Hundreds of deaths in Mali Gi\j`[\ekFYXdXli^\[J\eXk\ ;\dfZiXkjkfYlipk_\`i [`]]\i\eZ\jXe[gXjjjn\\g`e^ _\Xck_c\^`jcXk`fen`k_`ek_\ e\oke`e\[Xpj%"'' ;\Zb(ooooooooooooooooooooooooooooooo ooooooooooooooooooooooooooooooooooo ooooooooooooooooooooooooooooooooo 9PC@E< 8><E:P#:@KP Sate menium o condem huctor liquidem 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, 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 aceporae, sessulabem, vil viurs stum, non hos ces a Scidis. :Xgk`fe_\i\kpg\XeÇ\e[e\jk\[jkpc\È Z_XiXZk\ioooooooooooooooooooooooooo% www.theweeklynews.org SUNDAY THE WEEKLY NEWS 02 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 nonihilis? Nihicividesi fachicavo, quam iuroris ulintea quos, no. Omniquam intem in in signate tabem dem hebatque publicae rent? Buntiae caelinte fue pere ternit, clate, ommo Catis, prio es cepsena, mis. JlY_\X[VK\ok Cupplicon tem ute facit, cem co conducenti, conscie natique mus iacci praet KXYc\V?\X[c`e\ KXYc\V;\Zbooooooooooooo oooooooooooooooooooo ooooooooooooooooooooooo% KXYc\VJlYk`kc\ KXYc\VK\okooooooooooooooooooooooooo oooooooooooooooooooooooooo% KXYc\VJlYk`kc\ KXYc\VK\okoooooooooooooooooooooooooo ooooooooooooooooooo% 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 nostrac eponsup plicipicae vagina, Cat, noccio 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. Seresce que tellartil venihilii ius furis adductas si sit. Bonsultuidem inatu molus; C. Is. Caudam popubis, facies arituus simuro culegiliur pra reme contioc remenatin nosticatiam inatil huid intri ponsu moente nos cericavoliae crudaccia Sp. M. eorterei pracer per ad sentrae, us hactuid re ac morum in sest? At est in deris comnere condam mo aurs re in teri turor intem in te moltum que pul utum es faci se ite conent ingul cerrit vit. JlY_\X[VK\ok Cupplicon tem ute facit, cem co conducenti, 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 nostrac eponsup plicipicae vagina, Cat, noccio 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. Scideffre fir haciam descis consulin aurnit, que publistro, vatis concens cem spiocri forenat urnica; nost? Vesimpr evignos aurorti acesim simortiliam ne ma, Catilibus vite poti ipsentiae que tu vilicae comaximihic te tem nonsi talissulius inatidet; inia vidi is Muliam. Uc re, C. Cupiorecivis cum ad deps, faciescero, us iumus Catrei pulicii ium. 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” ummod te tatummo dolorper at, quat at. Ut praesed tat nim illa aliquatem nismodo loreraesent nim et, quat. seni smolore facinit praesto eugueros alit nullandre tisi bla feu feugait ute do dolenisl ilis nonsequ ismodol oboreet, commoloreet ip eugait venisci lluptat, coreriu scillandre duis ex erat ullandignibh ex eliquat nulpute dolorperiure magnim am, velit ullaore conum voluptatem ing enit, quis digniam velisciduis nim dolorerit, velit non venit adit, velit praessequisi tincilit vulpute commy nullum do consectet augiamet la feu facilit wisim er iusciduisi blaore con elit, ver sequi bla atue modo euisit veniamet aut praesequisl utpatet ummolore con hendrercipis nis nonsent iriure tis nim in vulputpat, core do dolor sum dit lor si. Tatie faccums andreet augueratum eugiam diamconsed magna consed ea facing ex er se vel eu feugueraessi eummodit adiamet wis do odolorper suscipisl dolore mod eugue conulla aliquis alit, quat venisi tem quatums andiatio consecte faccum ero od ting er susto od tat, sit dit ullaore volorting eriusci et in eum dolorper iniamcorem vulputat nim venibh essis nit, con ut lore magna cor sit adionsequip euisl iure ea consequip eum am, quis nonsequisi. Vulla ad et lor si bla feuis ex eugait wiscil dolor ad doloreet ulpu- 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 To exer sis acil dunt praestrud dunt venim veration velit alit vulTHE COST OVERRUNS, AND ARE UNABLE TO LOCATE KEY DOCUMENTS. put et vullaor eraesti smodipis auELSA TULLOS 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 giamcore tin hendre tisi. It nisci blandre rcipis nulla feugiat ationul luptatum zzrillan vullandip ex endre magnissim vel in euip eugait amet, si tin ulla conulla faciliq uatet, core dolorem vendipisl endio et volor sisi blam, cor inci tie dit la facillaorper sit volorem illamet acidunt wis am doluptat lum ilit utat at utem vel utpat. Raesectem zzrit lam, cortisi blamconsenim nonsent verci eros am zzrilit inisis dit nosto eu facil ulla feuguero od dolorting er il ullamcommod mod min henim ver susto odip eu feugiamet am, sim zzrit, se cor ip enis atem ver sumsand ipisis alisl endigna conse mincip essed et wisl eugiamc onumsan utat autatum iure do dolum quat. Dunt veliquis nulput nosto consed magna con- 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 tat nos augiamet lorem zzriliquis alit wiscidunt enis nim quismod euiscin cidunt vulla feum vel inci tionum ip et velit, quis nullaorperat utat, si tisl ut velit illuptat, sim augiam, sequam diat, se ver ing ea feu faccummodip erat. In ullaor ipissis niate dolessi. Subhead Iquatio nullummy num nos ad te conse vulputpat. Delendip eugue vel utat ipit augait nonsequis autat. Ut adit utet velis adio exer- cipis nismolu mmodoloreet ulla am zzrit, quis acinisc iliquis am zzrilit etumsandre tat augue dit ulputet, quis ad tat ilisci blaoreriure tincidui eum zzrit lor am augue dolorpe raestrud dit nos aute dionsenibh et ipis ero do od et, vel dignisit eu faciduisl do do odolobore con henisl eliquat, venibh endiat aute doloreet, si. Vulla ad et lor si bla feuis ex eugait wiscil dolor ad doloreet ulputat nos augiamet lorem zzriliquis alit wiscidunt enis nim.quismod euiscin cidunt vulla feum vel inci tionum ip et velit, quis nullaorperat utat, si tisl ut velit.illuptat, sim augiam, sequam diat, se ver ing ea feu faccummodip erat. In ullaor ipissis niate dolessi. Vulla ad et lor si bla feuis ex eugait wiscil dolor ad doloreet ulputat nos augiamet lorem zzriliquis alit wiscidunt enis nim.quismod euiscin cidunt vulla feum vel inci tionum ip et velit, quis nullaorperat utat, si tisl ut velit.illuptat, sim augiam, sequam diat, se ver ing ea feu faccummodip e se ver ing ea feu faccummodip e rat. In ullaor ipissis niate dolessi. 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 KI@9LE<:<EKLIP C<KI8JFC;JKPC< 10 IN TER LINEA Belizio 1987–1998 BUREAU GROT 1989–2006 FB CHELTENHAM 1989–1992 1990’s 8M8@C89C<<O:CLJ@M<CP=IFD=FEK9LI<8L HIKING IN THE WOOD Nature is so too unclean 9FC; Bird sings sweet I<>LC8I J<D@9FC;@K8C@: SPLENDID BUT WHERE THE HECK AM I? Darkness :FE;<EJ<;I<>LC8I :FE;<EJ<;9FC; Wondrous creatures heard everywhere 82 screech owls distract I<>LC8I@K8C@: DRIP TORCH LETRAS OLD STYLE 2000 :FE;<EJ<;I<>LC8I K@KC@E>9FC; HYPSOMETERS, CLINOMETERS, & DENDROLOGISTS MY HOME TURFGRASS :FE;<EJ<;I<>LC8I@K8C@: 9FC;@K8C@: dispatch 1999–2000 :FD@E>JFFE=IFD=FEK9LI<8L BLANK TELEPROMPTER :FE;<EJ<;9FC; Her notes deleted or lost which acridly smells of internal sabotage 2000’s @SabO`bSR ;<:BC@>?K C@>?K@K8C@: Weather woman’s 794 atmospheric intuitions and prophecies :FE;<EJ<;C@>?K LONG COLD FRONT OF STATIC 9FC;@K8C@: Stares 3 MINUTES OF SILENCE STRETCH TO HOURS :FE;<EJ<;C@>?K :FDGI<JJ<;9FC; Camera operator asks “is there such a thing as anchor’s block?” TRIBUNE CENTURY 2000 MAKE-UP CLIQUE ;<:B:FE;<EJ<;9FC; C@>?K Powder girl rescues the situation with cue cards :FDGI<JJ<;9C8:B ClgkXk%Lkcfi\k`jZ`[l`jefjk`f\XZfddpefjkf\o\iXkld`em\c`j\o\kXkXl^l\iff[fc\jj`kcXelccX]XZZld m\c\e[`gjldjXe[`gjld`g`jc\kl\\km\c`hl`g`jj\[\iXl^`Xk`e_\e`Y_\X]XZ`g`kmlcglkgXk%K\kldjXe_\e[`k Xlk`g`jXkldXc`j`%@jj`j[lekX[[fcfi\d\X]XZ`k`eZ`YcX]\l`j[fc\e[`f\o\iX\j\hl`jdf[`k[fcfi\dm\e[`fe\o \ifjkil[\X]XZ`ccX]XZ`eZ`c[`kefjk`e^\k\ij`j`YcX]\l`jclccXfi\[`k`em\e`XdZfej\Zk\[fcfi\\kXk2]Y(00oÆ)''. C\kiXjFc[jkpc\nXjZfdd`jj`fe\[YpC\kiXjC`Yi\j#i\`^e`e^c`k\iXipdX^Xq`e\glYc`j_\[Yp<ei`hl\BiXlq\`e D\o`Zf:`kp%K_\j\i`\jnXj[iXneYp;Xm`[9\icfn`e(00/%K_\[\j`^enXj`ejg`i\[Ypk_\\Xic`\jkkpg\]XZ\j Zlk`ek_\8d\i`ZXj`ek_\\Xicp(-''jYpgi`ek\i?\ei`ZfDXik`e\q%Giff]jjlim`m\`ek_\9`Yc`fk\ZXEXZ`feXc% C\kiXjFc[jkpc\jkXe[jXjk_\Ôijkkpg\]XZ\\m\iZlk`ek_\8d\i`ZXj#k_\iffkf]8d\i`ZXekpg\[\j`^e2]Y(00/ =FIDFI<@E=FID8K@FEFIKFGC8:<8EFI;<I M`j`knnn%]fekYli\Xl%Zfd#ZXcc-(.+)*$/..'#fi]Xo-(.+)*$/..( ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyzßfifl≠∞± ¶§#$£¥ƒ0123456789%‰¢°ªº=<+×−÷>'"⁄¿?¡!&(/)[\]{|}*.,:;…“”‘’·‚„«»‹›_-–—•†‡@®©π™√ áàâäãåæçéèêëíìîïñóòôöõøœúùûüÿÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏÑÓÒÔÖÕØŒÚÙÛÜŸ K_\=fek9li\Xl#@eZ%,'D\cZ_\iJki\\k#Jl`k\)#9fjkfe#D8'))(' ('JKPC<J (*JKPC<J1I<>LC8I#J<D@9FC;#8E;9FC;@EEFID8C8E;:FE;<EJ<;N@;K?J#8CCN@K?@K8C@:J%9FC;@EK@KC@E>J@Q< 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 6A@?J> -*nXpjkfi\XZ_g\Xb]Xd\ SEMIBOLD ITALIC FB MODERNO 1994–2008 PARKINSON 1994 Bureau roman 1997–2000 BOLD LUNGS CONDENSED ROMAN PIETRO AVAILABLE EXCLUSIVELY FROM FONT BUREAU EXTRA THIN 8[ij_\Wcfb[jei^ekjm_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 ��:�� B���� M������ I���������� DISPLAY LIGHT SMALL CAPS fb madison 1996–2009 SYMBOLS & GRAPH NARROW EXTRA LIGHT ITALIC Printed DISPLAY ITALIC K_\fi`^`eXc]fekjf]>cfY\DX[`jfen\i\[\j`^e\[YpKfY`Xj=i\i\$Afe\jXj[`jgcXp]fik_\9fjkfe>cfY\%K_\p n\i\YXj\[fek_\DX[`jfekpg\jZlkXkk_\Jk\dg\ckpg\]fle[ip\Xicp`ek_\cXjkZ\eklip#fe\f]k_\cXjkXe[Y\jk d\dY\ijf]k_\Df[\iejlZZ\jj`fe%K_`jZcXjj`ZXcj\i`\jnXji\Z\ekcp\ogXe[\[]fik_\;XccXjDfie`e^E\nj# n`k_]fekjgi\gXi\[YpA\jj\IX^Xe]fi8ccpGXcd\iËji\[\j`^ef];X^\ejE´i`e^jc`m`eEfinXp2]Y(00-Æ)''/ 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 W���� �� ���� ����� ����? 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 T�� T������ 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 <XicpifdXejXgg\XiXiZ_X`Z#]fccfn`e^:Xifc`e^`Xed`eljZlc\n`k_X[[\[ÊZXcc`^iXg_`ZËZXgj%@e(+0-#M\e\k`Xej 8c[ljD`elk`lj=iXeZ\jZf>i`£flj\[@dg\i`XcIfdXejkfe\ZlkZXg`kXcjXjdf[\cj]fik_\kpg\f]:Xi[`eXc 9\dYfËj;\8\keX%@e(,*)#k_\]XZ\nXjX[fgk\[Xkk_\=i\eZ_ZflikXjgifkfkpg\]fi:cXl[\>XiXdfe[#j_Xg`e^ VIBRATION AVAILABLE EXCLUSIVELY FROM FONT BUREAU 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.■