specimen - MA Typeface Design
specimen - MA Typeface Design
specimen - MA Typeface Design
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OverlOOk<br />
Sans and Serif<br />
A type system for<br />
cinema magazines
(||||||||||||||)<br />
RegulaR condensed sans<br />
BloWn uP<br />
faces<br />
Two different type families<br />
conceived to work together.<br />
(||||||||||||||)<br />
RegulaR seRif gRade one
THe FISH AND THe gIrl<br />
how to generalize an overview on the worldwide eating habits of fishes and girls<br />
Are you eating me?<br />
राखदार ुझान पड्ढडीदार खिसका दस नबारी<br />
abcdefghijklm<br />
νηπιαας καραβι σαγανακι αιαδας<br />
painkiller<br />
(0) (346) (1) (7560) (1) (3.14159265) (2) (3) (10111975) (5) (24,000) (8) (37) (13) (21) (8627395)<br />
MacHine guns aRe MoRe dangeRous THan BRiocHes<br />
trip to saturn<br />
People on the moon just forget to go to sleep early<br />
*<br />
Overlook is a project based on two<br />
type families intended to work<br />
together for cinema magazines.<br />
There is the Sans Serif, a neogrotesque<br />
with a certain amount<br />
of idiosyncrasies and a wide offer<br />
of weights and styles; the designer<br />
can use the typeface in different<br />
situations, from shouted headlines<br />
to more refined captions.<br />
And there is the Serif, the<br />
workhorse of the family, a text font<br />
developed in four grades in order to<br />
answer to different printing needs.<br />
For instance, printing on disparate<br />
supports and coloured background<br />
or with different printers or even<br />
in different environments. The four<br />
grades have the same spacing and the<br />
designer can change them without<br />
compromising the layout of the text<br />
already set.<br />
The serif has also been developed<br />
in a more expressive style for titles,<br />
the ExtraBold Display, that features<br />
a higher contrast and an emphasized<br />
stress of the curves.<br />
(2)<br />
h<br />
a<br />
n 9<br />
ef
(|||||||)<br />
RegulaR sans<br />
abcdefghijklmnopqrstuvwxyz<br />
abCdefghijklmnopqrstuvwxyz<br />
(||||||||)<br />
seMiBold sans (||||||)<br />
Bold sans<br />
abcdefghijklmn<br />
opqrstuvwxyz<br />
(|||||||)<br />
RegulaR sans<br />
THe sans seRif<br />
abcdefghijklmn<br />
opqrstuvwxyz<br />
(|||||||||)<br />
exTRaBold sans<br />
The quick<br />
brown<br />
abcdefghijklmn<br />
opqrstuvwxyz<br />
fox jumps<br />
over the<br />
(||||||)<br />
Bold sans<br />
lazy dog.<br />
Check the<br />
pockets of<br />
your trousers<br />
before<br />
putting<br />
(|||||||)<br />
RegulaR sans<br />
them in the<br />
laundry.
*<br />
The level of idiosyncrasies in the Sans Serif<br />
family grows with the heavier weights. But the<br />
designer can choose different solutions according<br />
to the mood he wants to give to the page. The<br />
typeface proposes a set of alternates that helps to<br />
widen the possible uses. He can select two different<br />
stylistic set: the first, The Quirkyzer, make the letters<br />
more quirky. The second, The Neutralizer, makes<br />
them more balanced.<br />
(|||||||||)<br />
Bold noRMal<br />
abcdefghijklmnopqrsTuvwxyz<br />
abcdefghijklmnopqrstuvwxyz<br />
THe quiRkyzeR - sTylisTic seT (01)<br />
abc → abc<br />
(|||||||||)<br />
Bold quiRky<br />
abcdefghijklmnopqrstuvwxyz<br />
abcdefghijklmnopqrstuvwxyz<br />
THe neuTRalizeR - sTylisTic seT (02)<br />
a → a<br />
(|||||||||||)<br />
Bold neuTRalized<br />
abcdefghijklmnopqrstuvwxyz<br />
abcdefghijklmnopqrstuvwxyz<br />
e → E<br />
fr<br />
(|||||||||)<br />
Bold quiRky<br />
enterprise,<br />
go to the silver planet!<br />
fr(|||||||||||)<br />
Bold neuTRalized<br />
(|||||||||)<br />
Bold noRMal
BackgRound - sTylisTic seT (03)<br />
(|||) → (|)<br />
BulleTTed nuMBeRs - sTylisTic seT (04)<br />
(3) → (3)<br />
(3.14) → (3.14)<br />
(|||||||)<br />
Heavy sans<br />
abcdefghijklmno<br />
pqrstuvwxyz<br />
ABcDeFgHIjklm<br />
NOpqrSTuvwxyz<br />
Beware the umbrellas on the chairs.<br />
BIg FOOD<br />
(||||||||||||||)<br />
RegulaR condensed sans<br />
(|||||||||||||||)<br />
ulTRaTHin condensed sans<br />
abcdefghijklmno<br />
pqrstuvwxyz<br />
Abcdefghijklm<br />
nopqrstuvwxyz<br />
(||||||||||||||)<br />
RegulaR condensed sans<br />
abcdefghijklmno<br />
pqrstuvwxyz<br />
aBcdefgHijklM<br />
noPqRsTuvWxyz<br />
(|||||||)<br />
Heavy sans
there was a man...<br />
(|||||||)<br />
RegulaR sans<br />
HE WAS A SOLDIER!<br />
(||||||||)<br />
seMiBold sans<br />
he was a dreamer!<br />
(||||||)<br />
Bold sans<br />
He wAS A lOver!<br />
(|||||||)<br />
Heavy sans
THe seRif<br />
adhesion<br />
of thickness and contrast.<br />
*<br />
The Serif typeface is intended to work in disparate<br />
conditions of use (different printers and papers,<br />
reversed text on dark backgrounds etc.):<br />
(1) the shape is more neutral;<br />
(2) there are four grades with adjustment<br />
(||||||||||||||)<br />
RegulaR seRif gRade one<br />
abcdefghi<br />
jklmnopq<br />
rstuvwxyz<br />
ABcdeFgHi<br />
jklmnopq<br />
rSTuvwxyz<br />
fouR gRades foR any design need<br />
This two columns of text<br />
are composed with two<br />
different grades: grade<br />
one on the left and grade<br />
three on the right. The<br />
spacing is not changing<br />
but the difference in<br />
weight and contrast can<br />
suit better the needs of<br />
the designer.<br />
(||||||||||||||)<br />
RegulaR seRif iTalic<br />
This two columns of text<br />
are composed with two<br />
different grades: grade<br />
one on the left and grade<br />
three on the right. The<br />
spacing is not changing<br />
but the difference in<br />
weight and contrast can<br />
suit better the needs of<br />
the designer.<br />
abcdefghijklmnopqrstuvwxyz<br />
abcdefghijklmNopQrsTuvwxyz<br />
casablanca<br />
the quick brown fox jumps over the lazy dog
The movie<br />
WOMEN pAy<br />
AttENtION.<br />
tHERE IS A<br />
<strong>MA</strong>RINE WItH<br />
A SUpER<br />
SIGHt!<br />
The history of all hitherto<br />
existing society (2) is the<br />
history of class struggles.<br />
Freeman and slave, patrician<br />
and plebeian, lord and serf,<br />
guild-master (3) and journeyman, in a<br />
word, oppressor and oppressed, stood<br />
in constant opposition to one another,<br />
carried on an uninterrupted, now<br />
hidden, now open fight, a fight that<br />
each time ended, either in a revolutionary<br />
reconstitution of society at large, or in the<br />
common ruin of the contending classes.<br />
from the serfs of the<br />
middle Ages sprang the<br />
chartered burghers of<br />
the earliest towns.
*<br />
Two heavier weights have been developed for emphasis<br />
and display purposes. while the Bold is a sturdy<br />
weight able to work both inside a text or as a title, the<br />
extrabold should be used only at big sizes in order to<br />
preserve the high contrast that characterizes it.<br />
(||||||)<br />
Bold seRif<br />
aabcdefghijklmn<br />
opqrstuvwxyz<br />
aBcDEfghijklmn<br />
OPqrStuvwxyz<br />
n<br />
(|||||||||||||)<br />
exTRaBold seRif disPlay<br />
abcdefg<br />
hijklm<br />
nopqrs<br />
tuvwxyz<br />
abcdefghijklmnopqrstuvwxyz<br />
g
john doe<br />
To the most illustrious<br />
and reverend lord and<br />
honourable master<br />
giovanni pietro carafa,<br />
at the theological meeting<br />
held by his holiness leo<br />
x, in rome.<br />
my most respected, illustrious and<br />
reverend lord and master,<br />
Here is your lordship’s most faithful<br />
servant’s report on what is happening<br />
in these remote marshlands, which for<br />
a year now appears to have become a<br />
focus for all manner of diatribes.<br />
The bomb!
*<br />
The typeface is conceived<br />
to offer a multi language<br />
coverage. For this reason,<br />
a wide set of diacritics<br />
and two non-latin script,<br />
greek and devanagari,<br />
have been developed.<br />
language suPPoRT<br />
catalan jove xef, porti whisky amb quinze glaçons d’hidrogen, coi! croatian gojazni đačić s biciklom drži hmelj i finu<br />
vatu u džepu nošnje. czech nechť již hříšné saxofony ďáblů rozzvučí síň úděsnými tóny waltzu, tanga a quickstepu. danish<br />
quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen walther spillede på xylofon. dutch lynx c.q. vos prikt bh: dag<br />
zwemjuf! english The quick brown fox jumps over the lazy dog. esperanto eble ĉiu kvazaŭ-deca fuŝĥoraĵo ĝojigos homtipon.<br />
estonian põdur zagrebi tšellomängija-följetonist ciqo külmetas kehvas garaažis Filipino pwede kang yumaman dahil sa<br />
bagong roleta. Finnish Törkylempijävongahdus. French portez ce vieux whisky au juge blond qui fume. West Frisian Alve<br />
bazige froulju wachtsje op dyn komst. german victor jagt zwölf Boxkämpfer quer über den großen Sylter deich. hungarian<br />
jó foxim és don quijote húszwattos lámpánál ülve egy pár bűvös cipőt készít. indonesian muharjo seorang xenofobia universal<br />
yang takut pada warga jazirah, contohnya qatar. italian quel vituperabile xenofobo zelante assaggia il whisky ed esclama:<br />
alleluja! latvian muļķa hipiji turpat brīvi mēģina nogaršot celofāna žņaudzējčūsku. lithuanian Įlinkdama fechtuotojo<br />
špaga sublykčiojusi pragręžė apvalų arbūzą. lojban .o’i mu xagji sofybakni cu zvati le purdi. mapudungun gvxam mincetu<br />
apocikvyeh: ñizol ce mamvj ka raq kuse bafkeh mew. norWegian jeg begynte å fortære en sandwich mens jeg kjørte taxi på<br />
vei til quiz. polish pójdźże, kiń tę chmurność w głąb flaszy! portuguese zebras caolhas de java querem passar fax para moças<br />
gigantes de new york. romanian Swearing in high pitch, the zoophobic man vexedly ordered whisky and tequila. slovak<br />
kŕdeľ šťastných ďatľov učí pri ústí váhu mĺkveho koňa obhrýzať kôru a žrať čerstvé mäso. slovenian Hišničin bratec vzgaja<br />
polže pod fikusom. spanish el veloz murciélago hindú comía feliz cardillo y kiwi. la cigüeña tocaba el saxofón detrás del<br />
palenque de paja. sWedish yxskaftbud, ge vår wc-zonmö iq-hjälp. turkish pijamalı hasta yağız şoföre çabucak güvendi.<br />
catalan jove xef, porti whisky amb quinze glaçons d’hidrogen, coi! croatian gojazni đačić s biciklom drži hmelj i finu<br />
vatu u džepu nošnje. czech nechť již hříšné saxofony ďáblů rozzvučí síň úděsnými tóny waltzu, tanga a quickstepu. danish<br />
quizdeltagerne spiste jordbær med fløde, mens cirkusklovnen walther spillede på xylofon. dutch lynx c.q. vos prikt bh: dag<br />
zwemjuf! english The quick brown fox jumps over the lazy dog. esperanto eble ĉiu kvazaŭ-deca fuŝĥoraĵo ĝojigos homtipon.<br />
estonian põdur zagrebi tšellomängija-följetonist ciqo külmetas kehvas garaažis Filipino pwede kang yumaman dahil sa<br />
bagong roleta. Finnish Törkylempijävongahdus. French portez ce vieux whisky au juge blond qui fume. West Frisian Alve<br />
bazige froulju wachtsje op dyn komst. german victor jagt zwölf Boxkämpfer quer über den großen Sylter deich. hungarian<br />
jó foxim és don quijote húszwattos lámpánál ülve egy pár bűvös cipőt készít. indonesian muharjo seorang xenofobia universal<br />
yang takut pada warga jazirah, contohnya qatar. italian quel vituperabile xenofobo zelante assaggia il whisky ed esclama:<br />
alleluja! latvian muļķa hipiji turpat brīvi mēģina nogaršot celofāna žņaudzējčūsku. lithuanian Įlinkdama fechtuotojo<br />
špaga sublykčiojusi pragręžė apvalų arbūzą. lojban .o’i mu xagji sofybakni cu zvati le purdi. mapudungun gvxam mincetu<br />
apocikvyeh: ñizol ce mamvj ka raq kuse bafkeh mew. norWegian jeg begynte å fortære en sandwich mens jeg kjørte taxi på<br />
vei til quiz. polish pójdźże, kiń tę chmurność w głąb flaszy! portuguese zebras caolhas de java querem passar fax para moças<br />
gigantes de new york. romanian Swearing in high pitch, the zoophobic man vexedly ordered whisky and tequila. slovak<br />
kŕdeľ šťastných ďatľov učí pri ústí váhu mĺkveho koňa obhrýzať kôru a žrať čerstvé mäso. slovenian Hišničin bratec vzgaja<br />
polže pod fikusom. spanish el veloz murciélago hindú comía feliz cardillo y kiwi. la cigüeña tocaba el saxofón detrás del<br />
palenque de paja. sWedish yxskaftbud, ge vår wc-zonmö iq-hjälp. turkish pijamalı hasta yağız şoföre çabucak güvendi.
Ťħê<br />
qŭıċķ<br />
bŕōŵñ<br />
fóx<br />
ĵůmpş<br />
ővęŗ<br />
ťĥë ľåžŷ<br />
đöģ...
MulTiscRiPT design<br />
*<br />
The whole family was developed mutating some<br />
features between the three different scripts.<br />
The slight (1) flaring of the stems, the (2) contrast<br />
and the (3) quick resolution of the curves.<br />
(1)<br />
b(3)<br />
(2)<br />
in the greek the contrast is less compared to the other<br />
two scripts, in order to preserve a more even colour of<br />
the text page.<br />
in both latin and devanagari you have a more rigid<br />
texture due to the vertical and horizontal stems. The<br />
greek alphabet is rich of curves you can perceive a<br />
kind of liveliness in the page.<br />
The attempt was indeed that to find a grammar of<br />
shapes that could be declined to achieve a consistence<br />
between the different scripts.<br />
(1)<br />
β(2)<br />
(3)<br />
(3)<br />
क(1)<br />
(2)<br />
n δ<br />
π ν<br />
ड<br />
क κ p<br />
a फ<br />
c ग<br />
ढ ζ o
gReek<br />
γThe<br />
*<br />
greek has been<br />
developed on the concept<br />
of more or less typographic<br />
flavour. The typo series is<br />
upright and with shapes that<br />
we can find in the latin and<br />
in the devanagari.<br />
The informal series is<br />
more related to a calligaphic<br />
tradition with curves and<br />
stems more fluid.<br />
(|||||||||||)<br />
RegulaR seRif TyPo<br />
αβγδεζηθικλμνξ<br />
οπρσςτυφχψω<br />
αβγδεζηθι<br />
κλμνξοπρσ<br />
στυφχψω<br />
(|||||||||||)<br />
RegulaR seRif TyPo (|||||||||||||)<br />
RegulaR seRif infoRMal<br />
αεηιλμν<br />
ορφω<br />
ελ<br />
αεηιλμν<br />
ορφω<br />
ελ
η ντίβα<br />
The diva<br />
Aι ωγύγιοι θήβαι, που σημαίνει πανάρχαιες<br />
θήβες, έχουν τις ρίζες τους στην<br />
προϊστορική περίοδο, που υπήρξε ένδοξη<br />
για την πόλη. το όνομα ωγύγος που έδιναν<br />
στον πρώτο βασιλιά της θήβας σημαίνει<br />
απλώς “ο πολύ παλαιός”. η θήβα, όπως<br />
και ολόκληρη η βοιωτία, έχει εξαιρετικά<br />
πρωταγωνιστικό ρόλο στην ελληνική<br />
μυθολογία. σ’ αυτή την περιοχή, συγκεκριμένα<br />
στον στον παρνασσό, διεσώθη<br />
ο δευκαλίων μετά τον κατακλυσμό και ο<br />
απόγονός του ο Έλλην. στα ηρωικά χρόνια<br />
οι πανελλήνιες εκστρατείες των “επτά<br />
επί θήβας” και των επιγόνων τους είχαν<br />
ως κέντρο αναφοράς τη θήβα. η αργοναυτική<br />
εκστρατεία είναι σχεδόν βοιωτική<br />
υπόθεση. η εκστρατεία κατά της τροίας<br />
οργανώθηκε στη βοιωτία. από τη βοιωτία<br />
προέρχονται επίσης ο ιστορικός ησίοδος,<br />
ο ποιητής πίνδαρος και ο στρατηγός<br />
επαμεινώνδας.<br />
η ίδρυση της θήβας περιγράφεται<br />
από τους γοητευτικότερους μύθους της<br />
ελληνικής μυθολογίας. στα ομηρικά έπη<br />
οι μύθοι την απέδιδαν στους αδελφούς<br />
ζήθο (που έφερνε τις πέτρες) και αμφίονα,<br />
ο οποίος παίζοντας τη λύρα του, τις<br />
μάγεψε ώστε μετακινήθηκαν μόνες τους<br />
και σχημάτισαν τα περίφημα τείχη της<br />
επτάπυλης πόλης. Άλλοι μύθοι απέδιδαν<br />
την ίδρυση της πόλης στον κάδμο, γιο του<br />
αγήνορα, βασιλέα της φοινίκης. σύμφωνα<br />
μ’ αυτούς ο δίας μεταμορφωμένος σε<br />
ταύρο έκλεψε την αγαπημένη κόρη του<br />
αγήνορα ευρώπη και ο βασιλέας διέταξε<br />
τους γιους του να ψάξουν να την βρουν<br />
και να μην επιστρέψουν πίσω χωρίς αυτή.<br />
στην αναζήτηση της αδελφής του ευρώπης,<br />
ο κάδμος ζήτησε τη βοήθεια του<br />
απόλλωνα στο μαντείο των δελφών. τότε<br />
πήρε την εντολή από τον θεό να σταματήσει<br />
τις αναζητήσεις και να ακολουθήσει<br />
την πρώτη δαμάλα που.<br />
A diva is a celebrated female singer.<br />
The term is used to describe a woman<br />
of outstanding talent in the world of<br />
opera, and, by extension, in theatre,<br />
cinema and popular music. The meaning<br />
of “diva” is closely related to that of<br />
“prima donna”.<br />
The word entered the english<br />
language in the late 19th century. it is<br />
derived from the italian noun diva, a<br />
female deity. The plural of the word in<br />
english is “divas”; in italian, dive. The<br />
basic sense of the term is “goddess”, the<br />
feminine of the latin word divus (italian<br />
divo), someone deified after death, or<br />
latin deus, a god. The word is cognate<br />
with the Hindu term “devi” meaning<br />
goddess (masculine “deva” meaning<br />
god) which in turn originates from the<br />
ancient Sanskrit language, one of the<br />
earliest indo-european languages the<br />
word is also cognate with the Avestan<br />
term denoting the zoroastrian concept<br />
of the daevas and with the lithuanian<br />
word, meaning a female deity.<br />
The male form divo exists in italian<br />
and is usually reserved for the most<br />
prominent leading tenors, like enrico<br />
caruso and Beniamino gigli. The<br />
italian term divismo describes the starmaking<br />
system in the film industry.<br />
originally used in opera<br />
or commedia dell’arte<br />
companies, “prima donna” is<br />
italian for “first lady.”<br />
september 2012<br />
Cinema magazine<br />
31
ढdevanagaRi<br />
*<br />
The devanagari has relatively<br />
high contrasted rounded curves<br />
with and axis on a 33,5 degrees<br />
angle. The curves close quickly<br />
accelerating the visual dynamic<br />
of the text.<br />
These features give the script a<br />
peculiar flavour, less related to<br />
the traditional calligraphic tool.<br />
क<br />
दीवारब ंद जयप ुर ऐसी द ुिनया हैजहा ं<br />
लगभग हर द ुकान का नाम िहदी म ें<br />
िलखा गया ह ै।नामकरण<br />
की ऐसी<br />
तरतीब िहदुतान म ेंकम िदखती<br />
ह ै। िदली म ेंकॉमनव ेल्थ ग ेस के<br />
दौरान कनॉट ल ेस और पहाड़ग ंज की<br />
नामपिकाओ ंको एक समान करन े<br />
का अिभयान चला। पकार िलख<br />
(||||||||||||)<br />
devanagaRi RegulaR<br />
अ आ इ ई उ ऊ ऋ<br />
ए ऐ ओ औ क ख ग<br />
घ ङ च छ ज झ ञ<br />
ट ठ ड ढ ण त थ द<br />
ध न प फ ब भ म य<br />
र ल व श ष स ह
हस ुपरमा ॅम<br />
काजोल<br />
म ुझेकरीना स ईया है<br />
रखे कुतरन भाठ ब्रा आपान<br />
रङ्गरलिया सर्वसमावेशी उद्घत<br />
कौल्य दह बन्धककर्ता गऊ<br />
घृणाजनक जलेश्वर स्वाहा<br />
बहिर्द्वार पश्चार्ध प्रतिवारण<br />
प्रत्युपहार सजग कौसवर्ड वनगाचर<br />
जनवाना न रबी मेढक अवमाननायुक्त<br />
एकदलीयता ट आमोदी चौथाई हुक्म<br />
हविष्यान्न बिछौना मिक रक्तग्रीव<br />
कोठरी दुर्दृश्यता स्थिरमनस्क<br />
वसुपाल रसीद शत्रुपक्ष गऊ कोशा<br />
दिश सर्वचारी उन्मादकारी खो सटा<br />
फट आनम्यता नियमित्र दारिद्रय।<br />
इ दरगाह नोएद जेय लैबर बहुत<br />
डुबकर पृथा प्रस्फुटितता डग चैस ल<br />
फोक तूमा दक्षिणा लीर एअरहीटर<br />
मिचन आरुक अवट आस भरनी<br />
बल फ़ौरन थक्केदार लड तनिक छ<br />
नह जाम गेर महोदरी ई इह उनसे<br />
यव कामेश्वरी मट्टी घोर क्रिया<br />
निर्वस्त्रण अनादित आबला<br />
ग़ैरपुश्तैनी<br />
स्वरगान हल्लागुल्ला<br />
सुप्राप्य आराकाटी पिचा चौपहलू<br />
रोज़ रोदा तटी धुकड चाक्षुष<br />
पढ़ मर्दानगी स्वातिकारी हजम<br />
अजपाल कफ़न षष्ठक दिधार कई<br />
स्वस्तिकासन अपमार्गी।<br />
दीवारब ंद जयप ुर ऐसी द ुिनया हैजहा ं<br />
लगभग हर द ुकान का नाम िहदी म ें<br />
िलखा गया ह ै।नामकरण<br />
की ऐसी<br />
तरतीब िहदुतान म ेंकम िदखती<br />
ह ै। िदली म ेंकॉमनव ेल्थ ग ेस के<br />
दौरान कनॉट ल ेस और पहाड़ग ंज की<br />
नामपिकाओ ंको एक समान करन ेका<br />
अिभयान चला। पकार िलख<br />
नामकरण<br />
की ऐसी तरतीब<br />
िहदुतान म ें<br />
कम िदखती ह
the end<br />
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exTRaBold seRif disPlay
*<br />
designed by michele patanè<br />
Submitted in partial fulfillment<br />
of the requirements for the<br />
master of Arts in <strong>Typeface</strong> design,<br />
university of reading, 2012<br />
michele.patane[at]cinetype.com