Brigitte Schuster, Montreal, Canada
email@example.com / www.brigineschuster.com
Canella is a type family in four styles primarily to be used in
books and magazines. Using proportions inspired by 16th century
punch-cuners Hendrik van den Keere and Robert Granjon,
the typeface allows excellent readability in small sizes. The ltalic
is notably distinct from the Roman and has a literary tone.
It is situated in the transitional style period and is inspired by
16th century writing master G.F. Cresci and Robert Granjon.
Canella Regular, Regular Italic, Canella Bold, Bold Italic
se fosse stato più corto
others become better into
Meine Zeit ist fast
TU VOLGERAI DOLCEZZA MIA
The typefaces proportions are inspired by sixteenth
century punch-cutters hendrik van den keere and
ROBERT granjon. Due to this large x-height, comfort¬
able readability in small sizes is ensured. The Roman
that this sweaty hast
qui tra le mute lagrime
porque sus palabras sonaron
cAdrienne сAnnalisa Щ oAppollonia
craftsman. Its origin is essentially unromantic, and
its employment, in the earlier stages of its history at
all events, wots merely an attempt to prevent the inev¬
itable pirate from reaping where this had not sown.
•fritg gröffel ¡Berlin, Çjermany
firstname.lastname@example.org / юююfritggroegel.net
alleen geldig voor t]m Studenten*
__ ш Verfrissend л
Let op - Niet altijd geldig
Frank Grießhammer, Hof, Germany
Quño is a typeface family consisting of three styles, with two
corresponding italics. Every weight is executed with a different
brush tool. The idea refers to manual practice: to achieve a bolder
strokewidth, it is natural to pick a bigger tool. As a result, each
of the styles has a distinct, hand-made look. Yet, the underlying
construction model makes them work together in a family.
Quixo Regular, Regular Italic, Quixo Bold, Bold Italic, Quixo Black
¡Hinterland is a project rohere 7 aim at creating a set of typefacesfor
lettering purposes in my home country. 2n Çermany, many traditional
uernaailar ietterforms haue Been giuen up after the mar and lettering
as a graphic discipline has Been neglected for a long time. The designs
explore uarious frontiers, Between past and present, lettering and typo¬
graphy, Blackletter and roman type, constructiueness and calligraphy,
Brush and Broad niB, italic and script.
CudwigsBurg Tight, iludmigsBurg Sent ¡Bold, CudmigsBurg ¡fat,
(TlflLERCRPSTHIN Kastenbrot Bold
}ШІТЕЯ£ріШ / fìN EMPLORRTION
INTO Çerman LETTERING By Trity
GROEGEL in (type and ОПеШа.
Tradition ist nicht die рпвЕіипд deb
pscpE зопбеяп iDieWeitergaße des
Jeuets/Цои can learn by looking
back but you need to take rohat
you learn and yo fotroatd roith it.
(títere has to 6e а в alance. /
Bf your letters dance, they should
all dance the same. / you cannot
make a ßastard without making
a 6astard. / ‘Visit (fermaitу !
ITIflLERCñPS TH IN КрЗІЕИВЯОТ CudmigsBurg sister cuts
Martina Flor Buenos Aires. Argentina
email@example.com / шшш.martinal'lor.com
Supernova is cc family of scripts. Its poster version- is a-
typographic approach to Lettering through expressive strokes,
flamboyant caps and an- extensive- collection of alter nate-
glyphs. The text version meets the requirements for readability
at smalt siges with three- different weights -, regular, botct
anct display. The family is complemented- with frames
and flourishes plus a set of small caps for each version.
Supernova Regular, Supernova Bold, Supernova Display,
Nova means "new" in Latin,
referring to what appears
to bea very bright new
star shining in the celestiat
sphere; the prefix "super"
from ordinary novae.
Meret is a typeface family for
news. Designed for tight columns
AND NARROW INTERLINEAR
space. The family includes six
weights from light to black in
upright and italic styles. This
ALLOWS ENOUGH DESIGN SPACE
to pronounce whatever you
need. The design is clear and
STRAIGHT TO THE POINT.
Nils Thomsen, Kiel, Germany
firstname.lastname@example.org / www.nilsthomsen.com
Meret is a typeface family for news. Designed for tight columns
and narrow interlinear space. The family includes six weights from
light to black in upright and italic styles. This allows enough design
space to pronounce whatever you need. The design is clear and
straight to the point.
A Family of Scripts made in The Hague with tone
Meret Light, Light Italic, Meret Regular, Regular Italic, Meret Book,
Book Italic, Meret Bold, Bold Italic, Meret Extra Bold, Extra Bold
Italic, Meret Black, Black Italic
Slávka Pauliková, Bratislava, Slovakia
email@example.com / www.slavkapaulikova.com
Dora is a type family consisting of four styles. Originally, its
construction principles, especially in the italic and display styles,
are based on a detailed study of today’s handwriting styles.
Dora is suitable for book and magazine typography. Primarily,
it is intended for use in small sizes, but its specific character
makes it suitable also display sizes as well.
Dora Regular, Regular Italic, Dora Bold, Vorn Display
Najírecitejsí Slovàci sa vyskytujú na Detve
NOSIA VRKÔCIKY, PIJU PÁLENÉ A VOLAJÚ SA MARTIN
roku 246 pred* Repa
As beautiful as Latin?
Latin is easy and enjoyable to write. Repeating arches
give an even, regular rhythm which flows smoothly
on a page. Most of the lowercase letters are based on
one harmonic model developed in handwriting.
In its own way
В то время как большинство строчных букв лати¬
ницы имеют в своей основе одну гармоническую
модель, кириллические буквы различны по струк¬
туре и могут быть объединены в несколько групп
на основе подобия элементов.
Красива, как латиница?
Irina Smirnova, Moscow, Russia
Laterica is a typeface for continuous reading. I aimed to achieve
the same kind of even, silvery text image that can be seen in
Renaissance books and to keep the dynamic of broad nib
calligraphy, especially in Cyrillic, where most of the letters
are traditionally symmetrical and static. My intention was to
bring Latin and Cyrillic typography closer together by finding
solutions that would work for both scripts.
Laterica Regular, Кириллическая Латерика прямое,
Laterica Italic, Кириллическая Латерика курсив
Jon Glarbo, Copenhagen, Denmark
firstname.lastname@example.org / www.jonglarbo.dk
Brida is made to meet the demands of a contemporary serif
based typeface. With its purpose for magazines and journals it
is set out with a narrow width, large x-height and open counters.
This makes it work well in slim text columns and in small letter
sizes, both important features in this area of application.
The overall text-image is designed to be interesting, open and
pleasant to read.
Brida Regular, Regular Italic, Brida Bold, Bold Italic,
Brida Black, Brida Saper Black
Combiné, élégant, équilibre
Täiväkirja, Zeitschrift, Actualités, Revisté
Czasopismo, Journal, Aikakauslehti
Besonders beliebt sind dieses Jahr
I decided to make it appear closer to a sans-serif but, with
the help of the serifs, get a better legibility for longer
texts. I saw this could be an interesting alternative to a
sans-serif. I therefore started to look for ways to make my
type look more sans-serif like. First I found that I should
keep to a low contrast but not so low that the broad-nib
system would disappear.
In my research I found "The Serif" by Luc (as) de Groot.
And, what I considered especially interesting was that
the n was missing a serif on the right leg.
ost magazines, if not to say nearly
all,were using sans-serif typefaces.
I had earlier decided to make a serif
typeface of which the main purpose was not
intended for book typography. So, what could I
do to make my typeface suit the purpose better?
232345‘/2% *1284 34892€з45%
Cafeteria • Cafetería • Cafétéria ■ Cafetaria *
Av. de Roma
I Gasselternijveenschemond )
Museus • Museos • Museen • Musées • Musea • Musei
f . .. . 1
Linha • Pista • Gleis • Voie • Spoor • Binario
Tânia Raposo, Portalegre, Portugal
email@example.com / www.taniaraposo.com
Guia is a typeface for pedestrian guidance. It is a sans serif with
strong calligraphic features, based on the broad nib pen; without
disregarding readability or space economy. It offers a big set of
arrows, two different styles of circled numbers and a stylistic set
that makes it possible to transform any word into a sign. The full
character set is provided in superiors, so that long names can be
shortened with the use of superior letters.
Guia Regular, Guia Condensed, Extra Condensed, Guia Bold, Bold Condensed
Yohanna Mÿ Nguyên, Paris, France
firstname.lastname@example.org / www.yohannamy.com
Luciaan is one of the results of a four-month experiment at t]m.
Primarily inspired by a writing model from Edward Johnston,
it developed autonomy to grow into a text family comprising
regular, italic, and bold. Luciaan is suitable for book text setting
and for periodicals where copy-fitting is not an issue. Its specific
feel aims for timeless elegance rather than nostalgic romanticism.
Luciaan Regular, Regular Italic, Luciaan Bold
Í) Hello !
Primarily inspired by
regular — bold—italic
- In bocca
Döi ngùdi khoánh khac tình ngùòi thiên thu
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Kristyan Sarkis, Beirut, Lebanon
email@example.com / www.kristyansarkis.com
Thuraya is an Arabic display typeface that explores a contemporary
context for the Diwani style with maximized calligraphic features.
Currently, it exists in two versions. Thuraya Slanted. It brings to type
a crucial calligraphic feature of the Diwani style: the slanted baseline.
This very unique feature makes it more suitable for lettering, headings
and logotypes, etc. Thuraya Straight. It has all the same calligraphic
features (curvy baseline, ligatures and alernates) with the exception
of the slanted baseline. This heightens its usability in short texts as well.
Thuraya Straight, Thuraya Slanted
We would like to thank our teachers
for inspiration, advice, guidance and knowledge:
Erik van Blokland, Paul van der Laan, Jan Willem Stas,
Peter Verheul, Françoise Berserik, Peter Bil’ak, Frank Blokland,
Petr van Blokland, Christoph Noordzij, Just van Rossum,
Fred Smeijers, Gerard Unger.
for drawing our attention to the most diverse areas of type:
Ken Barber, Kai Bernau, Susana Carvalho, Rejane Dal Bello,
Gert Dooreman, Mike Duggan, Luc(as) de Groot, Berton Hasebe,
Akiem Helmling, Bas Jacobs, Mathieu Lommen, Gerrit Noordzij,
Albert-Jan Pool, Piet Schreuders, Christian Schwartz, Rickey Tax,
Miguel Sousa and Erik de Vlaam.
Special Thanks to
Erik van Blokland, Tal Leming and Frederik Berlaen for
providing student versions of their font production software.
For being very welcoming, patient and informative interview
partners we would like to thank Ken Barber, Peter Bruhn,
Christopher Burke, John Downer, René Knip, Radana Lencová,
Martin Majoor, Jan Middendorp, Alejandro Paul, Frantisek Storm .
and Huda Smitshuijzen AbiFarés.
Many thanks to the Type and Media class of 2008/2009 for lots
of help and support; and to our beloved and indispensable printer
HP LaserJet 5000N. No paper jam without you!
Finally thanks to Canella, Ouixo, Hinterland, Laterica, Brida,
Thuraya, Supernova, Meret, Dora, Guia and Luciaan; we have
spent a considerable amount of time with the bunch of
you-and it has been great!