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Det er utført av Tristan Etienne, bedre kjent under kunstnernavnet Jack ",{"_key":5822,"_type":5797,"marks":5823,"text":5825},"195b2086e369",[5824],"0b17daa64b61","Usine.",{"_key":5827,"_type":5797,"marks":5828,"text":5829},"c6ef91bb66a4",[]," For den gjennomsnittlige grafiske designer sorteres disse bokstavene under paraplybegrepet «typografi», noe som – ironisk nok – ikke kunne vært lenger unna sannheten. Butikkfasaden er kledd med hvite bord, montert vertikalt med tynne mellomrom. Seksjonen der bokstavene er malt teller seks og en halv planke i bredden, og bokstavene selv dekker fire av dem. De vertikale stammene (i ",{"_key":5831,"_type":5797,"marks":5832,"text":5833},"37006d8cd1f3",[5803],"B",{"_key":5835,"_type":5797,"marks":5836,"text":5837},"da53bffd35bf",[],", ",{"_key":5839,"_type":5797,"marks":5840,"text":5841},"b13a3b5625b6",[5803],"K",{"_key":5843,"_type":5797,"marks":5844,"text":5845},"5a09f1e83f70",[]," og ",{"_key":5847,"_type":5797,"marks":5848,"text":5849},"9eb0fd93df81",[5803],"E",{"_key":5851,"_type":5797,"marks":5852,"text":5853},"bd64d1f13bf9",[]," ), samt den tykke diagonalen (",{"_key":5855,"_type":5797,"marks":5856,"text":5857},"1ca2447ff15e",[5803],"A",{"_key":5859,"_type":5797,"marks":5860,"text":5861},"a8bb679bb7d2",[]," ), dekker nøyaktig to plankebredder. Målt langs grunnlinjen er de tynne diagonalene (",{"_key":5863,"_type":5797,"marks":5864,"text":5857},"84a7a04bd50e",[5803],{"_key":5866,"_type":5797,"marks":5867,"text":5837},"b0bd4db5eec0",[],{"_key":5869,"_type":5797,"marks":5870,"text":5841},"68a283f956e2",[5803],{"_key":5872,"_type":5797,"marks":5873,"text":5874},"39941fd773c8",[]," ) én og en halv plankebredde. De ytterste horisontalene i ",{"_key":5876,"_type":5797,"marks":5877,"text":5849},"f02dbe2227f3",[5803],{"_key":5879,"_type":5797,"marks":5880,"text":5881},"d76af98e41c3",[]," strekker seg over to enheter, mens tverrstreken kun dekker en. Toppen på ",{"_key":5883,"_type":5797,"marks":5884,"text":5857},"40c33004f40a",[5803],{"_key":5886,"_type":5797,"marks":5887,"text":5888},"59bba31ca41a",[]," (tre bredder – to hele, pluss to halve) er uvanlig bred, og gir den vertikale komposisjonen mer stabilitet enn en spiss apeks ville gjort.",[5890],{"_key":5824,"_type":5891,"text":5892},"sidenote",[5893],{"_key":5894,"_type":5793,"children":5895,"markDefs":5900,"style":17},"2130cd42e7cb",[5896],{"_key":5897,"_type":5797,"marks":5898,"text":5899},"6419df8061520",[],"Tristan Etienne driver designbyrået Bon Pour 1 Tour og skriftforlaget Smeltery sammen med sin partner og kollega Fanny Garcia.",[],{"_key":5902,"_type":5903,"markDefs":9,"slides":5904},"f5765901cf60","slideshow",[5905,5925],{"_key":5906,"_type":5907,"alt":5908,"aspectRatio":5909,"asset":5910,"body":9,"caption":5913,"height":5922,"hotspot":9,"id":5911,"preview":5923,"width":5924},"1ea8e0831e65","image","«KEBAB» malt i rødt på hvit plankevegg med vertikal skriveretning ovenfra og ned. Foto: Tristan Etienne.",1.3333333333333333,{"_ref":5911,"_type":5912},"image-847a568cf932363c08f25849379fbcfafcc65111-960x720-png","reference",[5914],{"_key":5915,"_type":5793,"children":5916,"markDefs":5921,"style":17},"1bfb94ee935a",[5917],{"_key":5918,"_type":5797,"marks":5919,"text":5920},"35dd1337106c",[],"Figur 1.",[],720,"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAPCAIAAABr+ngCAAAACXBIWXMAAAsTAAALEwEAmpwYAAADnklEQVQokQGTA2z8ACgmJT05NW1lWLGli9DBoM+9mdK\u002FmeDLqOnRtsitlXhjUUA1KS4mICUgGx8bFxgWExMREBEPDxIREBEQDwApKCc7OTVaVE2Xi3vKuJzSvpzUwp7hw6TsrJXZjnqLZ1g4MiofHBkfHBofHRsgHRsgHhwiIB8lIyElIyEAKyopOTYzQDs4aFxWspmH0rib1sOh4bqd74d053BgnmtdPzkzJSQiLiwqMjAuNDEvNTMwNjMyNjQyNTMxACwrKjYyMDItLEA3N4NuZMGnj9bCoOG2l\u002FCDb+pvX6RrXUU9NywrKDQxLzUzMTQxLzEvLS8tKy0rKSspJwAuLCk1Mi81MjI1MzlXTUqhjnnRv57itZbwgGzrcF+ka1xCOjMpJyI3MCczLiUlIh4eHRokIiEtKyolIyIAMS8rNzMvNzQ0MTI4Pjg4hnhmyrqc47aZ8H5q625co2laPTUvLyofUkYqSkAmJSMYGRkXLCssPzw+LSsrADs4Mzo2MC8rKSEfIi8pJ3ltXMa2mOO2mvB8aOpmVqJjVD00LTUyI2RaNFlSLiwsHScpJ0NERERDRC4tLQBnYFJVTkI3LyklGho4LCiCdGLJuJjjs5bwdWLqXk6iX1A\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",960,{"_key":5926,"_type":5907,"alt":5927,"aspectRatio":5909,"asset":5928,"body":9,"caption":5930,"height":5922,"hotspot":9,"id":5929,"preview":5939,"width":5924},"281b124326ff","«FAiRE AVEC» malt i hvitt på sort bakgrunn, avgrenset av spilene i smijernsporten. Foto: Tristan Etienne.",{"_ref":5929,"_type":5912},"image-ffba0a074a835860cd5cd74821eb63184a096eed-960x720-png",[5931],{"_key":5932,"_type":5793,"children":5933,"markDefs":5938,"style":17},"027b9a65c470",[5934],{"_key":5935,"_type":5797,"marks":5936,"text":5937},"5c0b2361cf38",[],"Figur 2.",[],"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAPCAIAAABr+ngCAAAACXBIWXMAAAsTAAALEwEAmpwYAAADXklEQVQokRXL61PaBgAA8Px9+7a73W673obyDiSEkBcJeZFAgjwFDI8EkCKMKCAvh4JSZ+18dG131anHuonr1vWuvXX\u002Fwm6\u002F7z9gy8g\u002FmXRen09vLqcPN6fv3zy\u002Fe\u002FX0yWw8GW6POvV6KV3VUs2qVivlpkPz1en++eHuQXdzb6dyPu8Bej45HbavL6aLl4d\u002F3j39eH\u002F5fvn64ffF8s0vy9uL64vZ2VF\u002Fsts0G\u002FpstH0+Hx7vtXsNrWVkDvoNIJeMDszay5Px7cXk4Wr+4bcfP\u002F118+\u002FHd58+\u002FPHP26u\u002FFxd3Px3Ox+1+u3q0t3067Y3NSiEZzqh8Z6sIKGGmoqUOB83Lw+3bs+H9z9P7q5Pl4sXbX1+8W5wtr394fjzoNUtbRna0szkbtFp6msVBBofrpRRA4bAQosq5xE4tN2oVRu1yr1U+GDSfzTrnR535uNmo5BSJ4xgyqUqbxUxWYSHb1z7QqqVkAEVAAsd5juNDZJgLhgUuxDBKRErHo4oUEjiaJAkP5LM7XF4vzNEUiYAOyyO\u002F151WeABHYV4QOV7yISiGk1SQRTGK4UQqGLLanVa7ywXCNqfHsupwOD0Q5HPY7KAbZIKUKtIA5odCIZaiQh6vjyBpiuZgBMODLEbQNidod3k9MOpwQd+u2l1uyIdgbhCCYDRIUXwQBSDQAYIem921smr3o3gAp+xO0OXxYQRNBBmWDytrSU6UkQDB8WFFjYdYwYcEEBhmCR\u002FgtFmsVptlxWZZsfoDOEHRbg8MIZgcjWXzWsmoNlpmUa+o8VTZqOpGVY3FSYomcSzMoP9nFEUxnPKjASEsheUoQTEsL2XzhUrtcb3R3PrOLOlGMpUplvV8fkOORGiGEbigKuLAN4++hGEYDeBoAJPlqCBKsM+P4WQsnsjnN0rlkq6Xcrn1eDyWTKytxWSeIwKYW2D92TgLfPH5Z3bbqtfrRRBYlsLRiETggSBFJOJqUctWdW2zolXKWb2Y0YvrG1lFFv0kbpV4uLAuAh7nVwIbiEVZNRoqaelWo1qvFIzieuuxPu6b++PuZLgz7LW6Zt1sGlU9k0mJSoRSZDKh0EA2QdeNZEWPFTZks6lP93YPxt1uu9bvNE6Ovn92PD3aH01G3Y7ZqBnaRjaZTqpqVBR5WmCp\u002FwCPXvpFv2NhvAAAAABJRU5ErkJggg==",{"_key":5941,"_type":5793,"children":5942,"markDefs":5970,"style":17},"d415920a1c60",[5943,5947,5951,5955,5959,5963,5966],{"_key":5944,"_type":5797,"marks":5945,"text":5946},"bb5304d2fd6a0",[],"På samme måte som butikkskiltet, er sjablongskriften («FAiRE AVEC», figur 2) heller ikke typografi. ",{"_key":5948,"_type":5797,"marks":5949,"text":5950},"9311224e556a",[5803],"F",{"_key":5952,"_type":5797,"marks":5953,"text":5954},"e9386eec58ff",[]," er skråkuttet for å flukte med naboen, og prikken over ",{"_key":5956,"_type":5797,"marks":5957,"text":5958},"b879bec65a65",[5803],"i",{"_key":5960,"_type":5797,"marks":5961,"text":5962},"63abf864a6c3",[],"-en skjærer inn i grunnbokstaven og lener seg ut i tomrommet ",{"_key":5964,"_type":5797,"marks":5965,"text":5857},"6487e12262d5",[5803],{"_key":5967,"_type":5797,"marks":5968,"text":5969},"93507c543ea8",[]," etterlater. Bokstavene fyller sine tilmålte felter helt ut i to dimensjoner – ett ord per seksjon. De tilpasser seg dessuten omliggende elementer, slik at én stammebredde tilsvarer avstanden mellom spilene i smijernsporten.",[],{"_key":5972,"_type":5793,"children":5973,"markDefs":5986,"style":17},"9fb1de244285",[5974,5978,5982],{"_key":5975,"_type":5797,"marks":5976,"text":5977},"2b1c72607ae40",[],"Begge eksempler er uløselig knyttet til underlaget og flaten de er gjengitt på. Konteksten er statisk – altså fastlåst, mens bokstavene selv er dynamiske og tilpasset konteksten. På engelsk kalles dette ",{"_key":5979,"_type":5797,"marks":5980,"text":5981},"2b1c72607ae41",[5803],"lettering",{"_key":5983,"_type":5797,"marks":5984,"text":5985},"2b1c72607ae42",[]," – et begrep som ikke eksisterer i norsk designterminologi.",[],{"_key":5988,"_type":5793,"children":5989,"markDefs":6015,"style":17},"54d64904801b",[5990,5994,5998,6002,6006,6010],{"_key":5991,"_type":5797,"marks":5992,"text":5993},"ba9d4098a2b00",[],"I typografien er dette forholdet snudd på hodet. Typen, eller avtrykket (gresk: ",{"_key":5995,"_type":5797,"marks":5996,"text":5997},"ba9d4098a2b01",[5803],"τύπος, typos",{"_key":5999,"_type":5797,"marks":6000,"text":6001},"ba9d4098a2b02",[],"), foreligger allerede før skriving (",{"_key":6003,"_type":5797,"marks":6004,"text":6005},"ba9d4098a2b03",[5803],"-γραφία, -graphia",{"_key":6007,"_type":5797,"marks":6008,"text":6009},"ba9d4098a2b04",[],") foregår. Det er dette Gerrit Noordzij sikter til når han skriver at «typografi er skriving med prefabrikkerte ",{"_key":6011,"_type":5797,"marks":6012,"text":6014},"297fbd69262e",[6013],"c574e86ff433","bokstaver».",[6016],{"_key":6013,"_type":5891,"text":6017},[6018],{"_key":6019,"_type":5793,"children":6020,"markDefs":6025,"style":17},"0f284b2687b5",[6021],{"_key":6022,"_type":5797,"marks":6023,"text":6024},"e265764af3290",[],"Noordzij, 2005.",[],{"_key":6027,"_type":5793,"children":6028,"markDefs":6033,"style":17},"0f38cc2aaa32",[6029],{"_key":6030,"_type":5797,"marks":6031,"text":6032},"e4c9934dbeb10",[],"I typografien er det bokstavene som er uforanderlige, men de kan derimot kombineres på alle slags tenkelige måter. Det er nettopp denne evnen til å bruke de samme puslespillbitene til å produsere enhver tekst, på enhver flate, som gjør typografien til en så revolusjonerende katalysator for enorme samfunnsomveltninger i Europa i andre halvdel av 1400-tallet.",[],{"_key":6035,"_type":5793,"children":6036,"markDefs":6041,"style":17},"56c3ce5aa107",[6037],{"_key":6038,"_type":5797,"marks":6039,"text":6040},"505a61ce7bbb0",[],"Typografiens begrensninger er også mekaniske. Typen er den atomiske enheten. Bokstaver, tegn og mellomrom settes lineært, én etter én, linje på linje. Typografien er endimensjonal. Først når avtrykket er satt, kan man utføre todimensjonale komposisjoner som «maison volière» (figur 3).",[],{"_key":6043,"_type":5793,"children":6044,"markDefs":6049,"style":17},"20f78bcfdda1",[6045],{"_key":6046,"_type":5797,"marks":6047,"text":6048},"ac0a52c8709f0",[],"Den eneste interaksjonen som foregår i typografien er mellom påfølgende typer. I letter­ing kan bokstavene interagere fritt, for eksempel på tvers av ulike høyder, som på garasjeveggen over.",[],{"_key":6051,"_type":5793,"children":6052,"markDefs":6065,"style":17},"8bbe22afd6ad",[6053,6057,6061],{"_key":6054,"_type":5797,"marks":6055,"text":6056},"aeb53a9559ab0",[],"Hver typografiske enhet skal kunne kombineres med seg selv og alle andre, og i alle tenkelige permutasjoner produsere den samme teksturen. For å klare dette er enhetene utformet med uniform bredde, høyde, tykkelse, kontrast, detaljering og dessuten kjøtt (engelsk: ",{"_key":6058,"_type":5797,"marks":6059,"text":6060},"aeb53a9559ab1",[5803],"side­bearings",{"_key":6062,"_type":5797,"marks":6063,"text":6064},"aeb53a9559ab2",[],") – avstanden fra bokstavkroppen til kegelens ytterkanter, fordelt jevnt på hver side av tegnet. Dette er begrensninger lettering ikke trenger ta hensyn til, all den tid hver bokstav bare forholder seg til sine faste naboer.",[],{"_key":6067,"_type":5903,"markDefs":9,"slides":6068},"45817b983720",[6069,6084],{"_key":6070,"_type":5907,"alt":6071,"aspectRatio":5909,"asset":6072,"body":9,"caption":6074,"height":5922,"hotspot":9,"id":6073,"preview":6083,"width":5924},"0b08d89d8b3f","«Maison voliére» i hvit på blå bakgrunn over en garasjeport. Foto: Tristan Etienne.",{"_ref":6073,"_type":5912},"image-868598aa699bc6dbd8cd599dd5c5e112db330695-960x720-png",[6075],{"_key":6076,"_type":5793,"children":6077,"markDefs":6082,"style":17},"1c7fc9dbbfb9",[6078],{"_key":6079,"_type":5797,"marks":6080,"text":6081},"1e327e848b37",[],"Figur 3. ",[],"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAPCAIAAABr+ngCAAAACXBIWXMAAAsTAAALEwEAmpwYAAADm0lEQVQokQXBaVMTBwAA0P3a2hY7JcRiuYMCKXI4ghjBXGgCkSIbIyEshCM32WyOzbmb+zKbOzHkgphQuYooh7WOFHGmOG2lnTqdjuO\u002F6XsAHD5bIs7E1hf0u4ZmysAFUnNL3WUmjaGVSooR3+5K8lkp9XQ1k4mErCYLatQvKkD6cGdzK5lU8xWARP4wJP9VBU7HZsLdV3mUhg5KbSO1qXWcQY\u002FplfsB\u002FMBt3sKMKYMO16EYZpuXCPppbfWNpBpyFaB071syH2y5T2r\u002FMSTzica4ELtLzKaawesVBfiLHDqcFWxDglWJOGkyBhz4zDS\u002F80pLYwuZculbYFKOw951a+adPXdmDT62o7K0RfjEBW17xLtOxVOzZtsAr5u0a06sGPCEcItIcK\u002F1UmNDU00HtQ64OUwfE4lmtb4l56YczUjkFivqDrujYXfUjxEea9SHJ732pMMWt6AhjcrKGxmjUOpbKBd6epqA1o667r62m8Oc26CNA6a4YHoCKgoXf5xcqIDT+XtTWcHc4wfz5fGp7Cg\u002FxgPd3BHhHda1Cd7Vaf4N4LsmUn0zubmtvZs2PzT6iM4r3OKlGT+kh0ZT\u002FUziGiNE4yQGR5I0boIJZgRzSQNsDtmVCYd02TIPVJPPV5OrLjY29d+RjssrTH60+7q0q3\u002F2St8ctXemoxfq6IW+74VusFFIWw6FN\u002FYLsdc\u002FJffyiZ9dduDLqs+rSVXUrvYp2GjJH0K62CCLf4s1zuYK2Jz7zNsTQ4wxOmN8Smwicnsvdw7e7yT+epV6u1s+imeAc198Rqr5emCA6vAurT974nI+fHB\u002FBpqTSZSIRIEsyNTiRcXCosrpih28+u33k5ODUuRo03v2a+l4fwcg13zTUHeRNdiZ9wvfr3nziHYWFM1Jl5QwqlAb5Et6qRJRqbSpcOzDn28\u002F\u002Fn2yVYzsrfr+OV45fbMFjLCHQB5HL+O\u002FzC18Kukq8LxsckquVCM6FNHqEa0e1mj1CFIksP\u002FepD+eFg4rwefFwNFm9MUGAURcpqQfW4mbXlcU70qyskPi0Cq8uInwYIQHD3nwkBsjHOZCULdf0Dwv6ktRY9yl96Iyo3wS2MiGyyl\u002FJoQWIqpyDM4GDQmP6ZHPkg3alh\u002Fi6aA95bPFXWjEjoTtasIOe0wqhVjIZdH7enuAtVQgG8IiTl3Mg6aDeC7szhHO5YAt7bMm\u002FVjcixF2NGDVuI1qlxH2mDVWWDoxwmm73F5b2\u002FA\u002FCqaB3P8QxeMAAAAASUVORK5CYII=",{"_key":6085,"_type":5907,"alt":6086,"aspectRatio":5909,"asset":6087,"body":9,"caption":6089,"height":5922,"hotspot":9,"id":6088,"preview":6098,"width":5924},"1a63edcd404b","«N’A QU’1 ŒIL# LOCAUX DISPONIBLES», skiltmaling på glass. Foto: Tristan Etienne.",{"_ref":6088,"_type":5912},"image-ba98c61affb9e40c94168da57bd64c4f860f466b-960x720-png",[6090],{"_key":6091,"_type":5793,"children":6092,"markDefs":6097,"style":17},"700a4bb3fb7f",[6093],{"_key":6094,"_type":5797,"marks":6095,"text":6096},"b6f418d02a61",[],"Figur 4.",[],"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAPCAIAAABr+ngCAAAACXBIWXMAAAsTAAALEwEAmpwYAAADcUlEQVQokRXOe1PaBgAA8Hyt9vyjbrutovPUbt60PUHxgUOEKA9DIhAwEB4BhPBIIPIIASRGIxICloeIUp9H1+3W1d4e3SfZ7fcJfkDSrqIxjWv7tWn5e7NaYVubwTcX\u002FKDaBy55wSXcsGRbe62dHVONv1gYG1lQPFNOPjcoFbhlibCBQMq1QmPrTnBua3FiW6VAVl\u002FtQ9qMB87iyIHbmvEgtBNy65e35iY1U18rJ0bejD8DVQoCXg06jEDCuUp7NvAdlVE9uTH\u002F3ZZqioB0uaCrEHbnAmiecLEhjMbgvY1Fs3JGM\u002FtSOfXCvDIdRXUh1ATgOwsRTB\u002FeMyCb86B6BjGsxHwOlgoX01EuFS7SYTZJZKJeEoMDtm3U9DNkUAfs+lQAIuwmwKqbDeM7TMLrc4AEBnE5Wj4TGjXhlC+IlXxTEiSxdFLJC6Ucx8Sz1H6ZTR1zFBt3+21mwKz5MUmgx5Vchg5Wypl2p3nZa3da8lmFq\u002FJc\u002F+K825YbklivnvDFXIXLNOpi\u002FaTAxjzeXROgVU4FnDulAlNkqXw2QVNkOOjbD\u002FspMpSK7x+kYlQiQkaDIcLn97qDAU88SjCkL+FFnEY98NP0t4hFn6ajmXQk6EMR2LipW9fp1m27kBNFYMho24X29hwIAhmNoBUyYihM+tGIw4LoNIDimxGX3Xoq8tUqXy5l0wyVoOORWCRBJ5gsk2LoYqnQaNRFUaCS\u002Fy9KLCMU0mk\u002FajNogZdfPQ969waD\u002Fv3j3eXVhdSsS28bjc557\u002Fry\u002Fv3jw\u002FBh+Mvwyz9\u002F\u002Ff3501W3dV4\u002F7Z7XOvXjciqCQSZganw0gLu63da728FFv9vqtKSmLLcaww\u002FDpz+fPn789fcPwy9Pf\u002Fz7+dNvj3f3g95Nv33Vlk44BrfDwPTE6PaWliTDBwzF5plCIZOk47lC9ub2+v3w4bop90rstVC8aUm3vdZdv\u002F046Nxd1k9LadwBA5Njo2\u002Fmf1hbXdxYV5tBjQnU6DZWfH53s3HWlmtiMsHDpqJVz4UwIU\u002FLPHtZOxw0+WM2hu1agLlXkzrNMmwx2q1m3L7jsVtcNoiKk+IRz3NsiYwIHiePQRzh4KhQKR09K6baYuEwQzqtJmB9SUn6fbUjoSNJ\u002FbrUl2oXktSVm\u002FJpTazw1XL5LX\u002FYO8q3K3S1SLNp8ohNyUKxnEmiVst\u002FyvEBGXgLg1wAAAAASUVORK5CYII=",{"_key":6100,"_type":5793,"children":6101,"markDefs":6137,"style":17},"3c29adff2367",[6102,6106,6110,6113,6117,6121,6125,6129,6133],{"_key":6103,"_type":5797,"marks":6104,"text":6105},"286d7132ae1d0",[],"At vesensforskjellen mellom lettering og typografi ikke handler om selve uttrykket, men om deres essensielle natur, gjør det ikke alltid så enkelt å skille dem fra hverandre. Ved første øyekast kunne butikkvinduet (figur 4) vært en typografisk komposisjon. Nøyere undersøkelse avdekker forskjellig utformingen av like tegn (",{"_key":6107,"_type":5797,"marks":6108,"text":6109},"cb8f0e4c6c5a",[5803],"I",{"_key":6111,"_type":5797,"marks":6112,"text":5837},"f595acf676d9",[],{"_key":6114,"_type":5797,"marks":6115,"text":6116},"80a12f8a5154",[5803],"S",{"_key":6118,"_type":5797,"marks":6119,"text":6120},"ce7bf166ac35",[]," ), spor av penselstrøk, og den subtile overlappingen av ",{"_key":6122,"_type":5797,"marks":6123,"text":6124},"74e058f39e8d",[5803],"L",{"_key":6126,"_type":5797,"marks":6127,"text":6128},"6c62adc7f76a",[]," og nummertegnet ( ",{"_key":6130,"_type":5797,"marks":6131,"text":6132},"28441a7eb482",[5803],"#",{"_key":6134,"_type":5797,"marks":6135,"text":6136},"a3e919928a5f",[]," ). At «LOCAUX» og «DISPONIBLES» fyller vindusbredden er naturligvis ingen umulighet i det typografiske paradigmet, men i lettering er den slags tilpasning selve kjernen.",[],{"_key":6139,"_type":5793,"children":6140,"markDefs":6172,"style":17},"939b22e783b4",[6141,6145,6150,6154,6159,6163,6168],{"_key":6142,"_type":5797,"marks":6143,"text":6144},"12c3f91212e60",[],"Den teknologisk utviklingen har i flere omganger forsøkt å forminske avstanden mellom typografi og lettering. ",{"_key":6146,"_type":5797,"marks":6147,"text":6149},"ad49752aab6c",[6148],"ddd899d9d905","Fotosatsen",{"_key":6151,"_type":5797,"marks":6152,"text":6153},"b3d75dbc2434",[]," opphevet kegelen – klossen hver trykketype var montert på. Resultatet var at typografiske bokstaver kunne overlappe hverandre. Den samme teknologien tillot tekstmanipulasjon med fotografiske effekter. ",{"_key":6155,"_type":5797,"marks":6156,"text":6158},"c8206d525543",[6157],"4e90261b28f0","GX-teknologien",{"_key":6160,"_type":5797,"marks":6161,"text":6162},"aa5255db3c9d",[]," åpnet for kontekstuelle bokstavformer, riktignok lineært begrenset til omkringliggende tegn. ",{"_key":6164,"_type":5797,"marks":6165,"text":6167},"5b0d965d8454",[6166],"b260b6674b64","OTVar-formatet",{"_key":6169,"_type":5797,"marks":6170,"text":6171},"578789021a62",[]," muliggjorde skrift tilpasset eksterne faktorer – for eksempel strukket for å fylle en todimensjonal flate.",[6173,6183,6193],{"_key":6148,"_type":5891,"text":6174},[6175],{"_key":6176,"_type":5793,"children":6177,"markDefs":6182,"style":17},"c153c7c1bb5d",[6178],{"_key":6179,"_type":5797,"marks":6180,"text":6181},"8f7361b722af0",[],"Fotosats fremkaller tekst fra fotografiske negativer. Den første industrielle fotosetteren ble publisert av Intertype i 1946.",[],{"_key":6157,"_type":5891,"text":6184},[6185],{"_key":6186,"_type":5793,"children":6187,"markDefs":6192,"style":17},"6a6f3c0c7eca",[6188],{"_key":6189,"_type":5797,"marks":6190,"text":6191},"c8b8a86862ae0",[],"TrueType GX (Apple, 1990) var en forløper til OTVar, men manglet implementasjon i moderne programvare. Apple’s eget operativsystem benyttet formatets muligheten til å velge bokstavvarianter og variere vekt, helningsgrad og detaljering.",[],{"_key":6166,"_type":5891,"text":6194},[6195],{"_key":6196,"_type":5793,"children":6197,"markDefs":6202,"style":17},"3d5b1462b9ef",[6198],{"_key":6199,"_type":5797,"marks":6200,"text":6201},"593b9192e3cf0",[],"OpenType Variable (OTVar) ble utviklet som et samarbeid mellom Adobe, Apple, Google og Microsoft og lansert i 2016. Formatet videreførte og videreutviklet Apples TrueType GX teknologi, men nå med bred støtte i nettlesere og operativsystem.",[],{"_key":6204,"_type":5793,"children":6205,"markDefs":6210,"style":17},"3f0a3bfd78c9",[6206],{"_key":6207,"_type":5797,"marks":6208,"text":6209},"c0b88c075f110",[],"Lettering er egentlig ikke et ukjent område for grafiske designere. Når de tilpasser typografiske skrifttyper til unike logotyper er det som regel lettering de driver med. Terminologien, derimot, er fraværende, og derfor ignoreres også den rikholdige faghistorien. En liknende skjebne lider typografien: I designerens dagligtale er typografen synonymt med skriftdesigneren – omtrent som om fotografer skulle produsere fotokameraer.",[],{"_key":6212,"_type":5903,"markDefs":9,"slides":6213},"5e71644c518b",[6214,6229],{"_key":6215,"_type":5907,"alt":6216,"aspectRatio":5909,"asset":6217,"body":9,"caption":6219,"height":5922,"hotspot":9,"id":6218,"preview":6228,"width":5924},"fe36f9221d95","Detalj av «[resta]urant», håndmalte bokstaver på husfasade. Foto: Tristan Etienne.",{"_ref":6218,"_type":5912},"image-34e4f36539658496050edd9830d42e00d5a7a504-960x720-png",[6220],{"_key":6221,"_type":5793,"children":6222,"markDefs":6227,"style":17},"a8d024adbd93",[6223],{"_key":6224,"_type":5797,"marks":6225,"text":6226},"ff558218905b",[],"Figur 5.",[],"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAPCAIAAABr+ngCAAAACXBIWXMAAAsTAAALEwEAmpwYAAADOUlEQVQokUWM32\u002FbVBiG\u002FY8AEgM0JiGxO+BqF0xDWmFQNK1N014UirJK7VJ6yQ1jbBdrG2kTEkK03ZqkacJG0iRObB\u002FHjn1sH5\u002Fj33ZsJ02cNpn4Q1DKBdJz8er5vvelAMsDhgPtNtdqgXa7w7FdnhcA4FkWtBmWbjKNOmi3RCDwDGCbLbZJF1+8\u002FH41c+2jTymhI3V4sQM6PMd3OMBzXIdjBcAKgBMA6ABO4DgBcCLfAQzDNBt0rZY\u002F2M9u\u002Fnjz1jylI0PXDawbGBGiE6xjrCOC0aXCBiEGJljXdU3TFAV2RdBuN2u1wlHx+bPfKaTNnnWEsY4t07QtyzZN0zAMQgjGl8zKl4s6RghKMuzKiqTIgkQpUIWyIkuyqigGwZZhEKwjTVUVCGVJkroKhKoCNUXBCGGEdFVDiqpBVZUg5Tq+6\u002FqW5bquH4ZRGIa9IPQ8z7YdwzBlWdU05Pt+P+4P4rjv+7FtRbbdc4PA61GioEAZAU7sihBpWBBlSVJFUWYZHnBCtdqsn9KO7U4uJtPR8MK3xoaWWDjp9ZKzhCoclV9XqifFCl2n67X64UH+OF8+KVaODgsnxXLh6LhcLBs6npyPp4Po3NISJA4xTDwnORtRldIr+rQJ2qyBdI7hSvlStfJ3o1qvvarSpw36tAFaTBT4\u002F0wnb0aDC88YE2VkkySKxqNzytRU1ySR7yRnceA5hqY4BHkWcU3i26ZnGb5FRv1wMk7Gw8GZ7\u002FQtErlOFPTCXkxNhtF0FE\u002FH8ZvzwXQ8mCbxJIkno2iSRNNxf5rEF8MwGQSD0AtcyyQ61lQNQkWGsgSpyLNm+Fbk21FgR74d+lbomaFvXspZDlzimHjWxFjXkAoVuSuJQpfK7eRyu7m9nb3dp\u002F+zt5Pb2535\u002F0653Z3fnj872D\u002FMF8ql0uvj479evij8+cc+tbJ8P53OpFJri4trC4tri6kfUkuZ9PL99Mr60vL6Ujpzb+G7+a+\u002FvXN77vbc\u002FNydpW\u002Furs7fXf3yq3u3bn5BbW8\u002FyW492tj8eePBw43sw83sL9mtx1vbT7Lbjx9s\u002FbqRfZRZ\u002Fym1sPL5jRtXP\u002Fz4nfeuX7n6yQfXPrvy\u002FvW333r3X1VTchM3qsxWAAAAAElFTkSuQmCC",{"_key":6230,"_type":5907,"alt":6231,"aspectRatio":5909,"asset":6232,"body":9,"caption":6234,"height":5922,"hotspot":9,"id":6233,"preview":6243,"width":5924},"906beca348c1","Collage av bokstaver på endevegg, «BOUlanGErie, CAFÉ». Foto: Tristan Etienne.",{"_ref":6233,"_type":5912},"image-89563584d29e0c050ff4a364ae793be55835b986-960x720-png",[6235],{"_key":6236,"_type":5793,"children":6237,"markDefs":6242,"style":17},"0d3e0ac8bcbc",[6238],{"_key":6239,"_type":5797,"marks":6240,"text":6241},"98bb4795a8dd",[],"Figur 6.",[],"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAPCAIAAABr+ngCAAAACXBIWXMAAAsTAAALEwEAmpwYAAADeElEQVQokQXB61PaBgAA8PxR+77trl923u4cq4gdUFFe5ZFAJAQSQgIEQhLIg5DwkBREUNvabnXdujt0Xd1tdXdTP6y7W7u7tm4rgqel0+5qNfb2+wG9gdHbN3qD8\u002FXh+frwbH3wdmP\u002FvweDfx\u002Fuv9r8++Dnf4bbw8Pdg1fbg9e\u002FHZ78+eb0+Vtj793F\u002FtnFyHgPPDoyfjw0Ng\u002FPenujW78+6WxuL2w80r\u002F9vnbnm3J3tbx4Y\u002F7GnYW795fvP1h7uPXT70+fjo5fnl0cnF8cG++BxyfG7onxy9GbW1s72WqDZKV0pkAm6BiWCkWTQTgBIRSS5MhciZeqS7fv7j570T99d3RunBgXwF+nxt6psdPvl5bbgXgkgcZkKCS4wWiQ8kdYKJr3grwrqITxKplVFK1+r7ex88eTZy\u002F7g8MjoP96NDwebT3ewfKEw2vnwt6VsKccxCCoAuIaRhacs+JnJu3KjOqP5GN4KscV1VpjsbuytnYP+Lq39t0PX+lL2nTQarVPFEPBNkXm6Xkks0SyMkXT3msFk1kct2QtjojLFwZhFIJjYBhFojhApGCKBsGIdcz8seWqOUMxitLitZucuiIqlRwnIUnVGSqaHfEJq8\u002FjD8NRHIJRXyDs84cAIRfnaQSBHWOmD022CYwu8Gq7qHXK2lJVWhDZRiJT9URyEzb\u002FlM2FxgmG5elsjqJSJJkGmDTIZWEC80xaxyanpxAiQxcqOUkX5AWJbzJ0DSUVJ0iOm2cmLFcJkqzX1Xq1VJLFoigBc9EpjHCgmMvtn3YHAxiVYwSNV3Reaaa4WiwlwzjvAROXp5ymSTsajzUbcrelNOplVasAKTqeZogojs64r\u002FlAmBdlvd1ttpfUmp5m5TjF4xSPYOlZb3jK7oJCkMiTzUquVeeu1yUgRmSieNoPRa\u002FYnF5fUFXLN1dXO52OpqlFQcxzQjZfTFBZXzBin3Z63S4cBSUW08upZiULwAg+h8SRaDwUnoPnYEnkOm1dn9dkgS2JnCwVOI4hSQKCQOeswzM7HfTNpnBQYBApPwcIhYIsFFVZEAtMPoNJHKFr+WaVrytMrcRUlbwi0hyTpJIoikABn9Nht\u002Fg8Nihg87o+B1ZXOqvL7W6r3qpLrSrbqtDLOv9lR7m9qHZ16Xq1WCmxUiHLMhk6k0QR0PaFyXT5k0\u002FHL3106YP\u002FAQXV\u002FxKrJPVaAAAAAElFTkSuQmCC",{"_key":6245,"_type":5793,"children":6246,"markDefs":6251,"style":17},"6ff3c50217d4",[6247],{"_key":6248,"_type":5797,"marks":6249,"text":6250},"d91aa48bc35b0",[],"At skiltmalingen – en underkategori av lettering – har fått en renessanse i nyere tid handler i liten grad om mulighetsrommet det åpner. I Jack Usines tilfelle er det dog mer enn nostalgiske følelser som vekkes. Hans arbeider er en lek med referanser og visuell poesi – grafisk humor av ypperste klasse (figur 5 og 6).",[],{"_id":5767,"_type":6253,"name":5768,"slug":5769},"category","nb",{"_type":5907,"alt":9,"aspectRatio":5909,"asset":6256,"body":9,"height":5922,"hotspot":9,"id":6233,"preview":6243,"width":5924},{"_ref":6233,"_type":5912},"Teksten er opprinnelig skrevet høsten 2023 under mine studier ved Kunsthøgskolen i Oslo. Dette er svakt en bearbeidet 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Avgarde is an alternate spelling of avgårde – ",{"_key":6652,"_type":5797,"marks":6653,"text":6654},"0740c95712733",[5803],"av",{"_key":6656,"_type":5797,"marks":6657,"text":6658},"0740c95712734",[]," + ",{"_key":6660,"_type":5797,"marks":6661,"text":6662},"0740c95712735",[5803],"gårde",{"_key":6664,"_type":5797,"marks":6665,"text":6666},"0740c95712736",[],", literally “off [the] farm.” A better translation reads: ",{"_key":6668,"_type":5797,"marks":6669,"text":6670},"0740c95712737",[5803],"Let’s go!",[],"Rm9udENvbGxlY3Rpb246MTYzOTUyMzYzNTA3NTQwODg2Mg==",{"familyName":6599,"styleName":19},{"_id":6675,"_type":5779,"category":6676,"description":6677,"familyName":6684,"fontdueCollectionId":6738,"languages":9,"leadStyle":6739,"name":6684,"slug":5745,"title":6684},"614010b6-6db8-4c97-8148-68c97390f551",{"_id":5776,"name":5777,"slug":5778},[6678,6702,6710,6730],{"_key":6679,"_type":5793,"children":6680,"markDefs":6698,"style":17},"fd1af1eb7621",[6681,6685,6689,6694],{"_key":6682,"_type":5797,"marks":6683,"text":6684},"7f80f7061de50",[5803],"Burgert Animata",{"_key":6686,"_type":5797,"marks":6687,"text":6688},"b94735e3645e",[]," is a little known design by ",{"_key":6690,"_type":5797,"marks":6691,"text":6693},"2341a3b6b68e",[6692],"62c3a08ad3a4","Hans-Joachim Burgert",{"_key":6695,"_type":5797,"marks":6696,"text":6697},"5ae99a627cc3",[],". Burgert (1928–2009) was a calligrapher, sculptor and educator, and the founder of the Burgert Handpresse, where he produced small-edition books and art prints. When Burgert acquired a small book press in 1962, he went to great lengths to cast a design of his own as metal type.",[6699],{"_key":6692,"_type":6374,"reference":6700},{"_ref":6701,"_type":5912,"_weak":6377},"d1aaccac-744c-4e64-995a-a152cc587b18",{"_key":6703,"_type":5793,"children":6704,"markDefs":6709,"style":17},"f8852a2b5a42",[6705],{"_key":6706,"_type":5797,"marks":6707,"text":6708},"6265c261a2450",[],"From 1973, Burgert’s publishing output took a more experimental approach, drawing letters by hand and transferring them to photographic filmstrips for composition on a primitive phototypesetter. Burgert Animata was made using this technique.",[],{"_key":6711,"_type":5793,"children":6712,"markDefs":6726,"style":17},"2c165430beb3",[6713,6717,6722],{"_key":6714,"_type":5797,"marks":6715,"text":6716},"c60dd3dacde90",[],"Hans-Joachim Burgert passed away in 2009. After ",{"_key":6718,"_type":5797,"marks":6719,"text":6721},"6b30d23e9cc8",[6720],"5e6b0c870426","discovering",{"_key":6723,"_type":5797,"marks":6724,"text":6725},"3022e3c99b75",[]," Burgert Animata, we approached the family for permission to digitize and publish the design – to which they happily agreed.",[6727],{"_key":6720,"_type":6374,"reference":6728},{"_ref":6729,"_type":5912,"_weak":6377},"7a41d874-8390-418b-aae2-8f4f8912f2ff",{"_key":6731,"_type":5793,"children":6732,"markDefs":6737,"style":17},"5c2215de872c",[6733],{"_key":6734,"_type":5797,"marks":6735,"text":6736},"a328a862dfab0",[],"The digital font sticks close to the original, making only minor changes for coherence. Like Burgert’s manually typeset photographic letters, our spacing is aggressively tight. We have enlisted the help of some contextual alternates, expanding its range beyond just German publishing.",[],"Rm9udENvbGxlY3Rpb246MTc2MjgzMjcyMzQyMjQwNDkzOA==",{"familyName":6684,"styleName":19},{"_id":6741,"_type":5779,"category":6742,"description":9,"familyName":6743,"fontdueCollectionId":6744,"languages":9,"leadStyle":6745,"name":6743,"slug":5735,"title":6743},"28899619-7c81-450e-ae00-ffe388d54cfe",{"_id":5781,"name":91,"slug":90},"Catich","Rm9udENvbGxlY3Rpb246MjE5NTIyMzg1MDQ0OTgyMjE1NQ==",{"familyName":6743,"styleName":19},{"_id":6747,"_type":5779,"category":6748,"description":6749,"familyName":6759,"fontdueCollectionId":6765,"languages":9,"leadStyle":6766,"name":6759,"slug":5730,"title":6759},"1632d843-58eb-404f-93bd-5cddf5f8bd2a",{"_id":5776,"name":5777,"slug":5778},[6750],{"_key":6751,"_type":5793,"children":6752,"markDefs":6764,"style":17},"30b0714ce9c9",[6753,6756,6760],{"_key":6754,"_type":5797,"marks":6755,"text":6345},"b6a528494b580",[],{"_key":6757,"_type":5797,"marks":6758,"text":6759},"31c86eb86271",[5803],"Condensed",{"_key":6761,"_type":5797,"marks":6762,"text":6763},"3975c298ab3a",[]," family is an ongoing exploration of display typography delineated by spatial constraints rather than formal resemblance. Motivated by the growing advertising needs of industrial production, 19th century printing saw a surge of attention-grabbing type design intent on filling paper with the maximum amount of ink.",[],"Rm9udENvbGxlY3Rpb246MTYwMDAyNDUzODIyMDI1NzQwMg==",{"familyName":6759,"styleName":6767},"Garland",{"_id":6769,"_type":5779,"category":6770,"description":6771,"familyName":6820,"fontdueCollectionId":6821,"languages":9,"leadStyle":6822,"name":6820,"slug":5738,"title":6820},"48bac9a1-81d0-4e77-96d4-47c31309d585",{"_id":5781,"name":91,"slug":90},[6772,6780,6788,6796,6804,6812],{"_key":6773,"_type":5793,"children":6774,"markDefs":6779,"style":17},"a983340daefc",[6775],{"_key":6776,"_type":5797,"marks":6777,"text":6778},"51822476e01a0",[],"Consul is a self-initated experimental design, exploring the transition from lettering to type, and from analog to digital form. The design is a squared-off grotesk with an unusual contrast pattern, weighted towards the left. The disjointed “N” comes from the source material. In the typeface it is accompanied by the “M”, and figures “1” and “4”.",[],{"_key":6781,"_type":5793,"children":6782,"markDefs":6787,"style":17},"3ebce1567335",[6783],{"_key":6784,"_type":5797,"marks":6785,"text":6786},"dfcb7b5da2050",[],"The artist collective Consulatet takes its name – perhaps ironically – from the Norwegian diplomat and politician Sigval Bergesen, and the Stavanger street named after him.",[],{"_key":6789,"_type":5793,"children":6790,"markDefs":6795,"style":17},"7b42c684141a",[6791],{"_key":6792,"_type":5797,"marks":6793,"text":6794},"63356637e682",[],"When their office building was scheduled for demolishion in 2019, Consulatet member Benjamin Hickethier saved two hand-lettered parking signs from the premises. Hickethier traced the signs and added a few characters, as well as figures, for use in a calendar. This work triggered my own interest in digitizing the letters.",[],{"_key":6797,"_type":5793,"children":6798,"markDefs":6803,"style":17},"d4cdcb40133b",[6799],{"_key":6800,"_type":5797,"marks":6801,"text":6802},"70aa8fa4d2b50",[],"Producing a typeface from lettering sources is not without dilemmas. There is always something lost in the translation. Where lettering uses dynamic shapes fitted to a static context, type does the opposite. Where analog lettering is married to its substrate, the digital font can be applied to any material.",[],{"_key":6805,"_type":5793,"children":6806,"markDefs":6811,"style":17},"f1a37d0dae42",[6807],{"_key":6808,"_type":5797,"marks":6809,"text":6810},"9690ad3b49990",[],"To fill out a character set, additional shapes must be invented and systematic rules defined, often erasing the imperfections that gives lettering its charm. It would be tempting to retain the imperfections, but separated from their initial context they rarely make sense. Rather, you are often left with a facsimile – devoid of life in its new medium.",[],{"_key":6813,"_type":5793,"children":6814,"markDefs":6819,"style":17},"37ddf342811c",[6815],{"_key":6816,"_type":5797,"marks":6817,"text":6818},"371352ebbd7b0",[],"The translation always creates something different than what was there intially. The question then becomes, what is it about the original that make sense in the new context? And many times, the answer is nothing.",[],"Consul","Rm9udENvbGxlY3Rpb246MjE5NTIzMjU4MTg1ODI4ODE0NA==",{"familyName":6820,"styleName":19},{"_id":6824,"_type":5779,"category":6825,"description":6826,"familyName":6836,"fontdueCollectionId":6850,"languages":9,"leadStyle":6851,"name":6836,"slug":5758,"title":6836},"bbfd0de8-c7c1-498c-8be9-611d9416997c",{"_id":5781,"name":91,"slug":90},[6827,6842],{"_key":6828,"_type":5793,"children":6829,"markDefs":6841,"style":17},"11da373f6ebe",[6830,6833,6837],{"_key":6831,"_type":5797,"marks":6832,"text":6345},"a8803ffd56280",[],{"_key":6834,"_type":5797,"marks":6835,"text":6836},"991add3f37da",[5803],"Cool S",{"_key":6838,"_type":5797,"marks":6839,"text":6840},"b50559551e32",[]," typeface is designed in collaboration with the ever-present assistant and comic book fanatic, Buzy Bézier. On the basis of a sturdy set of capitals, figures, and punctuation, Cool S is further expanded by a massive selection of alternate forms from the notebook pages of a bonafide 6th grader.",[],{"_key":6843,"_type":5793,"children":6844,"markDefs":6849,"style":17},"0e74c8aaacd2",[6845],{"_key":6846,"_type":5797,"marks":6847,"text":6848},"7667dfaf1e6f0",[],"Certainly, this is a design that invites experimentation and remixing, but the elementary school classic works straight out of the box too, owning to its confident balance of debauchery and mischief.",[],"Rm9udENvbGxlY3Rpb246MjE5NTIzMzE5MjU1NzMzOTE1Nw==",{"familyName":6836,"styleName":19},{"_id":6853,"_type":5779,"category":6854,"description":6855,"familyName":6862,"fontdueCollectionId":6981,"languages":9,"leadStyle":6982,"name":6862,"slug":5736,"title":6862},"33bf8316-9588-4940-9026-cc7c3c0e584d",{"_id":5776,"name":5777,"slug":5778},[6856,6876,6943,6973],{"_key":6857,"_type":5793,"children":6858,"markDefs":6875,"style":17},"4662a2adadf9",[6859,6863,6867,6871],{"_key":6860,"_type":5797,"marks":6861,"text":6862},"7a84cadbe557",[5803],"Dewey Decimal",{"_key":6864,"_type":5797,"marks":6865,"text":6866},"3a2e7eef7615",[]," is a contemporary reimagining of ",{"_key":6868,"_type":5797,"marks":6869,"text":6870},"4fe1103b101c",[5803],"Documentary,",{"_key":6872,"_type":5797,"marks":6873,"text":6874},"99f08879d30a",[]," a proportional typewriter style for the Friden Justowriter teleprinter, with characters fit onto four predefined widths measuring 2, 3, 4, or 5 steps at 1\u002F32″ size. The large x-height, coupled with unfurling enclosed spaces, result in wide apertures that breathe fresh air into a self-contained Neo-classical construction.",[],{"_key":6877,"_type":5793,"children":6878,"markDefs":6933,"style":17},"0b3cc0a808b1",[6879,6883,6887,6892,6896,6900,6904,6908,6912,6917,6921,6926,6929],{"_key":6880,"_type":5797,"marks":6881,"text":6882},"1e386450d15d",[5803],"Documentary",{"_key":6884,"_type":5797,"marks":6885,"text":6886},"7f6c236506c6",[]," appear to be adapted from ",{"_key":6888,"_type":5797,"marks":6889,"text":6891},"f5e27bd9e9d4",[6890],"edb35bd5e7a3","Chauncey H. Griffith",{"_key":6893,"_type":5797,"marks":6894,"text":6895},"67a4ad4ffdfb",[],"’s ",{"_key":6897,"_type":5797,"marks":6898,"text":6899},"db1847fcb9f5",[5803],"Excelsior,",{"_key":6901,"_type":5797,"marks":6902,"text":6903},"af8e7596b4cb",[]," exhibiting its telltale beaked “g” ear and agape “a”. ",{"_key":6905,"_type":5797,"marks":6906,"text":6907},"bc8e895f480a",[5803],"Excelsior ",{"_key":6909,"_type":5797,"marks":6910,"text":6911},"a88fe7501b67",[],"in turn, borrows more than a little from ",{"_key":6913,"_type":5797,"marks":6914,"text":6916},"812cca31c1d9",[6915],"a8b785565cf3","Linn Boyd",{"_key":6918,"_type":5797,"marks":6919,"text":6920},"4aee0254d13f",[]," and ",{"_key":6922,"_type":5797,"marks":6923,"text":6925},"f147a3d1ee63",[6924],"6f7e06d8fe2b","Morris Fuller Benton",{"_key":6927,"_type":5797,"marks":6928,"text":6895},"68e84b966183",[],{"_key":6930,"_type":5797,"marks":6931,"text":6932},"94328b53a19b",[5803],"Century Expanded.",[6934,6937,6940],{"_key":6890,"_type":6374,"reference":6935},{"_ref":6936,"_type":5912,"_weak":6377},"ce878874-c045-4475-9478-e3ed5a53eee3",{"_key":6915,"_type":6374,"reference":6938},{"_ref":6939,"_type":5912,"_weak":6377},"3e73c379-856d-4788-a504-285322e2157f",{"_key":6924,"_type":6374,"reference":6941},{"_ref":6942,"_type":5912,"_weak":6377},"5640a7fd-abde-4c6f-95ea-cae2c70eaa82",{"_key":6944,"_type":5793,"children":6945,"markDefs":6972,"style":17},"76eca1638ffb",[6946,6950,6954,6958,6961,6965,6968],{"_key":6947,"_type":5797,"marks":6948,"text":6949},"501959ec4448",[],"The generous apertures and the soaring roof of lowercase “a” are carried over into ",{"_key":6951,"_type":5797,"marks":6952,"text":6953},"cb5e1b262062",[5803],"Dewey Decimal,",{"_key":6955,"_type":5797,"marks":6956,"text":6957},"348758a9e52b",[]," but the new family diverges in its approach to the detailing. Despite ",{"_key":6959,"_type":5797,"marks":6960,"text":6882},"50dadb503942",[5803],{"_key":6962,"_type":5797,"marks":6963,"text":6964},"f6da933b1954",[]," only offering one style, Helland has developed the source material into a full family. Drawing from his own experience, as well as ",{"_key":6966,"_type":5797,"marks":6967,"text":6882},"996f912a96a2",[5803],{"_key":6969,"_type":5797,"marks":6970,"text":6971},"fc1690622dba",[],"’s ancestors, the letterforms are infused with contemporary aptitude and individualized penchant.",[],{"_key":6974,"_type":5793,"children":6975,"markDefs":6980,"style":17},"ec19d0ff0bcf",[6976],{"_key":6977,"_type":5797,"marks":6978,"text":6979},"1c33938ee716",[],"From the outset drawn for a system of coarse units, a monospaced variant was a natural addition to the family. The Mono compresses the widest characters from Dewey Decimal, and broadens the narrowest. Combining the two creates a desirable dissonance between almost- and fully monospaced. ",[],"Rm9udENvbGxlY3Rpb246MTYzOTUyMzE0Njg1MDAzNDYzOA==",{"familyName":6862,"styleName":19},{"_id":6984,"_type":5779,"category":6985,"description":6986,"familyName":7053,"fontdueCollectionId":7054,"languages":9,"leadStyle":7055,"name":6997,"slug":5741,"title":6997},"4ce17110-7d5c-4ba4-9787-af42911ed38e",{"_id":5776,"name":5777,"slug":5778},[6987,7003,7011,7019,7045],{"_key":6988,"_type":5793,"children":6989,"markDefs":7002,"style":17},"fb2be6151ee3",[6990,6994,6998],{"_key":6991,"_type":5797,"marks":6992,"text":6993},"4cae1b0d488c0",[],"Though solemn in appearance, ",{"_key":6995,"_type":5797,"marks":6996,"text":6997},"8279d583543c",[5803],"Diploë",{"_key":6999,"_type":5797,"marks":7000,"text":7001},"0140b758fe0e",[]," is playful in application. Monokrom’s new sans serif family is conceived as a variable spectrum, ranging from narrow to wide, light to black, covering roman and italic styles, as well as intermediate postures. Individual fonts are available in three widths, counting nine weights each, for a total of twenty-one styles.",[],{"_key":7004,"_type":5793,"children":7005,"markDefs":7010,"style":17},"d40e49024b70",[7006],{"_key":7007,"_type":5797,"marks":7008,"text":7009},"3b3ab74d587e",[],"Diploë is a late rendition of a genre of sans serifs that borrows its structure and proportions from Renaissance writing. The typeface’s abrupt transition from stems to branches and its preference for horizontal directionality are traits that derive from these ancestors.",[],{"_key":7012,"_type":5793,"children":7013,"markDefs":7018,"style":17},"89485af53ab8",[7014],{"_key":7015,"_type":5797,"marks":7016,"text":7017},"6a134b4e04940",[],"Diploë’s arches spout high from the stem – a feature echoed in its large apertures. When combined with a left-leaning contrast axis, the lineal humanist tends to exhibit a pronounced asymmetry. Diploë uses a few tricks to rein in this tendency: the magnet-like arches grow almost horizontally from the stem, reverberating across the horizontal axis to form bowls. The symmetrical distribution of thicks and thins offers additional stability. Finally, Diploë’s proportions tend toward uniform widths in all characters. The resulting shape language suggests a wide stance, but its sturdiness also helps stabilize the narrower styles.",[],{"_key":7020,"_type":5907,"alt":7021,"asset":7022,"caption":7024},"270cb004b5fe","Screenshot from the Variable Fon Tween",{"_ref":7023,"_type":5912},"image-44e027b3ec38027f789e09e3e1314e9db5fe1d2c-1736x862-png",[7025],{"_key":7026,"_type":5793,"children":7027,"markDefs":7041,"style":17},"a88ed1d0da45",[7028,7032,7037],{"_key":7029,"_type":5797,"marks":7030,"text":7031},"12ff7c6437580",[],"Diploë is released alongside ",{"_key":7033,"_type":5797,"marks":7034,"text":7036},"7114253ecea7",[7035],"95e362c9859f","Variable Font Tween",{"_key":7038,"_type":5797,"marks":7039,"text":7040},"d1939719a9be",[],", an open-source InDesign script for typesetting gradients across the spectrum of a variable font. The script is developed by Wim Wepster.",[7042],{"_key":7035,"_type":6374,"reference":7043},{"_ref":7044,"_type":5912,"_weak":6377},"ff0f7325-41d6-4b8d-b174-de551feebc6e",{"_key":7046,"_type":5793,"children":7047,"markDefs":7052,"style":17},"af6d3904c260",[7048],{"_key":7049,"_type":5797,"marks":7050,"text":7051},"602c6bac7a980",[],"The extreme ends of the spectrum offer ample graphic opportunities, whether as dramatic contrast or in animated applications. Not so obvious, perhaps, is the enhanced handling of complex text typography that the Diploë family makes possible. It can set narrow columns as well as long-form paragraphs, with precise control of ink density across multiple levels of information.",[],"Diploe","Rm9udENvbGxlY3Rpb246MTYwMDAyMzAzNzg0MjIxOTAxMA==",{"familyName":6997,"styleName":7056},"Black",{"_id":7058,"_type":5779,"category":7059,"description":7060,"familyName":7067,"fontdueCollectionId":7092,"languages":9,"leadStyle":7093,"name":7067,"slug":5737,"title":7067},"4273c460-609f-4461-9a86-642f1c02ac2c",{"_id":5776,"name":5777,"slug":5778},[7061,7084],{"_key":7062,"_type":5793,"children":7063,"markDefs":7081,"style":17},"19a9c915efee",[7064,7068,7072,7077],{"_key":7065,"_type":5797,"marks":7066,"text":7067},"835584869b750",[5803],"Eero",{"_key":7069,"_type":5797,"marks":7070,"text":7071},"835584869b751",[]," is an antithetical neo-grotesk. It is modern in veneer only: an irrational, clumsy and haphazardly organized impositor. Parts of it come down to the material source – Eero is derived from enamel street signs, where both the stencil, the brush application, and the firing of the glaze ",{"_key":7073,"_type":5797,"marks":7074,"text":7076},"a7cadf7fa51d",[7075],"ebf68638612b","introduces imperfections",{"_key":7078,"_type":5797,"marks":7079,"text":7080},"ccb8275f6d73",[],". The production can’t be blamed for the odd proportions and awkwardly crowding curves: these are the jobbing letterforms of typographically untrained draftsmen.",[7082],{"_key":7075,"_type":6379,"href":7083},"https:\u002F\u002Fwww.setuptype.com\u002Fblog\u002Fhow-are-the-street-plates-made\u002F",{"_key":7085,"_type":5793,"children":7086,"markDefs":7091,"style":17},"ee5bf6f37f40",[7087],{"_key":7088,"_type":5797,"marks":7089,"text":7090},"97419f033ff20",[],"As is often the case in my work, the source seeded a larger idea. With regular, bold, italic, a highly experimental rotalic, and the vivid outlined capitals, Eero forms an atypical family structure. The styles can occupy traditional typographic roles – body copy, emphasis and contrasting headlines – but also combine inline or layer to form striking visuals.",[],"Rm9udENvbGxlY3Rpb246MTYzOTUzNjkwMDgyMDA5OTI4OQ==",{"familyName":7067,"styleName":7094},"Rotalic",{"_id":7096,"_type":5779,"category":7097,"description":7098,"familyName":7108,"fontdueCollectionId":7182,"languages":9,"leadStyle":7183,"name":7108,"slug":5755,"title":7108},"a4de53e8-ea48-4c68-92c8-652a674ca865",{"_id":5776,"name":5777,"slug":5778},[7099,7138,7146,7154],{"_key":7100,"_type":5793,"children":7101,"markDefs":7131,"style":17},"499eb52816e5",[7102,7105,7109,7113,7118,7122,7127],{"_key":7103,"_type":5797,"marks":7104,"text":6345},"1e1479a286970",[],{"_key":7106,"_type":5797,"marks":7107,"text":7108},"1e1479a286971",[5803,5803],"Estimated",{"_key":7110,"_type":5797,"marks":7111,"text":7112},"1e1479a286972",[]," typeface derives from a limited set of alphanumeric characters that accompanied the ",{"_key":7114,"_type":5797,"marks":7115,"text":7117},"0ace631c9b8d",[7116],"10794f066596","estimated sign",{"_key":7119,"_type":5797,"marks":7120,"text":7121},"743902b69b33",[]," (℮) at its ",{"_key":7123,"_type":5797,"marks":7124,"text":7126},"263c0dc41c00",[7125],"3ba386995346","introduction",{"_key":7128,"_type":5797,"marks":7129,"text":7130},"774f7505b3f2",[]," by the European Economic Community in July 1971.",[7132,7135],{"_key":7116,"_type":6374,"reference":7133},{"_ref":7134,"_type":5912,"_weak":6377},"character-bd99e467-2d30-4e86-a83e-19145946868b",{"_key":7125,"_type":6374,"reference":7136},{"_ref":7137,"_type":5912,"_weak":6377},"3cf74a2a-5c25-4692-9772-2e25fd569c78",{"_key":7139,"_type":5793,"children":7140,"markDefs":7145,"style":17},"45af70916bf1",[7141],{"_key":7142,"_type":5797,"marks":7143,"text":7144},"a573a3fc8df70",[],"While the symbol entered everyday use, the strange ornamental sans serif fell into obscurity. The uncredited schematic drawings approach blackletter capitals morphologically, but their naive execution leaves an uncanny impression. The numerals are simpler constructions, with rounded terminals drawing from industrial draft lettering. Alongside the obtuse ℮-mark and the alien-styled hexagon, the typeface appears less like the domain of gray bureaucracy, and more like the decals of an experimental Skunkworks project.",[],{"_key":7147,"_type":5793,"children":7148,"markDefs":7153,"style":17},"c7093509dbe7",[7149],{"_key":7150,"_type":5797,"marks":7151,"text":7152},"18af49ffb0b50",[],"Estimated is a near-facsimile of the original source. Specifying side bearings and expanding the character set transports the alphabet out of its original bureaucratic context and into the digital realm.",[],{"_key":7155,"_type":5793,"children":7156,"markDefs":7178,"style":17},"8c8d60999de7",[7157,7161,7166,7170,7174],{"_key":7158,"_type":5797,"marks":7159,"text":7160},"a106f92487e10",[],"Ideologically, the design springs from an era of post-war Modernism that championed the system of grids and ",{"_key":7162,"_type":5797,"marks":7163,"text":7165},"3de816c766e3",[7164],"2eea03990eba","neutral letterforms",{"_key":7167,"_type":5797,"marks":7168,"text":7169},"3aa8df990cfc",[],". Estimated’s uncomfortable ",{"_key":7171,"_type":5797,"marks":7172,"text":7173},"a106f92487e11",[5803,5803],"astasis",{"_key":7175,"_type":5797,"marks":7176,"text":7177},"a106f92487e12",[]," in the typographic format stems from its resistance to conform to this ordered aesthetic. Perhaps that is the clue to its enigmatic magnetism.",[7179],{"_key":7164,"_type":6374,"reference":7180},{"_ref":7181,"_type":5912,"_weak":6377},"e14e56d8-771b-40d1-aeb7-ed2d34ec3914","Rm9udENvbGxlY3Rpb246MjI4MTU2ODkyNTE2NDk1MzYwNQ==",{"familyName":7108,"styleName":6428},{"_id":7185,"_type":5779,"category":7186,"description":7187,"familyName":7194,"fontdueCollectionId":7208,"languages":9,"leadStyle":7209,"name":7194,"slug":5757,"title":7194},"b16b6b3c-fd9d-4bfa-8a22-403d2492166c",{"_id":5776,"name":5777,"slug":5778},[7188,7200],{"_key":7189,"_type":5793,"children":7190,"markDefs":7199,"style":17},"f3485ead5588",[7191,7195],{"_key":7192,"_type":5797,"marks":7193,"text":7194},"cfcbd252c2360",[5803],"Fabric Sans",{"_key":7196,"_type":5797,"marks":7197,"text":7198},"dc56390673ca",[]," is an unassuming straight-sided grotesk. The design is guided by the interplay of apertures and letterspacing – a low-contrast typeface with high-contrast whitespace, hiding a radiant texture in plain sight. Fabric Sans is at once familiar and novel. Pitted against aggressive counters, the classic letterforms are charged with vibrant animation.",[],{"_key":7201,"_type":5793,"children":7202,"markDefs":7207,"style":17},"5f3c524073ab",[7203],{"_key":7204,"_type":5797,"marks":7205,"text":7206},"9bc43fb9e7a70",[],"The Fabric Collection is conceived as an overarching concept. Sans and Serif share the same structural foundation: curve tension, energy, rhythm and metrics, but deviate in morphology and detailing. This means they can combine inline without falling flat, but also tie a common thread through a complex typographical hierarchy.",[],"Rm9udENvbGxlY3Rpb246MTYzOTUyNDM1MzQwODY4ODEzMw==",{"familyName":7194,"styleName":19},{"_id":7211,"_type":5779,"category":7212,"description":7213,"familyName":7230,"fontdueCollectionId":7231,"languages":9,"leadStyle":7232,"name":7230,"slug":5742,"title":7230},"507bb0de-835f-422b-b4d3-8324e26c0320",{"_id":5776,"name":5777,"slug":5778},[7214,7222],{"_key":7215,"_type":5793,"children":7216,"markDefs":7221,"style":17},"f2fafda634bb",[7217],{"_key":7218,"_type":5797,"marks":7219,"text":7220},"2bd098da2dd00",[],"Fabric Sans Display amplifies the features that constitute Fabric Sans. While the text cut is restrained, the titling version is considerably more assertive. The spacing is tighter, apertures narrower, and the contrast higher. Fabric Sans Display adds two compact widths to the editorial palette, developed in collaboration with Robin Mientjes.",[],{"_key":7223,"_type":5793,"children":7224,"markDefs":7229,"style":17},"0879df0127bc",[7225],{"_key":7226,"_type":5797,"marks":7227,"text":7228},"6fc9c30838770",[],"The Fabric Collection is conceived as an overarching concept. Sans and Serif share the same structural foundation: curve tension, energy, rhythm and metrics, but deviate in morphology and detailing. This means they can combine inline without falling flat, but also tie a common thread through a complex typographical hierarchy.\n",[],"Fabric Sans Display","Rm9udENvbGxlY3Rpb246MTc1MDM4Mzc5ODc5OTIyOTQ0OA==",{"familyName":7230,"styleName":7233},"Black Comp",{"_id":7235,"_type":5779,"category":7236,"description":7237,"familyName":7261,"fontdueCollectionId":7262,"languages":9,"leadStyle":7263,"name":7261,"slug":5733,"title":7261},"257890d4-41aa-413a-b745-2d071ef15072",{"_id":5776,"name":5777,"slug":5778},[7238,7254],{"_key":7239,"_type":5793,"children":7240,"markDefs":7253,"style":17},"3c2d16c5568e",[7241,7245,7249],{"_key":7242,"_type":5797,"marks":7243,"text":7244},"d415b136d9130",[],"Fabric Serif is a stringent Roman with a sharp finish, complete with all the features you’ve come to expect from a reliable text typeface. The seriffed portion of the Fabric Collection is an austere reimagining of Frank Hinman Pierpont’s ",{"_key":7246,"_type":5797,"marks":7247,"text":7248},"aef45b375afa",[5803],"Monotype Plantin",{"_key":7250,"_type":5797,"marks":7251,"text":7252},"d415b136d9132",[]," (1913) for contemporary typographic requirements. Twice removed from its Renaissance roots, Fabric Serif reconstructs 15th century letterforms on Baroque proportions with a stylized Modernist detailing.",[],{"_key":7255,"_type":5793,"children":7256,"markDefs":7260,"style":17},"d413aee2391a",[7257],{"_key":7258,"_type":5797,"marks":7259,"text":7206},"9abb10979ce40",[],[],"Fabric Serif","Rm9udENvbGxlY3Rpb246MTYzOTUyNDk1MjAzNjUzMjIzMA==",{"familyName":7261,"styleName":19},{"_id":7265,"_type":5779,"category":7266,"description":7267,"familyName":7274,"fontdueCollectionId":7300,"languages":9,"leadStyle":7301,"name":7274,"slug":5762,"title":7274},"f4df2900-0354-4dfb-849e-32f8d0132e90",{"_id":5776,"name":5777,"slug":5778},[7268,7292],{"_key":7269,"_type":5793,"children":7270,"markDefs":7288,"style":17},"e44724f99454",[7271,7275,7279,7284],{"_key":7272,"_type":5797,"marks":7273,"text":7274},"8392cb0e2eda",[5803],"Faunus",{"_key":7276,"_type":5797,"marks":7277,"text":7278},"d1e4343c6343",[]," is a display-companion to Sindre Bremnes’ roughly hewn book typeface, ",{"_key":7280,"_type":5797,"marks":7281,"text":7283},"7c067810d9a2",[5803,7282],"7ee1a97d5591","Satyr",{"_key":7285,"_type":5797,"marks":7286,"text":7287},"ae9f925ff29c",[],". Faunus does not offer the kind of compact display one might expect from a contemporary titling cut: its low x-height and fine detailing shines with ample room, rooting Faunus firmly in the literary tradition. Compared to its text companion, the spacing is tighter and the contrast higher. In spite of their shared DNA, Faunus’ outlines don’t follow Satyr’s faithfully, and sometimes not at all. ",[7289],{"_key":7282,"_type":6374,"reference":7290},{"_ref":7291,"_type":5912,"_weak":6377},"71721b79-5895-4362-9ad8-1e7ec0188d56",{"_key":7293,"_type":5793,"children":7294,"markDefs":7299,"style":17},"f3984800b63a",[7295],{"_key":7296,"_type":5797,"marks":7297,"text":7298},"23e608cc11c9",[],"",[],"Rm9udENvbGxlY3Rpb246MjIyNTE1ODM0MzUzNzEyMzc5NA==",{"familyName":7274,"styleName":19},{"_id":7303,"_type":5779,"category":7304,"description":7305,"familyName":7312,"fontdueCollectionId":7384,"languages":9,"leadStyle":7385,"name":7312,"slug":5744,"title":7312},"60958684-8455-4096-8c74-670d2217801e",{"_id":5776,"name":5777,"slug":5778},[7306,7345,7376],{"_key":7307,"_type":5793,"children":7308,"markDefs":7339,"style":17},"89a3fbe5ca60",[7309,7313,7317,7322,7326,7330,7335],{"_key":7310,"_type":5797,"marks":7311,"text":7312},"3415a07b54050",[5803,5803],"Initial",{"_key":7314,"_type":5797,"marks":7315,"text":7316},"3415a07b54051",[]," revisits Genzsch & Heyse’s ",{"_key":7318,"_type":5797,"marks":7319,"text":7321},"3415a07b54052",[5803,5803,7320],"c90e9ab3070a","Fränkisch-Iinitialen",{"_key":7323,"_type":5797,"marks":7324,"text":7325},"0123bf9739a2",[5803,5803],",",{"_key":7327,"_type":5797,"marks":7328,"text":7329},"3415a07b54053",[]," a modern typographic interpretation of the illuminated initials that grace the pages of historical manuscripts, starting from late-antiquity. Some intials were adorned with ornamentation, painted in bright colors, or illuminated with gold leaf to contrast against the uniform black text. In the ",{"_key":7331,"_type":5797,"marks":7332,"text":7334},"1729d0b0f12e",[7333],"451cb84fba2b","Insular",{"_key":7336,"_type":5797,"marks":7337,"text":7338},"df7a974d2df0",[]," tradition, topical illustrations often intertwine the characters, foreshadowing the story that follows.",[7340,7343],{"_key":7320,"_type":6374,"reference":7341},{"_ref":7342,"_type":5912,"_weak":6377},"8774cb79-582d-4ddc-9365-6c5267cb28c4",{"_key":7333,"_type":6379,"href":7344},"https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FInsular_script",{"_key":7346,"_type":5793,"children":7347,"markDefs":7361,"style":17},"109ba63c9b3c",[7348,7352,7357],{"_key":7349,"_type":5797,"marks":7350,"text":7351},"442ab8323568",[],"As far as initials go, the uncredited ",{"_key":7353,"_type":5797,"marks":7354,"text":7356},"e31bc6c0b88a",[7355],"221b21118e86","design",{"_key":7358,"_type":5797,"marks":7359,"text":7360},"71b8d3b47e73",[]," is quite unusual. The letterforms are modifications of the linear capitals, adapted to fill a circular area and forced into awkward contortions. This balancing act is aided by the rigid hairline scaffolding that intersect the letterforms like wires on a circuit board. In effect, the typeface is a monospaced blackletter in two dimensions.",[7362],{"_key":7355,"_type":5891,"text":7363},[7364],{"_key":7365,"_type":5793,"children":7366,"markDefs":7375,"style":17},"1289085e756b",[7367,7371],{"_key":7368,"_type":5797,"marks":7369,"text":7370},"c66bbdc9f6f7",[5803,5803],"Fränkisch-Iinitialen ",{"_key":7372,"_type":5797,"marks":7373,"text":7374},"28cdab51bbd7",[],"is uncredited, but accompanied by a number of interchangeable frames and illustrations credited to the German type designer Lorenz Reinhard Spitzenpfeil.",[],{"_key":7377,"_type":5793,"children":7378,"markDefs":7383,"style":17},"670a8bdd2bd7",[7379],{"_key":7380,"_type":5797,"marks":7381,"text":7382},"6f137bd388bd0",[],"In Initial, a number of forms are revised, and the bare necessities for display application included. It is the recontexualization, however, that sets it apart from other revivals. All caps setting is frowned upon in blackletter, where capitals almost exclusively initiate lowercase sentences and nouns. Unlike traditional initials, which always operate alone, these insist on forming words and sentences. Somehow, though, two wrongs seems to make a right under Helland’s direction. Dislocated from their rigid frames, the strange and wonderful letterforms come to life.",[],"Rm9udENvbGxlY3Rpb246MjE5NTIzOTA5NjQyNjA5NTE3OA==",{"familyName":7312,"styleName":19},{"_id":7387,"_type":5779,"category":7388,"description":7389,"familyName":7400,"fontdueCollectionId":7414,"languages":9,"leadStyle":7415,"name":7400,"slug":5608,"title":7400},"5d0dcbdd-bd08-4fb0-b6ec-dcde9bf95085",{"_id":5776,"name":5777,"slug":5778},[7390,7406],{"_key":7391,"_type":5793,"children":7392,"markDefs":7405,"style":17},"abdd3c160885",[7393,7397,7401],{"_key":7394,"_type":5797,"marks":7395,"text":7396},"0796621e916f0",[],"While its spacing, proportions and apertures are geared towards headlines, ",{"_key":7398,"_type":5797,"marks":7399,"text":7400},"c2658bb656f4",[5803],"Karelia",{"_key":7402,"_type":5797,"marks":7403,"text":7404},"21d49158b208",[],"’s details take cues from the opposite end of the spectrum: type designed for the smallest sizes. Karelia elevates these structural elements to an aesthetic role. Dislocated corners carve trapezoid ink traps, echoed by the squared-off counters. The resulting look is conventional in small sizes but expressive when set large.",[],{"_key":7407,"_type":5793,"children":7408,"markDefs":7413,"style":17},"c3dcd04261ea",[7409],{"_key":7410,"_type":5797,"marks":7411,"text":7412},"cdbc490f79070",[],"The name Karelia – a modern Russian province and former Finnish territory – hints at the marriage of cultures the design embodies: An engineered Western-European Neo-Grotesk with an angular appearance reminiscent of Soviet modernist design.",[],"Rm9udENvbGxlY3Rpb246MTYzOTUyNTUzOTA3MTMyMDA5Nw==",{"familyName":7400,"styleName":37},{"_id":7417,"_type":5779,"category":7418,"description":7419,"familyName":7429,"fontdueCollectionId":7470,"languages":9,"leadStyle":7471,"name":7429,"slug":5534,"title":7429},"9b5e67d7-976e-4edd-88d7-d9a0bcda8bf9",{"_id":5781,"name":91,"slug":90},[7420],{"_key":7421,"_type":5793,"children":7422,"markDefs":7461,"style":17},"64d473eb6300",[7423,7426,7430,7434,7439,7443,7448,7452,7457],{"_key":7424,"_type":5797,"marks":7425,"text":6345},"212ddf40ec7a0",[],{"_key":7427,"_type":5797,"marks":7428,"text":7429},"41512e8c3387",[5803],"Lilleaker",{"_key":7431,"_type":5797,"marks":7432,"text":7433},"b0adbbbd838e",[]," typeface was developed together with Ludvig Rosseau Bruneau on commission from Mustad Eiendom. Starting with the characteristic sign on ",{"_key":7435,"_type":5797,"marks":7436,"text":7438},"6fe380e39d11",[7437],"8a53880a8b63","Øraker station",{"_key":7440,"_type":5797,"marks":7441,"text":7442},"3f0917acdbc8",[],", Monokrom created a full set of capitals, figures and punctuation in three weights. The round “E” and the curved diagonals gives the typeface its unique flavor. The new typeface is used in the redevelopment of the ",{"_key":7444,"_type":5797,"marks":7445,"text":7447},"4b4abd839b9b",[7446],"7a42e175190e","Lilleakerbyen",{"_key":7449,"_type":5797,"marks":7450,"text":7451},"fd524f474813",[]," area, and also figures on the ",{"_key":7453,"_type":5797,"marks":7454,"text":7456},"41ff00f01894",[7455],"cfff00cd74c8","facade",{"_key":7458,"_type":5797,"marks":7459,"text":7460},"d25974b03271",[]," of the now renamed Øraker station.",[7462,7464,7467],{"_key":7446,"_type":6379,"href":7463},"https:\u002F\u002Flilleakerbyen.no",{"_key":7455,"_type":6374,"reference":7465},{"_ref":7466,"_type":5912,"_weak":6377},"c06acf6c-a0ab-4dfd-b9ff-780cfe92bf55",{"_key":7437,"_type":6374,"reference":7468},{"_ref":7469,"_type":5912,"_weak":6377},"646da97e-4aef-470e-b1bf-777db6029d30","Rm9udENvbGxlY3Rpb246MjE5NTI0MDQ5MjgyNzMzNzMxMQ==",{"familyName":7429,"styleName":7056},{"_id":7473,"_type":5779,"category":7474,"description":7475,"familyName":7519,"fontdueCollectionId":7520,"languages":9,"leadStyle":7521,"name":7519,"slug":5734,"title":7519},"25b2580d-387b-453c-a20a-c06994d3325d",{"_id":5776,"name":5777,"slug":5778},[7476,7504,7512],{"_key":7477,"_type":5793,"children":7478,"markDefs":7500,"style":17},"d8150adc59cb",[7479,7483,7487,7491,7496],{"_key":7480,"_type":5797,"marks":7481,"text":7482},"7164ff2137ba0",[],"Monokrom strives to approach history respectfully and to leave a clear trail of references. ",{"_key":7484,"_type":5797,"marks":7485,"text":7486},"08d8b3132c33",[5803],"Morte’s",{"_key":7488,"_type":5797,"marks":7489,"text":7490},"de3927c17f56",[]," extravagant Baroque capitals are sourced from the title page of a rare Dutch manuscript from 1708. The ",{"_key":7492,"_type":5797,"marks":7493,"text":7495},"2f6e379977bc",[5803,7494],"3c5ad168ff4b","Opus Mago-Cabalisticum et Theologicum",{"_key":7497,"_type":5797,"marks":7498,"text":7499},"b16029c49ff6",[]," is an influential esoteric work by the German theosophical writer and alchemist Georg Von Welling.",[7501],{"_key":7494,"_type":6374,"reference":7502},{"_ref":7503,"_type":5912,"_weak":6377},"5bf6261e-13ac-4136-b2e1-45478a7da7da",{"_key":7505,"_type":5793,"children":7506,"markDefs":7511,"style":17},"3bd5bc58d598",[7507],{"_key":7508,"_type":5797,"marks":7509,"text":7510},"166b2f0024f7",[],"Finding contemporary relevance in past forms requires translation and recontextualisation. Morte Maneer focuses solely on the Opus Mago capitals. This editorial decision allows their unusual proportions and ornate detailing to remain convincing beyond era and medium. The typeface is packed with historical anachronisms, aggressive gestures and pothook serifs.",[],{"_key":7513,"_type":5793,"children":7514,"markDefs":7518,"style":17},"c82b437015d3",[7515],{"_key":7516,"_type":5797,"marks":7517,"text":7298},"5e137f39a0ed",[],[],"Morte","Rm9udENvbGxlY3Rpb246MTYzOTUzODczNjgxNzk1NTA2OA==",{"familyName":7519,"styleName":7522},"Maneer",{"_id":7524,"_type":5779,"category":7525,"description":7526,"familyName":7533,"fontdueCollectionId":7586,"languages":9,"leadStyle":7587,"name":7533,"slug":5739,"title":7533},"498fe415-846b-434a-988e-2089aa7caaf3",{"_id":5776,"name":5777,"slug":5778},[7527,7539,7555,7578],{"_key":7528,"_type":5793,"children":7529,"markDefs":7538,"style":17},"2a01d1399396",[7530,7534],{"_key":7531,"_type":5797,"marks":7532,"text":7533},"c811515d7db60",[5803],"Motorik",{"_key":7535,"_type":5797,"marks":7536,"text":7537},"9a0065ae6ebc",[]," is a comprehensive neo-grotesk typeface that gravitates toward systematic consistency and alignments. Vertical metrics are shared across all styles; the family’s weights are distributed at regular intervals, and the slanted romans match exactly the set width of their upright counterparts. Motorik’s static, closed-off construction results in small apertures and mirror symmetry, with regularized widths and consistent detailing.",[],{"_key":7540,"_type":5793,"children":7541,"markDefs":7554,"style":17},"65eebb2e84df",[7542,7546,7550],{"_key":7543,"_type":5797,"marks":7544,"text":7545},"c221353fbc770",[],"Walter Käch, a Swiss designer and teacher at the Zürich Kunstgewerbeschule, first formulated the principles underlying the neo-grotesk in his trilingual compendium ",{"_key":7547,"_type":5797,"marks":7548,"text":7549},"30af5ce22c6c",[5803],"Schriften Lettering Écritures",{"_key":7551,"_type":5797,"marks":7552,"text":7553},"a3320ea66817",[],". In this manual, Käch revisited the grotesks from the late 1800s that had found recent popularity among Swiss graphic designers. 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Employing various typographic cheats, writers would compose images, symbols, missing characters, weights, and styles. Occasionally these hacks would become established as norms, many of which still influence contemporary typography.",[],{"_key":7852,"_type":5907,"asset":7853,"caption":7855},"07a1a978ad31",{"_ref":7854,"_type":5912},"image-b83fb17e6c2a9a168348504ece84c4e782f5ba2e-1000x563-gif",[7856],{"_key":7857,"_type":5793,"children":7858,"markDefs":7880,"style":17},"eec8c3b6bded",[7859,7863,7868,7871,7876],{"_key":7860,"_type":5797,"marks":7861,"text":7862},"cd9a435e38b3",[],"The typeface is released alongside a pair of open-source Python tools for Drawbot. 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R-I-B-BI pulls the levers and turns the gears, reveling in manuscript touch-ups, mathematical blackboard bolds, double strikes, underscores, rotated sorts, amputated appendages, faux digital synthesization, and early ASCII art.",[],{"_key":7896,"_type":5793,"children":7897,"markDefs":7902,"style":17},"52f8c77c13b2",[7898],{"_key":7899,"_type":5797,"marks":7900,"text":7901},"7bd82030b7200",[],"The family is split into two parts: R-I-B-BI Typewriter and R-I-B-BI, each with the canonical four styles, further expanded with experimental use of OpenType functionality. 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The artwork is credited to K. V. Voskresensky.",[],{"_key":8475,"_type":5793,"children":8476,"markDefs":8481,"style":17},"94cff70b0fad",[8477],{"_key":8478,"_type":5797,"marks":8479,"text":8480},"8ccd09d787d40",[],"While the subject matter required Latin characters, the artist’s Cyrillic education shines through in their execution: The central section of “N” and “S” is unusually thin (two shapes that only exist in mirrored form in Cyrillic writing), and the “K” has that stereotypical strong horizontal. Other ingredients are more idiosyncratic. There’s the “U” with its heavy right stem, the peculiar lowercase arches – ranging from strong-shouldered tension to timid symmetry, the dramatic ball-adorned “r”, and a surprisingly seriffed “l”.",[],{"_key":8483,"_type":5793,"children":8484,"markDefs":8498,"style":17},"648315fbf6be",[8485,8489,8494],{"_key":8486,"_type":5797,"marks":8487,"text":8488},"64c5195d68290",[],"These seemingly disparate features are resolved with a steady hand: Obtuse, almost diamond-like, round exteriors help absorb the worst outliers. These curves, in turn, give way to a more interesting solution for the original top-heavy ",{"_key":8490,"_type":5797,"marks":8491,"text":8493},"976b95923dce",[8492],"23b1449bf352","“g”.",{"_key":8495,"_type":5797,"marks":8496,"text":8497},"85916ac67791",[]," The varying dynamic quality of the arches are distributed wisely across the character set. The ascender-clad “h” obfuscates its pronounced asymmetry, the space-saving “m” and the complex “a” benefits from it – and, certainly, “r” wouldn’t be half as interesting without.",[8499],{"_key":8492,"_type":5891,"text":8500},[8501],{"_key":8502,"_type":5793,"children":8503,"markDefs":8508,"style":17},"121df0660852",[8504],{"_key":8505,"_type":5797,"marks":8506,"text":8507},"3268b2f15e4f",[],"An alternate single-story “g” is provided.",[],{"_key":8510,"_type":5793,"children":8511,"markDefs":8516,"style":17},"b9292263c6c1",[8512],{"_key":8513,"_type":5797,"marks":8514,"text":8515},"4cf2c3861ade",[],"Somme sets wide with tight spacing. The tall x-height is attuned to headlines and display typography, which also allows us to offer the design as a single-styled roman. Well … that, and the fact that we love to mix and match across family borders. 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