New Fonts Catalogue 2014

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1 New Fonts Catalogue 2014 URW++ DESIGN & DEVELOPMENT GMBH Poppenbütteler Bogen Hamburg Germany TEL +49 (0) FAX +49 (0) info@urwpp.de

2 0.1 URW++ NEW FONTS CATALOGUE 2014 URW++ NEW FONTS 2014 URW++ LIBRARY Eurostile Round URW++ 19 Styles SELECTYPE Hangulatin Anita Jürgeleit 1 Style FONTFORUM Quendel Happy Family Anita Jürgeleit 6 Styles AM Sans One Alois Menacher 3 Styles AM Siola Alois Menacher 2 Styles LP Philharmonia Peter Langpeter 1 Style Three Dee Anna & Axel Stoltenberg 1 Style Pipeline Marit Otto 2 Styles Slope Sans Hans Schumacher 1 Style Slope Slab Hans Schumacher 1 Style Pleiad João Henrique Lopes 7 Styles Pinel Pro Coen Hofmann 2 Styles 02 21

3 1.1 URW++ NEW FONTS CATALOGUE 2014 EUROSTILE ROUND URW++ LIBRARY Eurostile, created in 1962 by Aldo Novarese for the Nebbiolo type foundry, is one of the most popular sans serif fonts at all, and has been for about 50 years. Originally designed as a screen font it was very popular from the beginning, even though it is only a slightly modified version of the 10-year-older Microgramma, but completed with lower case characters. On public demand, URW++ has expanded its range of Eurostile by Eurostile Round with 19 additional styles. Regular, Regular Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy; Heavy Italic Black, Black Italic Condensed Regular, Condensed Regular Italic, Condensed Heavy, Condensed Heavy Italic Extended Regular, Extended Regular Italic, Extended Medium, Extended Black, Extended Black Italic OTF Standard: West, East OTF Plus: West, East, Cyrillic, Greek, Vietnamese REGULAR REGULAR ITALIC 03 21

4 1.2 URW++ NEW FONTS CATALOGUE 2014 MEDIUM MEDIUM ITALIC BOLD BOLD ITALIC 04 21

5 1.3 URW++ NEW FONTS CATALOGUE 2014 HEAVY HEAVY ITALIC BLACK BLACK ITALIC 05 21

6 1.4 URW++ NEW FONTS CATALOGUE 2014 CN REGULAR CN REGULAR ITALIC CN HEAVY CN HEAVY ITALIC 06 21

7 1.5 URW++ NEW FONTS CATALOGUE 2014 EXT REGULAR ABCDEFGHIJKLMNOPQRSTUV абвгдеёжзийклмнопрстуфхцчш (.,:;» «!?) {&} EXT REGULAR ITALIC ABCDEFGHIJKLMNOPQRSTUV абвгдеёжзийклмнопрстуфхцчш (.,:;» «!?) {&} EXT MEDIUM ABCDEFGHIJKLMNOPQRSTUV абвгдеёжзийклмнопрстуфхцчш (.,:;» «!?) {&} EXT BLACK ABCDEFGHIJKLMNOPQRSTUV абвгдеёжзийклмнопрстуфхцчш (.,:;» «!?) {&} 07 21

8 1.6 URW++ NEW FONTS CATALOGUE 2014 EXT BLACK ITALIC ABCDEFGHIJKLMNOPQRSTUV абвгдеёжзийклмнопрстуфхцчш (.,:;» «!?) {&} 08 21

9 2.1 URW++ NEW FONTS CATALOGUE 2014 HANGULATIN SELECTYPE Preparing for a trip to Korea, Anita Jürgeleit studied the Korean alphabet. The prevailing writing system in Korea grouping characters to syllables fascinated her so much that she dared the experiment to develop such a system of writing with the Latin alphabet for the German language. The result is an intuitively learnable and surprisingly easy to read writing system, which already contains approximately 3000 syllables today. Awards for Hangulatin conceived and designed by Anita Jürgeleit: - Hangulatin was among the nominated finalists at Hiiibrand Typography Award Golden nail in the talent competition of the ADC 2014 Anita Jürgeleit Regular OTF Pro: West, OpenType Features LIGHT (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by Anita Jürgeleit IR GENDWIE ER IN NERN SIE MICH IM MER ANSPIEGELEI ER SPIEGELEI ERAU TO NO MEN PA RALLELWELT GEGEN SEI TIG VER SCHIEBT SICH DIE PERS PEK TIVE WIE BEI EINER BE WE GUNG VON PLANE TEN UM DIE SON NE 09 21

10 3.1 URW++ NEW FONTS CATALOGUE 2014 QUENDEL HAPPY FAMILY FONTFORUM Quendel has been expanded to become Quendel Happy Family. Apart from the new Bold weight for easy distinction and emphasis, there are now four other very exciting variants, rendering different writing tools and writing materials. The basic form of Quendel was written with a Japanese bamboo tip and therefore embodies a form letter of natural flow. The new versions show other features that provide the feel of written scripts. While the styles Wood and Crayon include some alternate characters, Q Marking Pen and Q Fingertip, due to their apparently more complex enacted forms, do not need additional alternates without looking stiff or boring. The wood relief of Quendel Wood was created by a freehand wood relief drawn with oiled chalk. Quendel Marking Pen seems to be written with a felt-tip pen soon depleted. At the same time it is also reminiscent of the blooming effect, which we know from photography. The name of Quendel Fingertip suggests what can be seen - someone seems to have written with the finger in a grainy material. One would like to try it himself. The effect of broken lines which can be gained by writing with chalk as reflected in Quendel Crayon. Almost like parched sandy soil, the writing material seems to crumble. Anita Jürgeleit Regular, Bold Crayon Fingertip Marking Pen Wood OTF Standard: West, East REGULAR (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by Anita Jürgeleit BOLD (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by Anita Jürgeleit 10 21

11 3.2 CRAYON URW++ NEW FONTS CATALOGUE (.,:;» «!?) {&} ªº)* Hamburgerfonts by Anita Jürgeleit FINGERTIP (., :;» «!?) {& } ªº)* Hamburgerfonts by Anita Jürgeleit MARKING PEN (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by Anita Jürgeleit WOOD (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by Anita Jürgeleit

12 4.1 URW++ NEW FONTS CATALOGUE 2014 AM SANS ONE FONTFORUM When designing "AM Sans One" it was a great challenge for me to develop a modern sans serif, which despite the large number of existing fonts in this sector has its own unique character. Starting point for the design concept was the cap O, designed as a rectangle with rounded corners, and not as usual as a circle or oval. The O should form the basis for the whole alphabet. Another feature are the characters with oblique starting and end strokes such as "A, V, W". These have not exactly straight, diagonal lines, but have a slight curvature. Thus, these letters do not look too geometric. Also the cap K deviates slightly from the usual shape which makes AM Sans One different from other already existing fonts. I could well imagine applying this font for areas such as engineering or architecture. Alois Menacher Light, Regular, Semibold OTF Standard: West, East LIGHT (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Alois Meacher REGULAR (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Alois Meacher SEMIBOLD (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Alois Meacher 12 21

13 5.1 URW++ NEW FONTS CATALOGUE 2014 AM SIOLA FONTFORUM AM Siola is designed as a pure display font. Starting point for this type design was a customized logotype. Logotypes usually just need the design of some characters to form a harmonious, individual lettering. Obviously, it is much more difficult to create a complete font on the basis of just a few characters. The semi-serifs partly running in the opposite direction form the basic idea for this font. AM Siola can well be used for packaging design, logo design and individual headlines for anything from advertising to posters. Alois Menacher Condesed Light, Condensed Bold OTF Standard: West, East CONDENSED LIGHT (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Alois Menacher CONDENSED BOLD (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Alois Menacher 13 21

14 6.1 URW++ NEW FONTS CATALOGUE 2014 LP PHILHARMONIA FONTFORUM Peter Schmidt, well-known designer from Hamburg, browsed in a fashion magazine on a return flight from the United States. At that time he was thinking about a logo for a philharmonic orchestra. In the magazine, he noticed some interesting typography. He removed the page from the magazine and sent it later to Peter Langpeter. That was the inspiration for the creation of the logo. Since Peter Langpeter really liked the classic aesthetics of the resulting letters, he developed a whole new alphabet of it. Initially, only capital letters. Now he has completed this exceptionally beautiful font. Peter Langpeter Regular OTF Standard: West, East REGULAR (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by Peter Langpeter 14 21

15 7.1 URW++ NEW FONTS CATALOGUE 2014 THREE DEE FONTFORUM The idea for this completely new font design with overlapping characters came when Axel Stoltenberg, longtime IKARUS program developer at URW + +, visited a restaurant. As it can be seen quite often, the daily specials were offered handwritten with chalk on a blackboard applying a writing technique never been available before for digital fonts : each character is partly covered by its predecessor creating a threedimensional effect. The implementation of this unusual notation for digital setting required a lot of programming and testing until all necessary character variants were produced and set properly always using the correct form. In order to achieve this, the OpenType Pro font ThreeDee contains about 12,400 characters and all the necessary OpenType features ( GSUB ) for the automatic setting in OTF savvy application programs. The slightly playful basic design for ThreeDee was created by Anna Stoltenberg, the daughter of Axel, specially devised for the innovative representation and support of its special nature. The shadow generated with IKARUS even intensifies the 3D effect. As is well-known, making use of the embedded OTF features, i.e. the automatic access to all the 12,400 character variants, a corresponding text / layout program ( InDesign, Quark Xpress, current Open / LibreOffice or MS Word etc. ) is required. ThreeDee is a headline font that will unveil all its charisma and exceptional quality at appropriate, larger sizes. Anna & Axel Stoltenberg Regular OTF Standard: West REGULAR (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Anna & Axel Stoltenberg 15 21

16 8.1 URW++ NEW FONTS CATALOGUE 2014 PIPELINE FONTFORUM Pipeline is a futuristic and technical looking typeface. But as the name suggest it s also earthly, (literally). Deep down underneath villages, city s everywhere and even oceans there s a network of pipelines. Providing us all sorts of supplies, like water and oil. Sewers wash fluid waste away. They are never to be looked upon as pretty or beautiful but purely functional. The soil peeled off and looked upon from above, a greater industrial infrastructure is revealed, cluttered like spaghetti, complex as the maze of corridors of termite colonies. I present two pipelines to you; one naked and one dressed. This typeface is very suitable for graphic, logo and poster design. It is quadratic shaped with round curves. It is modern and classic at the same time. It could be appealing for young, technical, digital, inventive and urban (sub) culture (at any age). Marit Otto Dressed, Naked OTF Standard: West, East DRESSED (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Marit Otto NAKED (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Marit Otto 16 21

17 9.1 URW++ NEW FONTS CATALOGUE 2014 SLOPE SANS PRO FONTFORUM Slope Sans is an original design that combines a technological shape model borrowed from the early Macintosh system fonts with organic, open elements looking futuristic in a retrospective manner. Designed as part of a font family without different weights, Slope Sans Pro provides OpenType features for alternate letter forms in two stylistic sets. The basic version works similar to a stencil font, an alternative set has consistently closed shapes and a more rigid appearance, while the second stylistic set offers some alternative letter forms. Headlines and shorter texts set in Slope Sans provide a variable, modern appearance. Slope Slab Pro goes very well with Slope Sans Pro and can be used as style variant or display. Hans Schumacher Regular OTF Pro: West, East, OpenType Features REGULAR (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Hans Schumacher SLOPE SLAB PRO FONTFORUM Hans Schumacher Regular OTF Pro: West, East, OpenType Features REGULAR (.,:;» «!?) {&} [#@$ )* Hamburgerfonts by Hans Schumacher 17 21

18 10.1 URW++ NEW FONTS CATALOGUE 2014 PLEIAD FONTFORUM Seven superb scripts, to be freely mixed with one another. Alone, each of them flows nicely, but combined they reach ultimate vitality and grace. The Pleiades are one of the most beautiful constellations in the sky, and in Greek mythology they were seven divine sisters. Luxurious freedom of choice and excellent readability make Pleiad the perfect face for a variety of projects, from stylish invitations to magazine ads, from poetry books to restaurant logos. Sometimes calm, sometimes flittering but always fair and graceful this sublime calligraphic type family will hold an everlasting fascination. João Henrique Lopes Alcyone, Celone, Electra, Maia, Merope, Sterope, Taygete OTF Standard: West ALCYONE CELONE ELECTRA MAIA (.,:;» «!?) {&} [#@$ ª º)* Hamburgerfonts by João Henrique Lopes (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by João Henrique Lopes (.,:;» «!?) {& } [#@$ ª º)* Hamburgerfonts by João Henrique Lopes (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by João Henrique Lopes 18 21

19 10.2 URW++ NEW FONTS CATALOGUE 2014 MEROPE STEROPE TAYGETE (.,:;» «!?) {&} ªº)* Hamburgerfonts by João Henrique Lopes (.,:;» «!?) {&} $ ªº)* Hamburgerfonts by João Henrique Lopes (.,:;» «!?) {&} ªº)* Hamburgerfonts by João Henrique Lopes 19 21

20 11.1 URW++ NEW FONTS CATALOGUE 2014 PINEL PRO FONTFORUM The characteristic French face was originally made in 1899 under the supervision of Joseph Pinel. Thus, what was originally French 10 pt. Nº 2, got its present name. The Frenchman Joseph Pinel called himself typographical engineer, but was at the time employed as type draughtsman at the Linotype Works in Altrincham. It appears that this and some other faces that he supervised, were, except for use on the linotype, also meant for manufacturing matrices for the Dyotype. This composing machine was an invention of Pinel. The Dyotype was a rather complicated machine and consisted, like the Monotype, of two separate contraptions, a keyboard which produced a perforated paper ribbon and a casting machine which produced justified lines of movable type. Unlike the Monotype which has a square matrix carrier, the Dyotype had the matrices on a drum (in fact two drums, hence the name of the machine). A Pinel Diotype company was founded in Paris and a machine was built with the help of the printing press manufacturer Jules Derriey. As is often the case, a lack of sufficient capital prevented the commercializing of this ingenious composing machine. Coen Hofmann digitized the font from a batch of very incomplete, damaged and musty drawings, which he dug up in Altrincham. He redrew all characters, bringing up the hairstrokes somewhat in the process. The result is a roman and italic, while the roman font also includes Small Caps. Coen Hofmann Regular, Regular Italic, Bold OTF Pro: West, East, Cyrillic, Greek REGULAR (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by Coen Hofmann REGULAR ITALIC (.,:;» «!?) {&} [#@$ ªº)* Hamburgerfonts by Coen Hofmann 20 21

21 Frank Ramspott Jens Weigel Prof. Alfred Tilp Carsten Strinkau René Breil Christoph Ulherr Hans-Jürgen Ellenberger Wojtek Ruhnau Sebastian Hartman Frank Luedicke Felix Braden Peter Langpeter Hajime Kawakami URW++ DESIGN & DEVELOPMENT GMBH Poppenbütteler Bogen Hamburg Germany TEL +49 (0) FAX +49 (0) info@urwpp.de

FontForum. FontForum Designer Profile: Hans Schumacher URW++ DESIGN & DEVELOPMENT GMBH. Poppenbütteler Bogen Hamburg Germany

FontForum. FontForum Designer Profile: Hans Schumacher URW++ DESIGN & DEVELOPMENT GMBH. Poppenbütteler Bogen Hamburg Germany FontForum FontForum Designer Profile: Hans Schumacher URW++ DESIGN & DEVELOPMENT GMBH Poppenbütteler Bogen 36 22399 Hamburg Germany TEL +49 (0) 40 60605 0 FAX +49 (0) 40 60605 111 info@urwpp.de www.urwpp.com