Typotheque type specimen & OpenType feature specification.

Please
read before using the fonts.

Lava Std
OpenType font family supporting Latin, Cyrillic and Greek, with their
own small caps, with extensive typographic features.

Lava Pro 014623

Designed by Peter Biľak, 2009-2011 OpenType features in Lava

ewjduhiz
tvnsgfqr

What is OpenType?
OpenType is a cross-platform font format developed by Adobe and Microsoft. It
has a potential to provide advanced typographic features such as multilingual
character sets, ligatures, small capitals, various numeral styles, and contextual
substitutions.
OpenType, as the new industry standard, supports Unicode, which
enables the fonts to contain a large number of characters. While PostScript fonts
are a technically limited to a maximum of only 256 characters, OpenType fonts
can have more than 65,000 glyphs. This means that a user does not need to have
separate fonts for Western, Central European, Baltic, Cyrillic or Greek languages,
but could have one single file which supports all these encodings.
OpenType fonts work in all applications, however only some
applications take advantage of the advanced OpenType features. Other
applications will only use the first 256 characters.

© 2013, Typotheque.com. For information purposes only.

 character set

abcdefghijklmnopqrstuvwxyz
([0123456789])
áàâäãåăāąǻǎȧầấẫẩậằắẵẳặảạḅḇḃçćčĉċďđḏḍḋéèêëĕěėēẽęȩềếễểệẻẹ
ḟğĝģġǧǵḡħĥȟḥ�ḫḣíıìîïĭīįĩǐỉịĵjķǩḵḳĺļŀłḻḷḹṃṁḿñńňņǹṉṅṇ�ŋ
óòôöõŏőōøǿǒǫǭȯơồốỗổộỏọờớỡởợṗ�ŕřŗṟṛṝr̥ṙśşšŝs̱ṡ�ṣșŧťțṯṭ�ṫúùûüŭűūųůũưủ
ụừứữửựǔ�ṿṽẃŵẅẁẇẉ�ẋÿŷȳỳýẏỹỷỵźžżẕẓz̤þəðȝǯæǽǣœ

abcdefghijklmnopqrstuvwxyz ([0123456789])
áàâäãåăāąǻǎȧầấẫẩậằắẵẳặảạḅḇḃçćčĉċďđḏḍḋéèêëĕěėēẽęȩềếễểệẻẹ
ḟğĝģġǧǵḡħĥȟḥẖḫḣíıìîïĭīįĩǐỉịĵjķǩḵḳĺļŀłḻḷḹṃm̐ṁḿñńňņǹṉṅṇn̄ŋ
óòôöõŏőōøǿǒǫǭȯơồốỗổộỏọờớỡởợp̄ṗŕřŗṟṛṝr̥ṙśşšŝs̱s̀ṡs̆ṣșŧťțṯṭẗṫúùûüŭűūųůũưủụừứữửựǔv̄ṿṽẃŵẅẁẇẉ
x̄ẋÿŷȳỳýẏỹỷỵźžżẕẓz̤þəðȝǯæǽǣœ

abcdefghijklmnopqrstuvwxyz
áàâäãåăāąǻǎȧầấẫẩậằắẵẳặảạḅḇḃçćčĉċďđḏḍḋéèêëĕěėēẽęȩềếễểệẻẹ
ḟğĝģġǧǵḡħĥȟḥẖḫḣíıìîïĭīįĩǐỉịĵjķǩḵḳĺļŀłḻḷḹṃṁḿñńňņǹṉṅṇn̄ŋ
óòôöõŏőōøǿǒǫǭȯơồốỗổộỏọờớỡởợp̄ṗŕřŗṟṛṝr̥ṙśşšŝs̱sṡ̀ s̆ṣșŧťțṯṭẗṫúùûüŭűūųůũưủụừứữửựǔv̄ṿṽẃŵẅẁẇẉx̄
ẋÿŷȳỳýẏỹỷỵźžżẕẓz̤þəðȝǯæǽǣœ

fiflfbfkfhfjffffiffl + fìfï
abcdefghijkmnoprstuvwxyz / abcdefghijkmnopqrstuvwxyz

1234567890/1234567890 ¡!¿?#%‰ &*-–—(.,:;)

()[]{}〚〛¦|«»‹›¶�••−×+±÷¬∞≤≥<>=≠≈

№†‡§@°ℓ℮©Ⓤ♾℗®℠™
€$¥£¢ƒ₪₡₢₣₤₥₦₨₩₭₮₱₫₹₺
←↑→↓↖↗↘↙

© 2013, Typotheque.com. For information purposes only.

 character set

αβγδεζηθικλµνξοπρςτυΥφχψω
αβγδεζηθικλµνξοπρςτυφχψω
αβγδεζηθικλµνξοπρσςτυφχψω

ὰάἀἁἂἃἄἅἆἇᾀᾁᾂᾃᾄᾅᾆᾇᾰᾱᾲᾳᾴᾶᾷὲέἐἑἒἓἔἕὴήᾐᾑᾒᾓᾔᾕᾖᾗῂῃῄ
ῆῇἠἡἢἣἤἥἦἧὶίῐῑῒΐῖῗἰἱἲἳἴἵἶἷὸόὀὁὂὃὄὅῤῥὺύὐὑὒὓὔὕὖὗῠῡῢΰῦῧὼ
ώὠὡὢὣὤὥὦὧᾠᾡᾢᾣᾤᾥᾦᾧῲῳῴῶῷ

АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШЩЪЫ
ЬЭЮЯҐЂЃЄЅІЇЈЉЊЋЌЎЏѢѲѴӘЀЍ
АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШЩЪЫ
абвгдеёжзийклмнопрстуф
хцчшщъыьэюя
ѐёђѓєѕіїјљњћќѝўџѣѳѵґғҗқңүұҳҷһӏӣөӯҋҍҏҕҙҝҟ
ҡҥҧҩҫҭҵҹҽҿӂӄӆӈӊӌӎӑӓӕӗӛӝӟӡӥӧӫӭӱӳӵӷӹ
вгджзийклптцшщъью

© 2013, Typotheque.com. For information purposes only.

 Lava Regular
Lava Regular Italic
Lava Medium
Lava Medium Italic
Lava Bold
Lava Bold Italic
Lava Heavy
Lava Heavy Italic
About the typeface About the designer
Lava was originally designed for Works That Work magazine, but far transcends Peter Biľak was born in Czechoslovakia, lives in the Netherlands. Works in
its original application. It’s a no-nonsense workhorse typeface that can handle the field of editorial, graphic, and type design, teaches part time at the Royal
large quantities of text with ease. It’s legible and harmonious at small sizes, Academy in The Hague. Started Typotheque in 1999, Dot Dot Dot in 2000, and
sophisticated and elegant at large sizes. Indian Type Foundry in 2009, and Works That Work magazine in 2013 Member
of AGI (Alliance Graphique Internationale).
Since the magazine exists both in print and on screen, Lava was designed to
perform optimally in both high and low resolution environments. Lava looks Cyrillic version of Lava was designed by Ilya Ruderman.
closely at system fonts such as Times and Georgia and aspires to work on screen
as well as they do. In print, Lava delivers something that UI fonts usually lack:
refined details, finely tuned proportions and meticulous spacing, letting the
reader forget about the typeface and pay attention to the text.

© 2013, Typotheque.com. For information purposes only.

 magazine
on paper or distributed online

tidskriften
περιοδικό
журнал
εβδομαδιαία, μηνιαία κλπ.

дневник, подённая записка

zeitschrift
14-täglich oder monatlich

© 2013, Typotheque.com. For information purposes only.

 Eye No.86 is using Lava for both the headlines and
the body text. Designed by Esterson Associates

Reputations:
TonyBrook
‘What otherprofession d
you end up inwhereyou
learn so much about oth
people’s businesses than
in graphic design? It’s
remarkable. Clientswill
tellyou everything. It’s l
being a therapist.That’s
reallyexciting.You neve
knowwhat’s going to
happen from oneweek
to the next.’
Interview by John L. Wal
Portrait by Philip Sayer
© 2013, Typotheque.com. For information purposes only.

10 Eye 86/13
 Lava was designed for Works That Work magazine.
The magazine is designed by Atelier Carvalho Bernau.

w-t-w.co/xfu 7

Some time ago the jury of the Rotterdam Design Prize

outlined the following factors in its selection criteria: vision,
authorship, execution, context and international relevance.
According to the explanatory notes, the domestic jury added
execution as a criterion because of the increased significance
of craftsmanship and the process of realisation. Strikingly, any
association with the aesthetic quality of a design—its beauty—
was avoided.

CUSTODIANS
OF BEAUTY
Dingeman Kuilman served on a number
of international design juries which inspired
this article.

The domestic and international jury members
seemed to have found it difficult to give beauty
a clear place in their adjudication. They are not
alone: beauty has become a source of discomfort
for most design professionals. It is as if they no
longer dare utter the word aloud, while at the
same time they both know and feel that it refers
to something fundamental. So what went wrong
between design and fashion on the one hand and
beauty on the other?
In 1952, the poet and painter Lucebert wrote
an untitled poem containing these lines:
in this age which people always termed
beauty beauty has burnt her face
she comforts mankind no longer
she comforts the larvae the reptiles the rats
but she startles mankind
and moves him with the sense
of being a breadcrumb on the skirt of the universe
Lucebert was 20 years old when the Nether-
lands was liberated from the Nazis. In his words,
we hear his rage and despair over the injustice of
the war years and the narrow-mindedness that
followed. For him and the rest of his generation,
beauty had become something unfathomable:
the old trinity of truth, goodness and beauty was
no more. Their experience of the aesthetic had
been upset by a crippling awareness of futility.
We also see this phenomenon illustrated in
Dick Elffers’s famous poster ‘Weerbare Demo-
cratie’ (‘Resilient Democracy’). He created the
image in 1946 for an exhibition at the Nieuwe
Kerk in Amsterdam with which a group of artists
hoped to strengthen leftist liberationist fervour.
The expression of the man on Elffers’s poster
reflects the horror Lucebert alludes to.
In the 1960s, beauty was attacked a second
time. In an era of increased prosperity, people

© 2013, Typotheque.com. For information purposes only.

 Ciudad Abierta

Como suspendida en el
tiempo, ausente de todo
cuanto sucede alrede-
dor, la Ciudad Abierta
se protege, paradójica-
mente, tras una valla
metálica.

☝ Estrella Ediciones

© 2013, Typotheque.com. For information purposes only.

 АННА КАРЕНИНА
Мне отмщение, и Аз воздам

ЧАС Т Ь ПЕРВАЯ

Все счастливые семьи похожи друг на друга, каждая несчастливая

семья несчастлива по-своему.
Все смешалось в доме Облонских. Жена узнала, что муж был
в связи с бывшею в их доме француженкою-гувернанткой, и объ-
явила мужу, что не может жить с ним в одном доме. Положение
это продолжалось уже третий день и мучительно чувствовалось и
самими супругами, и всеми членами семьи, и домочадцами. Все
члены семьи и домочадцы чувствовали, что нет смысла в их со-
жительстве и что на каждом постоялом дворе случайно сошед-
шиеся люди более связаны между собой, чем они, члены семьи и
домочадцы Облонских. Жена не выходила из своих комнат, мужа
третий день не было дома. Дети бегали по всему дому, как поте-
рянные; англичанка поссорилась с экономкой и написала записку
приятельнице, прося приискать ей новое место; повар ушел вчера
со двора, во время самого обеда; черная кухарка и кучер просили
расчета.
На третий день после ссоры князь Степан Аркадьич Облонский
— Стива, как его звали в свете, — в обычный час, то есть в восемь
часов утра, проснулся не в спальне жены, а в своем кабинете, на
сафьянном диване. Он повернул свое полное, выхоленное тело на
пружинах дивана, как бы желая опять заснуть надолго, с другой
стороны крепко обнял подушку и прижался к ней щекой; но вдруг
вскочил, сел на диван и открыл глаза.
«Да, да, как это было? — думал он, вспоминая сон. — Да, как это
было? Да! Алабин давал обед в Дармштадте; нет, не в Дармштадте,
а что-то американское. Да, но там Дармштадт был в Америке. Да,
Алабин давал обед на стеклянных столах, да, — и столы пели: Il mio
tesoro и не Il mio tesoro, а что-то лучше, и какие-то маленькие гра-
финчики, и они же женщины», — вспоминал он.
Глаза Степана Аркадьича весело заблестели, и он задумался,
улыбаясь. «Да, хорошо было, очень хорошо. Много еще что-то там
было отличного, да не скажешь словами и мыслями даже наяву не
выразишь». И, заметив полосу света, пробившуюся сбоку одной из
суконных стор, он весело скинул ноги с дивана, отыскал ими ши-
тые женой (подарок ко дню рождения в прошлом году), обделан-
ные в золотистый сафьян туфли, и по старой, девятилетней при-
вычке, не вставая, потянулся рукой к тому месту, где в спальне у

© 2013, Typotheque.com. For information purposes only.

 Αρχαία Ελλάδα
Ο όρος Αρχαία Ελλάδα χρησιμοποιείται για να
περιγράψει τον ελληνικό κόσμο κατά την περίοδο
της αρχαιότητας. Αναφέρεται όχι μόνο στις
περιοχές του σύγχρονου ελληνικού κράτους, αλλά
όπου εγκαταστάθηκαν στους αρχαίους χρόνους
ελληνικοί πληθυσμοί, συμπεριλαμβανομένων της
Κύπρου, της Ιωνίας, της Μεγάλης Ελλάδας και
των διάσπαρτων ελληνικών εγκαταστάσεων στις
ακτές της Μεσογείου, και τον Εύξεινο Πόντο.

Γεώργιος Χαραλαμπάκης

© 2013, Typotheque.com. For information purposes only.

 ‫ﻣﺘﺤﻒ‬ Museum
‫ﻗﺎﻋﺔ اﻟﻤﻌﺎرض‬ Exhibition
‫اﺈﻟﺳﺘﻘﺒﺎل‬ Reception
‫اﻟﻤﺨﺮج‬ Exit
‫ﻣﺮاﺣﻴﺾ‬ Toilettes
harir bold 12 / 15 lava 90 8.9 / 15

Special version of Lava was designed to match Harir’s

weight, rhythm, and contrast. Typotheque’s Harir, a
modern Arabic typeface, is a perfect companion for
multilingual typesetting.

© 2013, Typotheque.com. For information purposes only.

 Overview of supported OpenType layout features

¡¿ab?! (doh-ehg) ▶ ¡¿AB?! (Doh-EhG) t

Case Sensitive forms (case)
When function ‘change to caps’ is applied from within an application
(not when text is typed in caps) appropriate case-sensitive forms are
automatically applied. Regular brackets, parenthesis, dashes and hyphens are
replaced with their capital forms.

Small Caps ▶ Small Caps fig.1

w
Small Capitals & All Small Caps (smcp & c2sc)
In Adobe applications there are two methods of applying small capitals. The

All Small Caps ▶ All small caps

first one, Small Caps (⇧⌘H) fig. 1 replaces only lower case letters with small
fig.2
e caps. The second method, All Small Caps, fig. 2 replaces also capital letters
with small capitals, and replaces regular quotation marks, exclamation points
and question marks, slashes and asterisk with lowered small caps variations.

012345 ▶ 012345 v
Slashed Zero (zero)
Because in some circumstances ‘0’, can be mistaken for an ‘O’, alternative

012345 ▶ 012345 forms of ‘slashed zero’ are available for all styles of figures

fiflffifflfhfk ▶ fiflffifflfhfk d
Standard Ligatures (liga)
Standard ligatures are those which are designed to improve the kerning and

fï ▶ fï readability of certain letter pairs. For example, when this feature is activated,
typing ‘f’ and ‘i’ will automatically produce the ‘fi’ ligature. Using ligatures

fì ▶ fì does not affect the spelling and hyphenation of your text in any way.

21/2 31/10 4125/5100 ▶ 21/2 31/10 4125/5100 h

Arbitrary Fractions (frac)
Typotheque OpenType fonts already include a number of pre-designed
fractions. Other arbitrary fractions are easily made by using the fraction
feature.

(1) (2) (3) [4] [5] [6] ▶ (1) (2) (3) [4] [5] [6] u
Discretionary Ligatures (dlig)
Lava includes handy features such as replacing hyphen and greater than/

--> -> <-- -^, ^- ▶ ‒→ → ←‒↑↓ less than signs with real arrows, or automatic activation of circled numerals
by enclosing them in parenthesis when the discretionary ligature feature

-----------------> ▶ ‒----------→ is activated. Brackets activate alternative inverse enclosed numerals.

Discretionary ligatures are off by default in Adobe applications.

x (1+1.42 × 6) = y37 ▶ x⁽1+1.42×6⁾ = y37 z

Superscript / superiors (sups)
Replaces all styles of figures (old style, tabular, lining) and letters with their
superior alternates, which can be used for footnotes, formulas, etc. Superior
characters are more legible than mathematically scaled characters, have a
similar stroke weight, are spaced more generously, and better complement
the rest of the text.

H2O (10,00 + $500) ▶ H2O ₍10,00 + $500) i

Subscript / inferiors (sinf)
Replaces all styles of figures (old style, tabular, lining) and letters with their
inferior alternates, used primarily for mathematical or chemical notation.
Inferior characters are more legible than mathematically scaled characters,
have a similar stroke weight, are spaced more generously, and better
complement the rest of the text.

© 2013, Typotheque.com. For information purposes only.

 ({[012-3456–789)]} s
Tabular Lining Figures (tnum_lnum)
Tabular Oldstyle Figures (tnum_onum)

({[012-3456–789]}) g Proportional Oldstyle Figures (pnum_onum)

Proportional Lining Figures (pnum_lnum)

([{012-3456–789}]) f Changes figures to any selected style: Lining figures which fit better with all-
capital text, old-style figures, for use in a flow of lowercase and upper case
text, or tabular (fixed width) versions.
({[012-3456–789]})

No1 ▶ №1 j
Ordinals (ordn)
The ordinals feature replaces alphabetic glyphs (but not numerals) with their
corresponding superior forms.

€$¢£¥₥₤₡₢₫₣₦₧₨₪₩₭₮₱ q
Currency (crcy)
Collection of various currency symbols: (U+20A0..U+20CF)

гпклдвцщзьъитж ▶ гпклдвцщзьъитж r
Localized Forms (locl)
Some languages such as Bulgarian, Serbian or Macedonian prefer variant
letter shapes to the standard Cyrillic shapes. This feature replaces standard
forms with localized ones, when the text is tagged Bulgarian, Serbian or
Macedonian.

Small Caps 1234567890

Small Caps 1234567890

OpenType font format allows including more characters inside
one single font file, so there is no need to have separate fonts
for Old-style, Tabular, Lining figures, ornaments or small
caps, given you are using an OpenType-savvy application such
Adobe InDesign®, Adobe Illustrator®, QuarkXPress 7, etc.
Instead of selecting a different font, one only need to activate
an OpenType feature which controls the desired OpenType
layout feature.
For example, to access Small Caps, go to Character menu,
and select Small Caps. Alternatively you can use a shortcut
Command+Shift+H.
OpenType fonts can contain various styles of numerals within one font.
These different types of numbers are controlled by your typesetting
application (such as Adobe InDesign®, Adobe Illustrator®, QuarkXPress
7, etc) Please note that not all applications support OpenType features.
The software which cannot access these advances, for example
Microsoft Word® will use only display ‘default’ figures. If you do not
specify which style of numerals you would like to use, the application
will use the ‘default’ figures. Lava, for example, uses proportional old-
style figures as default.
If you go to Character and then OpenType menu in Adobe
applications, there you can change the numbers to any other desired
numeral style.

© 2013, Typotheque.com. For information purposes only.