006

font

FontShop
149 9th Street, Suite 302
San Francisco, ca 94103
1 888 ff fonts toll-free
1 415 252 1003 local
www.fontshop.com
 font 006
thInK GLoBaLLY, DEsIGn LocaLLY

Font is published by FontShop The not-so-old adage is pretty simple: “Think globally. Act locally.”
149 9th Street, Suite 302, San Francisco, ca 94103
1 888 ff fonts toll-free · 1 415 252 1003 local · www.fontshop.com

editors
We started using it a few decades ago as an environmental call to
action. But in today’s networked global community, where pollution
drifts and flows across countries and continents, can acting locally
really be enough? Yes and no. Doing the right thing in our own
04
Amos Klausner
communities is an important step to save and sustain our wild places

h
Stephen Coles

09
and designed spaces. But we also need to gain a wider perspective
design and art direction
Conor Mangat / www.typographicproblemsolving.com and focus on the big picture flickering just beyond our
fundamentally narrow view.
creative consultant
Punchcut / www.punchcut.com
Unfortunately, Font won’t give you any tips on sorting recyclables,
proJect manager
Michael Pieracci
but it will suggest another interesting idea: “Think globally. Design

13
locally.” Most of us are pretty good at the latter, but maybe don’t
contributing editor
Tamye Riggs / www.typelife.com have the time or inclination to go global and seek out smaller, more
intimate pockets of design diversity. The problem we run into
image credits
covers: International flight density (diagrammed in 1968), overlaying as we all reach for success is that increasingly internationalized
f Stop 048.015 and 414.016; © their creators / www.fstopimages.com commercial communication is distilling messages down to a
page 3: Tony de Marco by Egly Dejulio; Pepe Menéndez by Laura Llópiz
common denominator. And as certain logos and images (and the

16
∞
pages 10 –12: © their creators / www.fstopimages.com
pages 20 –23: © Tony de Marco copycats they spawn) multiply across the world, finding inspiration
pages 33 –35: © Pepe Menéndez in our own backyards – or someone else’s – is getting harder.
sources
www.factiva.com, www.placenames.com, www.timeanddate.com, www.wikipedia.org In this issue, we hope to bring back some of the wonder that comes
printing with design exploration. We’re featuring the work, the images, and
the concerns of graphic designers in places overlooked in the face of

20
Dome Printing, Sacramento / www.domeprinting.com
clients, kids, and too many deadlines of every kind. Our travels take
us to South Africa, where a dedicated community is designing their
way toward an end to illiteracy. Nina Knežević shows us the new
Sarajevo, while in Brazil, Tony de Marco clears away the clutter to
reveal São Paulo’s ban on advertising. In Iran, Reza Abedini shares

24
the ancient beauty of Farsi calligraphy before we make our final stop
in Havana, Cuba, where Pepe Menéndez dusts off his city’s
typographic details.

In sharing these stories with you, we hope that you’ll gain an

appreciation for the wide variety of contributions made to

29 C
our design community each and every day. We also encourage you
to think about preserving the diversity of our design culture and
even integrating these kinds of cultural nuances back into your
own practice. So sit back and strap on that extra pair of solar panels
you’ve got laying around the studio. Font is taking you for a ride.

33
aMos Klausner
Editor

© 2007 Fsi FontShop International. All rights reserved. All trademarks named herein remain the property of their respective owners.
The views expressed herein are solely the opinions of their respective contributors, and do not necessarily represent the viewpoint
of Fsi. The contents of this publication may not be repurposed or duplicated without express prior written permission. fonts used ff celeste ® ff clan™ (titles and statistics throughout) ff milo™ (caPtions throughout) ff oxide™
;
36
fontshop.com 3
The number 26 doesn’t mean
much to most people. But in
South Africa—where there are
11 official languages, the HIV
infection rate is approaching
20 percent, and the nation ranks
2nd in per capita assaults and
murders—numbers have taken
on new meaning. That’s where
26 comes in. It’s the number
a group of dedicated South
African graphic designers
and writers are using
to bring attention to violent
crime and one of its notable
precursors, illiteracy.

fontshop.com 5
 T he 26 Letters project is built on the idea that, without a sound beloW: If you can’t read, you
can’t succeed when M is for
foundation in language arts, South Africans could have a more Monopoly, by Terri Santos and
Christopher Radcliffe.
difficult time connecting to the world around them. They might left: A is for ayeye, by Jonathan
Edwards and Neo Makongoza.
have trouble creating a sense of belonging, could become bored
opposite, left: V is for violence
and frustrated, and, without words, might ultimately express by Greg Naude and Minky Venter.

themselves with violence. In teams that pair a graphic designer opposite, right: Followed
by the letter ‘N’, the letter ‘K’ silently
with a copywriter, more than fifty professionals from across the signs for peace in a poster by
Francois Smit and Debbie Smit.
country have designed almost seventy posters in support of this
previous page: A is for amandla,
literacy campaign. In some cases, that means depicting a single by Tiffany Turkington-Palmer.

letter, but more often teams have included related words or

phrases that explore, subvert, or celebrate the colloquial nature
of language in multicultural South Africa.

Creative director and copywriter Desiree Brown, spearhead of the

26 Letters project, has been spelling out its benefits. “We call it
literacy against crime. We believe that if people harness the power
of the alphabet and regain a love of reading and writing, we can
work through our problems more constructively and end up with
a less violent society.” An exhibition of the 26 Letters project was
launched at this year’s Design Indaba conference in Cape Town.
REpUBLIc of The show is expected to travel throughout South Africa, Southern
soUth afRIca
Africa, and possibly as far as Nigeria.

“Perhaps someone with a book in his hand

Motto
Unity in diversity

Acknowledged
1488
Through these collaborations, themes converge and the prospect
of impending danger is palpable. In their poster for the letter ‘V’,
may not have a gun in it instead”
Major cities
Bloemfontein (judicial capital)
Greg Naude and Minky Venter portray violence as it’s perpetrated
— Desiree Brown Cape Town (legislative capital)
Johannesburg (largest city)
Pretoria (executive capital) by vermin on their victims. The team of Gaby de Abreu, Sulet
Time zone Schulze, and Brown entwined the letter ‘X’ with hate and barbed
GMT +2

national population (2005)

wire. Jonathan Edwards and Neo Makongoza extended the letter
47,432,000 (or 101/sq. mi.)
‘A’ into ayeye, a Zulu warning cry and an anarchist’s vision of
Johannesburg population (2001)
3,225,812 (or 5,082/sq. mi.) American imperialism.

6 font 006 fonts used ff letter gothic text ® ff soul™ fontshop.com 7

 Wordplay is also popular. To describe just about anything cool
in Afrikaans is to call it lekker. That includes Margie Backhouse
and Harry Kalmer’s poster for the letter ‘L’. The Xhosa language
gets a turn in another poster for the letter ‘A’, this time in
Tiffany Turkington-Palmer’s African call for amandla, or power.
Goalposts help form eish or the letter ‘H’ because Emma Douglas
and Claire Harrison remember exclaiming Eish! (which translates
into something like “oh man”) when South Africa won the 1995
Rugby World Cup and blacks and whites were united both on and
off the field.

With their creativity in check, the designers and writers of the

26 Letters project recognize that solving South Africa’s problems
will take more than their goodwill. But as communication
professionals, they also know that they need to play a role,
however large or small, in helping South Africa and the African
continent confront violence. Brown puts it succinctly when
she says, “Perhaps someone with a book in his hand may not have
a gun in it instead.” That makes the goal of returning literacy
to its place as a pillar of education a worthy cause indeed. pp

top left: L is for lekker, by Margie

Backhouse and Harry Kalmer.

top right: H is for eish, by Emma

Douglas and Claire Harrison.

above: I hate the X, by Gaby de Abreu,

Desiree Brown, and Sulet Schulze.

8 font 006
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 cities are symbols that carry meaning to the world.
Sarajevo, recently rocked by civil war, has been
characterized by a chain of historic events that conjures
strong emotions in its people and the global community.
Alternating between hostility and fear, courage and hope,
it feels like Sarajevo has always been “above the fold.”
Now, with just over a decade of peace under its belt,
Sarajevo is trying to move beyond the headlines and
reclaim its place among the cultural and creative capitals
of Europe. To chart this new course, a generation of
young artists, architects, and designers are pushing past
those shadowy reminders toward a reappraisal of the city.
One rising star is Nina Knežević. Born and raised
in Sarajevo, Knežević held refugee status during
the civil war, studying graphic design at the Academy
saRaJEvo,
bOSNIa-HERZEGOVINa of Arts in neighboring Montenegro. Although physically
nickname removed from the fighting, her family and many of
Seher
her friends stayed behind. Nina did her best to focus
established
1400s
on her work but the reality of war was never far away,
Coordinates
especially when close friends were lost to the fighting.
43° 52' 0" N, 18° 25' 0" E When peace finally returned to Sarajevo, so did Knežević.
Time zone Back home, the newly minted graphic designer
GMT +1

City population (2006)

recognized that gaining a fresh perspective on an old city
602,500 (or 11,035/sq. mi.) had its challenges. “The city and its people have huge

A B C D E SOME
3 FOTHER
G H CITY
I J K L M N O 2 P Q m
T U V W X Z a c b ALEKSANDRA
d e f g hNINA
i j k l R Y 7
KNEŽEVIĆ
n p q r s t o u v BOSNIA-HERZEGOVINA
w x y z 1 4 6 8 9 0

fontshop.com 13
 creative potential, but there just isn’t enough opportunity
for implementation,” she says. In this respect, Knežević
has been lucky, stringing together several years of
successful work for a nice mix of corporate and cultural
clients. This past winter, she was given a chance to
articulate a more personal point of view by participating
in Sarajevo Winter, an annual festival showcasing a
wide range of performances and exhibitions. The theme,
“some other city,” asked artists to consider the concept
of identity, both theirs and the city’s.
For her exhibition, Knežević skipped the highly
charged symbols of the city’s past, instead
photographing her Sarajevo – the ordinary and the
overlooked. In doing so, the designer captured icons that
she hopes will eventually represent a more harmonious
set of everyday experiences. Knežević turned these
images of buildings, bridges, street furniture, public
transportation, and everyday objects into stylized
vector files. “I’ve been collecting dingbat fonts for years,”
Knežević noted. “I knew I wanted to design one of my
own and this project seemed right.” Characters from the
designer’s completed dingbat font were printed and
hung throughout the exhibition space, inviting visitors
to experience her city or reconsider their own.
“Today the city is being rebuilt, it’s recovering,
and it’s open to anyone who wants to live here,”
Knežević is quick to remind people. “We’ve always been this page: With over seventy
subjects, Nina Knežević’s first dingbat
a multicultural community and we’ve always relied font is a unique view of Sarajevo
on the past. Now we’re excited about the future. That’s that’s been crafted through the eyes
of a young designer who is more than
the real Sarajevo.” pp ready to forget the past.

above: To create a compelling

exhibition for Sarajevo’s Winter
Festival, Knežević reproduced
her dingbats in several formats
and paired them with a selection
of historic postcards and artefacts
from the city.

14 font 006 fonts used FF eureka ® mono  ff good™ fontshop.com 15

 1040 L’une des plus prestigieuses
ars DesCenDIaan™
The details of this book
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ustomer Information Thank you for your prompt

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on and a hefty deposit. his city’s street art: “In graffiti you make
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When polishinG silveR forks

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FOUNDRY SPOTLIGHT aRs tYpE®

read more at WWW.fontshop.com/features/neWsletters/

16 font 006 fontshop.com 17

 Withering Heights

@
Life, the Universe, and Everything
MaxIwee
arMCHaIr MoDern ™
“Growing up in Iceland, I was
exposed to Scandinavian
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age. My parents had Arne
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Stefán Kjartansson. salon overlooks downtown Market
Street and all its vistas: retro streetcars,
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aQuaMarIne™
This set of titling serifs,
decorated caps, and
ornaments is one of Gábor
Kóthay’s more ambitious
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HEATHCLIFF
trippers, salary folk dodging panhandlers and
their corrugated solicitations. Protests and
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u It’s me, your Kathy J I’ve come home v
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18 font 006 fontshop.com 19

 sÃo paULo, bRaZIL
Motto
Non ducor, duco
(I am not led, I lead)

established

são
1500s

Coordinates
23° 32' 36" S, 46° 37' 59" W

Time zone
GMT −3

City population (2006)

11,016,703 (or 18,733/sq. mi.)

paulo
no
logo
With a population closing in on twelve million, skyscrapers
stacked as far as the eye can see, and some of the worst
traffic jams in South America, it’s no wonder that São Paulo
is home to one the world’s largest fleets of private helicopters.
Hopping from one helipad to the next, the view from above
is nothing but blue sky. Back on the ground, there’s a movement
afoot to turn a new leaf in the urban jungle.

20 font 006 fontshop.com 21

 Earlier this year, São Paulo mayor Gilberto Kassab proposed new
“clean city” legislation that would outlaw all forms of outdoor
advertising. He likened his city’s visual pollution to that of noise, air,
and water pollution, even carefully dropping Al Gore’s name during
a press conference. After much debate and a few legal challenges,
Brazil’s economic capital went ad-free. Over 13,000 billboards,
many of them installed illegally, were repainted or removed. The
city’s 17,000 buses were stripped of commercial banners, and even
advertising blimps were outlawed — although courts eventually
determined that São Paulo’s airspace came under federal jurisdiction.

Naturally, the ad community responded. They insisted on the

public’s right to information and lamented what they said would be
an inevitable loss of jobs. Surprisingly for a shift of this magnitude,
public opinion strongly supported the ban; so did Tony de Marco.
The São Paulo-based typographer and fine artist has always been
fiercely dedicated to the city he loves, having paid homage with
several fonts derived from the city’s active urban graffiti scene.
As the outdoor ads have come down, de Marco has documented
the process, as well as the metal skeletons left behind, with a series
of arresting photographs.

De Marco credits the mayor for the city’s visual transformation and
is impressed with the results. “São Paulo was covered in horrible
images and there were no laws to regulate them. Anyone could rent
out their garden or their building to a company that would insert
another gigantic panel into the fabric of the city. It was total chaos
and much of it was pure garbage,” he says. In his opinion, “The
landscape is not media. It can’t be sold. To see the sun, the stars,
the mountains, and the horizon, that’s the right of every citizen.”

Removing billboards revealed more than the forgotten details

of São Paulo’s art deco buildings. Ironically, it also exposed the
favelas (shanty towns) and sweatshops that had been conveniently
hidden behind them. Another set of unexpected, if less dramatic,
social concerns were revealed when Paulistanos realized that
billboards also represented the visual reference points they used
to pick their way through a congested and confusing city. When
they disappeared, so did the core elements of their navigational
language. Residents now find themselves redefining the city with a
new language that accounts for these changes and still makes sense
of the sprawling metropolis.

While de Marco believes the city is better off, he knows that it’s
still too early for a proper evaluation of the results. “The playing
field has been levelled for legal and illegal advertising, and we
have the chance to start fresh. It’s time to carefully consider
how we should reintroduce this part of our culture back into the
city.” And already there are signs that a conversation is underway
as the mayor, city council members, and São Paulo’s business
community begin hammering out the details that will eventually
bring virtue and vice back to Brazil’s capitalist heart. pp

see more of tony de marco’s photos at www.fontmag.com

fonts used  ff Oxide™  ff sari™

 tEhRan, IRaN
nickname
The city of 72 nations

established
6000 bC

Coordinates
25° 41' 46" N, 51° 25' 23" E

Time zone
GMT +3:30

I
City population (2006)
7,797,520 (or 25,899/sq. mi.)

Reza
opposite: IRANI, one of a series
of posters announcing the Iranian
Cultural Poster Exhibition (2004).

beloW: Logo for the Second

International Typography Festival
of the Islamic World (2000).

Abedini
N
Life in modern Iran is a careful
balancing act where timeless
traditions compete against the
inevitable advance of a global
economy, all played out against
the backdrop of geopolitics in the
cradle of civilization. No one is
more aware of this dichotomy than
Iranian graphic designer Reza
Abedini. As a student, Abedini
studied archaelogy in Isfahan, the
ancient city famous for its Islamic
architecture. It was a formative
experience, helping him visualize
Iranian culture, internalize
the evolution of Persian art, and
experiment with painting and
printmaking before choosing a
career in graphic design.

fontshop.com 25

above left: Wordless, a poster for
an exhibition of Abedini’s work (2007).
above right: Photo + Graphic,
a poster for an exhibition of the work
of Abedini and photographer Mehran
Mohajer (2004).
right: Two thousand sketches, a
poster for an exhibition of drawings
by Farhad Gavzan (2000).
26 font 006
above: Birth of Typography out of the
Spirit of Calligraphy. This poster was
developed for Abedini’s lecture and
workshop in Isfahan (2006).
beloW: Graphic, a logotype for the
2004 graphic design biennial in Tehran.
font used ff cellini™
Along the way, Abedini’s curiosity was piqued by the
bittersweet artistic and cultural shifts that coincided
with Persia’s Qajar dynasty of the nineteenth and early
twentieth centuries. In 1779, the feuding tribes of
Persia were unified under the rule of Agha Mohammed
Khan’s Qajar tribe. Political stability led to patronage,
creativity, and technological progress. It was also a
time of cultural vulnerability as Persia opened itself
to the West and European influence impacted artistic
practice. A heritage of poetry surrendered to novels,
the painting of miniatures was sacrificed to the lure
of large canvases, opulence was abandoned in favor of
naturalism, and new technologies like photography
and lithography gained favor.
Abedini recognizes that the dynasty’s adoption of
lithography and its acceptance of a Western writing
system was a bitter pill to swallow for a culture that had
always been dedicated to calligraphy and the word.
Abedini shared his regret. “Missionaries needed to
have Persian script printed as separate letters. That
destroyed the language because Persian is written,
with all the letters connected. It was no longer possible
to have this liaison for good composition. Print was
a disaster for Persian script.” Conversely, Abedini
appreciated the ways in which Qajar artists were
able to harness the printing press, photography, and
(eventually) fi lm to their advantage in creating highly inventive work that
continues to inform today’s visual artists.
Following his graduation at the age of nineteen, Abedini landed his fi rst
professional job – designing a monthly magazine for a local fi lm foundation.
Although it was printed on a photocopier, Abedini’s obvious skill attracted
new clients. Many were also in the fi lm industry and just about all of them
were surprised by his youth. “I was too young to look trustworthy,” he
recalls. “I remember once I dropped off a project with a client who asked
fontshop.com 27
above Left: One thousand flying
wings, one thousand book titles –
Abedini’s poster for a book
exhibition (2000).
above right: Dreams of Dust,
a film poster designed by Abedini
in 2003.
28 font 006
me why Mr. Abedini never came to deliver his work in person, adding that
he would really like to meet him some day.”
Youth may have been an asset when computers arrived in Iran just after
the revolution and Farsi script was digitized. Like his Qajar forefathers,
Abedini embraced technology, using new tools and the flexibility they
offered to both restore and reinterpret calligraphy in the printed piece.
By manipulating individual letters, finessing letter patterns, and breaking
up the baseline, he revived the visual, poetic, and adaptable qualities of the
written language. With the addition of Qajar-inspired photography in his
work, Abedini wove letters and images into intricate patterns that would
rise and fall like the folds of a hijab (veil or covering). But he is not without
his critics, especially in the calligraphic community. Some lettering artists
worry that, by taking too many liberties and pushing the envelope too far,
the graphic designer is further degrading the historic charms of their art.
Abedini understands their concerns, but recognizes that experimentation
and change are a necessary part of evolution. “I get so excited,” the designer
says, referring to his work between the sacred space of word and image (or
word as image).
Given the Western criticism of Iran’s government, many question why
Abedini doesn’t include more overt political commentary in his work.
He says, “I view it to be my role to preserve our culture, not overthrow
governments.” Of greater concern to Abedini is a Euro-centric definition
of typography that, in his estimate, bases its evaluation of writing systems
on Latin examples. Always working toward a reevaluation, this pioneer will
continue to share his traditions and proffer new reasons to embrace non-
Latin letterforms. pp
 The New FontFonts
ff Sanuk™ xavier dupré

Take a swim across the

Bering Strait, take a train
down to New Cross Gate
Jostle with unruly tourists
in St Mark’s Square,
do a few things you’ve
never quite dared

fontshop.com 29
 g in OpenType format | FF Blur ®
OT | G Disturbance® OT | FF Dot Matrix™ OT | FF Eboy™ OT | FF Letter Gothic™ Mono OT | FF Let ter Gothic Text® OT | FF Market® OT  | FF QType™ Pro | ff Seria® Pro | ff Seria® Sans Pro | ff Signa™ Pro | FF Signa™ Correspondence Pro

Gate 32, now Boarding ff Clan™ Łukasz dziedzic

Buckle up! ff Atomium™ donald beekman

Window or aisle? ff Holmen™ per baasch jørgensen

Please return your tray tables to their locked and upright position
ff Milo™ mike abbink

Any chance of flying over the fjord again?

Papiere bitte!
ff Speak™ jan maack

This way for Secondary Processing

ff Absara™ Headline and Sans Headline xavier dupré

Is the purpose of your visit business or pleasure?

ff Good™ Łukasz dziedzic

ff Soul™ donald beekman Leave all your baggage behind...

30 font 006 fontshop.com 31
 Made with FontFont is not the
catalog of a type library.
it is a catalog of possibilities
and of ways to enjoy type.
Edited by FontShop co- Replete with real-world
founder Erik Spiekermann examples of FontFonts in
and Dutch writer-designer use, contributors include
Jan Middendorp, the 352- Strange Attractors, John D.
page book showcases the Berry, Peter Bilak, Neville
history and influence of Brody, Susanna Dulkinys,
the award-winning foundry. Eboy, Rian Hughes, Max
Kisman, Akira Kobayashi,
LettError, Ellen Lupton,
Ian Lynam, Martin Majoor,
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Scher, Christian Schwartz,
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Made with FontFont

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 C
U
“for design to
play an active
and positive
role in the life
of a community
you need more
than wishes and
good intentions”
—pepe Menéndez

B
A
Old and new live side by side in Cuba. It’s a complicated
relationship, tangled up in years of Spanish and AmericaN
influence, now punctuated by Castro’s revolution.
If the decaying façades of neoclassical
apartment buildings and the rumble
of Detroit’s mid-century roadmasters
represent a certain status quo, then Pepe
Menéndez typifies Cuba’s future. One of
the first graphic design students to gradu-
ate from the country’s only design school,
el Instituto Superior de Diseño Industrial
(ISDI), in 1989, he and his fellow gradu-
ates were excited and optimistic about the
future. “We started the eruption, in the
early 1990s, of a new generation
of Cuban graphic designers that
came together with the idea that
we could improve the lives of
our people, improve the country,
and change the history of Cuban
design,” Menéndez recalls.
What Menéndez didn’t know
was that, under the dual pres-
sures of economic and political
liberalization, the Soviet Union
and related socialist states would
collapse, as would his transfor-
mative dream. Almost overnight,
Cuba lost sympathetic trade agreements,
agricultural subsidies, and the technical as-
sistance it had relied upon since the revolu-
tion. The country’s economy sputtered and
it launched what has been officially called
the “special period.” Under new economic
restraints, many of the agencies directly
responsible for supporting the graphic de-
sign community (and the global success of
the Cuban poster) lost much of their state
support. Mired in financial difficulty, these
agencies – including Editora Politica, the
Cuban Film Institute, and the Organiza-
tion in Solidarity with the People of Asia,
Africa, and Latin America (OSPAAAL) – are
still struggling to reinvent themselves as
self-sustaining entities. At the center of the
cultural crisis, the Cuban design industry
Havana, Cuba is being challenged.
Nickname
To think that almost twenty years
Ciudad de las Columnas have passed since Menéndez graduated
(City of Columns)
from ISDI and materials like paper and
Established
1515
ink remain in short supply could be
Coordinates
23° 8' 0" N, 82° 23' 0" W
Time zone
GMT −5
City population (2005)
2,328,000 (or 7,908/sq. mi.)
34 font 006 fonts used  ff maiola™  ff moderne gothics™
disheartening, but Menéndez is pragmatic
about the situation. “I realize that in order
for design to play an active and positive role
in the life of a community you need more
than wishes and good intentions,” he says.
As a nation, Cuba continues to look
for outside investment and it’s capitalizing
on a celebrated culture by taking steps
to preserve Havana’s historic quarters and
architectural treasures. The hope is that
tourism will get the economic engine back
on track. As the design director for one
of Cuba’s most active cultural centers,
Casa de las Americas, Menéndez is equally
committed to redevelopment, doing what
he can to bring attention to Cuba’s design
community. That includes playing host
to Icograda’s 2007 World Design Congress.
Even though Menéndez is resolutely
focused on the future, he hasn’t forgotten
his roots. Walking the neighborhoods
of Havana, he’s started his own historic
preservation project, collecting photo-
graphs of typography in use throughout the
city. Noting that one day he felt the need
to begin collecting these attractive details,
Menéndez says, “I admire the variety of
formal solutions and the fine finishing. It’s
obvious that these letters have been manip-
ulated with expressive intentions according
to the style of building, the commercial
message, or the owner’s status.” After
so many years of vandalism and neglect,
he is surprised these examples still exist
and, after six years of collecting images,
is always thrilled to find a new detail half
hidden behind a patina of rust or erosion.
“The photos combine my professional
vocation with the enjoyment of a person on
foot who is attentive to the city,” Menéndez
smiles. He knows that with each picture,
his love of the city is transformed into
a romantic portrait of a place where time
is standing still, if only for the last few
minutes before the alarm sounds and
Cuba is changed again. pp
 Guaranteed
against dodgy parts,
shoddy workmanship,

qil; ° ÅLPHOX
& rubbishy batteries ClassICa™
ClassICa PrestIGe™
The Classica types are an
elegant pairing of capitals
classica,™ classica prestige ™ with roots in the Latin
inscriptions of the first
Tucked away high century and a lowercase

Ingredients: enriched flour (wheat flour, niacin,

in the French Alps and
thus removed from mainstream
design, Thierry Puyfoulhoux is free
from the chancery
writings and books of

sheB1],
was a bit of a mountainous
the Renaissance.

reduced iron, thiamine mononitrate [vitamin

to work from instinct. This makes
his typefaces highly original and very
PrÉsenCe™

sports girl, if you get my drift

uncommon. If he has any central source of
inspiration, it comes from his years at Paris’ This modern sans serif

riboflavin [vitamin B2], folic acid), high fructose

Imprimerie Nationale under the tutelage
of José Mendoza y Almeida, one of
Spain’s foremost type designers. His prÉsence ™
features a light stroke
contrast. Replete with
subtle original forms,

corn syrup, sugar, soybean oil, yellow corn syrup,

Eat
surroundings, family, and kayak Présence is suitable for
only inspire him more. text and display work.

Insouciant
partially hydrogrenaded cottonseed oil, calcium bIGtICy™
Puyfoulhoux says of his
impactful display design:

carbonate (source of calcium), baking soda, salt, soy “For the Maxi style, I tried
to reduce the inner white
spaces to their minimum.

lecithin (emulsifier), artificial flavour bigticY ™

I had in mind those
amazing stone walls that
one can see in the ancient
Incan cities in Peru.”

Aesthetically pleasing Small is more

alInea™
This suite’s members—
a contrasted serif, neutral
sans, and crisp incised
style—are designed

less is beautiful (or something like that)

to work harmoniously
in the same document.

alinea ™
aDesso™
Warm and friendly,
Adesso is a fresh

no. 13706
alternative to typewriter

Polish old copper pans

and grotesque typefaces.

MaDIsonIan™

with ketchup
The creator of this face
must have raised some
eyebrows back in the 1850s.
It feels like a Spencerian
script at first glance, then
adesso ™ a Bodoni italic, then the

“ê û Ñb
kinky little flame i-dots and
bizarre descenders enter
the fray. Puyfoulhoux found

1024 Bytes
Madisonian in an old
foundry catalog and added
Bold and Engraved styles.

madisonian ™

FOUNDRY SPOTLIGHT pRÉsEncE tYpo®

read more at WWW.fontshop.com/features/neWsletters/

36 font 006 fontshop.com 37

BAKED SNACK CRACKERS
Don’t be shy about asking us for samples, tech support,
Thank you, Sir, may I have another
Hauser sCrIPt™

¿Que?
Among the many
typographic valuables
unearthed by Red Rooster hauser script ™
or to find out more about us. The number in the corner
founder Steve Jackaman
are original drawings
from Ludlow, an important will put you in touch with our insanity.

WASHING
American foundry from
the metal era. This
sprightly script is one of
the gems of this library.

VeneZuela™

THE LIZARD
Venezuela and its cousin
Honduras™ celebrate
the decorative fill lettering
of the 1920s and ’30s.

lesMore™

eLearning Objectives:
veneZuela ™
Paul Hickson lovingly
digitized the work of Les

4263
Usherwood, a mid-century
pioneer in Canadian
type design. The result is
Lesmore, one of the few
truly original sans serifs to
Dernière étape Champs-Élysées
lesmore ™
come out of North America.

alPHabet souP™

DOES MY BUM LOOK BIG IN THIS?

Jackaman created this soft
headliner back in the film
type days at Typographic
House in Boston. It quickly alphabet soup ™
became popular then

VERSION 2.0
and will again now that
it’s in digital form.

GranD Canyon™
As deep and majestic as
the natural wonder itself,
the Grand Canyon fonts
come in a variety of fills
and shadows to replicate
the letterpressed posters
of the American West.

Canterbury™ sans
Sans and swash come
together in this beautifully
modern take on 1920s
ornamental typography.
This graceful design is
NO SHOES· NO SHIRT· NO SERVICE
grand canYon ™
“Frederick Goudy
said, ‘The old guys stole
all our best ideas.’ If that’s the
case, we’re busy digging all the ‘old
guys’ up!” jokes Steve Jackaman in his
also available in its original playful English timbre. He emigrated to the
serif flavor. States in 1977 and brought over 100 exclusive
display typefaces with him. Since then, his

Artificial Intelligence
team at International TypeFounders, Inc., has
licensed and digitized more metal, wood,
and film type with great care and respect
for the original designers.
see WWW.fontmag.com for more
of the red rooster storY
canterburY ™ sans

FOUNDRY SPOTLIGHT RED RoostER coLLEctIon®

read more at WWW.fontshop.com/features/neWsletters/

38 font 006 fontshop.com 39