Munchenstein Display

About

The geometric, boxy letters of Münchenstein Display have a striking presence due to its extra-wide proportions, more radical than Microgramma and Eurostile, both of which date from around the same time. Technical, and suggestive of architecture and technology of the 1960s, its super-elliptical forms are distinct and functional.

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In its most general sense, the term ‘world’ refers to the totality of entities, to the whole of reality or to everything that is. The nature of the world has been conceptualized differently in different fields. Some conceptions see the world as unique while others talk of a ‘plurality of worlds’. Some treat the world as one simple object while others analyze the world as a complex made up of many parts. In scientific cosmology the world or universe is commonly defined as ’the totality of all space and time; all that is, has been, and will be’. Theories of modality, on the other hand, talk of possible worlds as complete and consistent ways how things could have been. Phenomenology, starting from the horizon of co-given objects present in the periphery of every experience, defines the world as the biggest horizon or the ‘horizon of all horizons’. In philosophy of mind, the world is commonly contrasted with the mind as that which is represented by the mind. Theology conceptualizes the world in relation to God, for example, as God’s creation, as identical to God or as the two being interdependent. In religions, there is often a tendency to downgrade the material or sensory world in favor of a spiritual world to be sought through religious practice. A comprehensive representation of the world and our place in it, as is commonly found in religions, is known as a worldview. Cosmogony is the field that studies the origin or creation of the world while eschatology refers to the science or doctrine of the last things or of the end of the world.
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In its most general sense, the term ‘world’ refers to the totality of entities, to the whole of reality or to everything that is. The nature of the world has been conceptualized differently in different fields. Some conceptions see the world as unique while others talk of a ‘plurality of worlds’. Some treat the world as one simple object while others analyze the world as a complex made up of many parts. In scientific cosmology the world or universe is commonly defined as ’the totality of all space and time; all that is, has been, and will be’. Theories of modality, on the other hand, talk of possible worlds as complete and consistent ways how things could have been. Phenomenology, starting from the horizon of co-given objects present in the periphery of every experience, defines the world as the biggest horizon or the ‘horizon of all horizons’. In philosophy of mind, the world is commonly contrasted with the mind as that which is represented by the mind. Theology conceptualizes the world in relation to God, for example, as God’s creation, as identical to God or as the two being interdependent. In religions, there is often a tendency to downgrade the material or sensory world in favor of a spiritual world to be sought through religious practice. A comprehensive representation of the world and our place in it, as is commonly found in religions, is known as a worldview. Cosmogony is the field that studies the origin or creation of the world while eschatology refers to the science or doctrine of the last things or of the end of the world.

History

Over the five decades of his career, Swiss type designer Max Miedinger designed just three typefaces. His second design was a phenomenal success: Neue Haas Grotesk (1957) – renamed Helvetica in 1960. There was no such success for his first (Pro Arte, 1954) and third typefaces (Horizontal, 1965), which have been largely forgotten over the course of history. Nikola Djurek’s interest in these forgotten typefaces was sparked by their distinct, wide forms, which to him offered potential beyond their original single-style, capitals-only version. The new Münchenstein font family resurrects a forgotten design history while bringing the design into the modern age, honouring the work of Max Miedinger and the Haas Foundry.

Münchenstein, Design Concept

An expression of the time

The geometric, boxy letters of Münchenstein have a striking presence, more radical than Eurostile (1962) yet without ever having enjoyed Eurostile’s popularity. In fact, Miedinger designed Horizontal because ‘progressive graphic designers’ wanted ‘an extra-wide modern Grotesk titling face’ that they could combine with a variety of other serif and sans serif text faces. These wide typefaces with super-elliptical forms evoke the architecture and technology of the 1960s. The rounded rectangle aesthetics are a forward-looking and optimistic expression of a time that brought immense cultural change and embraced progressive idealism.

Münchenstein

Münchenstein type family

Djurek has created three families of fonts that complete each other, and that can play a leading role in any expressive piece of design while also supporting layouts in smaller sizes. Münchenstein Display is a wide and boxy titling typeface intended for large text sizes; Münchenstein Text is a precise, geometric typeface that is suitable for small text; and Münchenstein Slab is a quirky, narrow slab serif with inverted stroke contrast that works best when generously tracked out.

Münchenstein type family

Variable fonts, colour fonts

Münchenstein (named after the place where the Haas Type Foundry was based) comes not only with static OpenType fonts, but also with variable versions, whereby the weight and forward and backward slants can be controlled. In addition to the conventional format, Münchenstein Slab also comes in a colour-font format, which randomly cycles through a range of vivid colours for each of its characters. To take advantage of these additional versions, you will need to use applications that support colour and variable fonts.

Münchenstein, Variable fonts, color fonts

Printed type specimen

Printed type specimen of Münchenstein presents the background story of the typeface written by Indra Kupferschmid, in a two part specimen designed by Atelier Carvalho Bernau, and showcases this new typefaces. Get a copy here.

Münchenstein, printed type specimen

  • Released2023

Cyrillic

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  • (H:
    (H:

    Case Sensitive Forms

    case

    When the ‘change to caps’ function 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.
  • ->
    ->

    Arrow formation

    dlig

    The discretionary ligature feature creates real arrows when you type the combination -> (right arrow), <- (left arrow), -^ (up arrow) or ^- (down arrow).
  • ж
    ж

    Bulgarian Cyrillic

    Bulgarian readers prefer to set text in a variation of Cyrillic that differs from the standard Cyrillic by using shapes of letters based on cursive handwriting, where letters are easier to tell apart. Typotheque fonts use standard Cyrillic forms as default, and Bulgarian Cyrillic is applied when the text is tagged as Bulgarian. When the Localised forms feature is not available, you can also apply the same forms by using a Stylistic Set.
  • п
    п

    Serbian & Macedonian Cyrillic

    Serbian and Macedonian Cyrillic has different preferred shapes for some italic letters, which differ from the standard Cyrillic. Typotheque fonts use standard Cyrillic forms as default, and Serbian Cyrillic italic is applied when the text is tagged as Serbian Or Macedonian. When the Localised forms feature is not available, you can also apply the same forms by using a Stylistic Set.
  • 1:0
    1:0

    Vertically centered colon

    calt

    This stylistic set centers the colon. Same behaviour can be triggered by the Contextual Alternative feature, which is automatically applied when colon is followed by a lining numeral or a capital letter.
  • Ξ
    Ξ

    Alternative Xi

    ss02

    Alternative version of the upper case Greek letter ‘Xi’
  • Polytonic Greek

    ss03

    This stylistic set activates the Polytonic Greek alternative glyphs