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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

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