Latin

Regular

Munchenstein Text Variable

Ως σύμπαν νοείται το σύνολο του χώρου και του χρόνου και των περιεχομένων τους. Σύμφωνα με την επιστήμη το σύμπαν αφορά το χωροχρονικό συνεχές, στο οποίο περιλαμβάνεται το σύνολο της ύλης, της ενέργειας και της πληροφορίας. Το σύμπαν, στις μεγάλες διαστάσεις του, είναι αντικείμενο μελέτης της επιστήμης της αστροφυσικής. Στις πολύ μικρές διαστάσεις το σύμπαν το εξερευνά η κβαντική μηχανική. Ενδιάμεσα προσπαθούν να κατανοήσουν τη λειτουργία του και την υπόστασή του όλες οι επιστήμες. Οι γνωστές μορφές της ενέργειας, όπως το φως, η θερμότητα κτλ. συνδέονται με την ύλη μέσα από σχέσεις ανταλλαγής. Σύμφωνα με τη σύγχρονη Φυσική, υπάρχει ισοδυναμία μεταξύ ύλης και ενέργειας, οπότε και οι δύο συνολικά απαρτίζουν το σύμπαν. Μέσα στο σύμπαν ενδεχομένως περιλαμβάνεται και η σκοτεινή ύλη, όχι όμως απαραίτητα και η σκοτεινή ενέργεια. Το σύμπαν αφορά την τωρινή κατάσταση της ύλης και της ενέργειάς του. Η εικόνα της παρατήρησης αστέρων, γαλαξιών κλπ είναι ψευδής σε ότι αφορά το παρόν και δεν αποτελεί κατ’ ανάγκη τη μορφή που έχει το σύμπαν σήμερα, καθώς ένας αστέρας π.χ. μπορεί να έχει πάψει να υπάρχει και να μην το γνωρίζουμε ακόμα γιατί δεν έχει ταξιδέψει ως εμάς η πληροφορία αυτή μέσω του φωτός. Υποθέτοντας πως στο σύμπαν δεν εισρέει ύλη ή ενέργεια, και ούτε χάνονται από αυτό, η εικόνα του παρελθόντος, με βάση την ισοδυναμία ύλης και ενέργειας, μας βοηθάει να εκτιμήσουμε ποσοτικά το σύνολό τους. Θεωρίες όπως αυτή της μεγάλης έκρηξης εκτιμούν ότι το σχήμα του Σύμπαντος είναι, το πιθανότερο, υπερσφαιρικό. Μια υπερσφαίρα (η οποία ορίζεται σε 4 διαστάσεις) μπορεί να νοηθεί αφαιρετικά ως μια σφαίρα τριών διαστάσεων της οποίας η ακτίνα συνεχώς μεταβάλλεται, μοιάζοντας με μπαλόνι που διαστέλλεται.

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

History

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

An expression of the time

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. <a href="https://typotheque.com/fonts/munchenstein-display">Münchenstein Display</a> is a wide and boxy titling typeface intended for large text sizes; <a href="https://typotheque.com/fonts/munchenstein-text">Münchenstein Text</a> is a precise, geometric typeface that is suitable for small text; and <a href="https://typotheque.com/fonts/munchenstein-slab">Münchenstein Slab</a> is a quirky, narrow slab serif with inverted stroke contrast that works best when generously tracked out.

Münchenstein type family

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, <a href="https://typotheque.com/fonts/munchenstein-slab">Münchenstein Slab</a> 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

Variable fonts, colour fonts

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. <a href="https://www.typotheque.com/books/muenchenstein-type-specimen">Get a copy here</a>.

Münchenstein, printed type specimen

Printed type specimen

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Design

Contributors

Engineering

Released

To avoid confusion between a zero and a capital O, a slashed zero glyph is available in most Typotheque fonts. It is activated by an OpenType feature.

Slashed zero

In addition to the slashed zero, to avoid a possible confusion between a zero and a capital O, a zero with a dot is available in most Typotheque fonts. It is activated by the Stylistic Set.

Dotted zero

Most Typotheque fonts implement the Small Caps feature. In Adobe applications you can replace lower case letters with small caps using the keyboard shortcut (⌘ + ⇧ + H), or the OpenType menu.

Small caps

There are two methods of applying small capitals. The first one replaces only lower case letters with small caps. The second method, All Small Caps, also replaces capital letters with small caps. It also replaces regular quotation marks, exclamation points, question marks, slashes and usually also numerals with small caps variants.

All small capitals

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.

Case-sensitive forms

Typotheque fonts contain various styles of numerals within one font. Proportional Lining Figures come standard in all our headline and newspaper fonts. Their proportions are specifically designed to work well with capital letters (for example, in headlines). The proportional Old-style Figures feature changes standard figures to Old-style Figures which work well in running text, as they have the same proportions as lower case letters with their ascenders and descenders.

Proportional old-style figures

Tabular figures are for use in tables where numerals need to be aligned vertically. Tabular figures are available as a OpenType feature and have a fixed width in all weights. Typotheque fonts include both Lining and Old-style Tabular figures.

Tabular lining figures

Tabular old-style figures

Typotheque OpenType fonts already include a number of pre-designed diagonal fractions. The fraction feature allows you to create other fractions quickly and easily.

Arbitrary fractions

Max Miedinger, the designer of Helvetica, created Horizontal in 1965 as a capitals-only typeface in one weight (lowercases were added a few years later by Miedinger). Nikola Djurek has now revisited the typeface, adding a range of weights and slants. With its geometric precision, Münchenstein Text is suitable for running text and headlines and is suggestive of technology and architecture.

Munchenstein Text

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