Viceroy. Andrea Tinnes + Verena Gerlach VICEROY SPECIMEN.
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1 Andrea Tinnes + Verena Gerlach SPECIMEN CO
2 2 R R E G U L A R 7 0 / 7 7 pt ABCDEFGHI JKLMNOPQRS TUVWXYZ abcdefghijklm nopqrstuvwxyz ({[ARoCOgioo]}) AEMNRU $
3 3 ky I N FO R M AT I O N V I C E R O Y R E G U L A R 100 pt DESIGN Andrea Tinnes Verena Gerlach YEAR 2007 STYLE Sans WEIGHTS 3 weights, 1 italic FO R M AT OpenType CHARACTERS 656 per font FOUNDRY typecuts is a custom typeface commissioned by ReVerb / Los Angeles for Hotel to complement the existing logotype and motif (while replacing Optima Nova). The goal was to produce a new typeface family which satisfies the multiple utilitarian applications of the brand and further differentiates as a purveyor of distinction and design. The result is a contemporary elegant sans serif typeface with a high contrast between thick and thin strokes. is a unique synthesis of a geometric and humanist sans serif face, introducing more dynamic into the concept of geometric sans serif fonts. The letterforms are balanced and the typeface has an even rhythm resulting in a contemporary visual language. The italc version has a slightly flared stroke combining the clarity and elegance of with fluidity and rhythm. A further feature is a rather large x-height, making legible also in small point sizes. comes with many typographic features such as lining and old-style figures, ligatures, alternate characters such as unicase and stencil versions and a variety of swash capitals. V I C E R O Y R E G U L A R 1 4 / 1 8 pt T R A C K I N G 4 0
4 4 Roy DESIGN CONCEPT R E G U L A R + I T A L I C pt, 136 pt, 60 pt Hhgseky ALLKoAU 256agaehgbfghky
5 5 SOUTHWEST NORTHEAST subterranean pressures THE PLANETS AND MOONS ROUND QUEST item distance gift RoKoCHCOLALLLYOQOC ocean
6 6 Q WEIGHTS / p t, 4 3 / 45 p t, 2 0 / 2 5 p t Light Regular Reg. Italic LIGHT Bold REGULAR REG. ITALIC BOLD ABCDEFG abcdefg Light ABCDEFG abcdefg Regular ABCDEFG abcdefg Reg. Italic ABCDEFG abcdefg Bold
7 7 R E G U L A R 3 4 / 3 8 pt R E G U L A R 3 4 / 3 8 pt, ALTERNATES ABCDEFGHI AACHCOEGH JKLMNOPQRS JKoLLMNHPQRS TUVWXYZ THEVWXYZ abcdefghijklm abchdeffjghitm nopqrstuvwxyz nocpqrystvwxyz ({[%]}) { * } $ Nº /ABCDE Regular R E G U L A R 9 8 / 9 2 pt R E G U L A R 5 0 pt T R A C K I N G 6 0 HANDGLOVES
8 8 R E G U L A R 1 6 / 1 9 pt C A P I T A L T R A C K I N G 4 5 The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, SOMETIMES DOING OR PRAISING BAD WORK BECAUSE IT MAY ILLUSTRATE A RULE or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, R E G U L A R 1 2 / 1 5 pt C A P I T A L T R A C K I N G 4 0 The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. IN THIS STAGE ALSO THE ARTIST LIKES TO PRETEND THAT HIS ART IS MYSTERY, NOT TO BE APPROACHED, STILL LESS SHARED, BY THE PROFANE; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material R E G U L A R 9 / 1 1 pt The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and R E G U L A R 7 / 9 pt The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they
9 9 I T A L I C 3 4 / 3 8 pt I T A L I C 3 4 / 3 8 pt, ALTERNATES ABCDEFGHI AACHCOEGH JKLMNOPQRS JKoLLMNHPQRS TUVWXYZ THEVWXYZ abcdefghijklm abchdeffjghitm nopqrstuvwxyz nocpqrystvwxyz ({[%]}) { * } $ Nº /ABCDE Italic I T A L I C 9 8 / 9 2 pt I T A L I C 5 0 pt T R A C K I N G 6 0 HANDGLOVES
10 10 R E G U L A R 1 6 / 1 9 pt C A P I T A L T R A C K I N G 4 5 The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, SOMETIMES DOING OR PRAISING BAD WORK BECAUSE IT MAY ILLUSTRATE A RULE or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, actr E G U L A R 1 2 / 1 5 pt C A P I T A L T R A C K I N G 4 0 The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. IN THIS STAGE ALSO THE ARTIST LIKES TO PRETEND THAT HIS ART IS MYSTERY, NOT TO BE APPROACHED, STILL LESS SHARED, BY THE PROFANE; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, R E G U L A R 9 / 1 1 pt The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and en- R E G U L A R 7 / 9 pt The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they are now absorbed
11 11 B O L D 3 4 / 3 8 pt B O L D 3 4 / 3 8 pt, ALTERNATES ABCDEFGHI AACHCOEGH JKLMNOPQRS JKoLLMNHPQRS TUVWXYZ THEVWXYZ abcdefghijklm abchdeffjghitm nopqrstuvwxyz nocpqrystvwxyz ({[%]}) { * } $ Nº /ABCDE Bold B O L D 9 8 / 9 2 pt B O L D 5 0 pt T R A C K I N G 6 0 HANDGLOVES
12 12 B O L D 1 6 / 1 9 pt C A P I T A L T R A C K I N G 4 0 The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, SOMETIMES DOING OR PRAISING BAD WORK BECAUSE IT MAY ILLUSTRATE A RULE or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, B O L D 1 2 / 1 5 pt C A P I T A L T R A C K I N G 4 0 The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. IN THIS STAGE ALSO THE ARTIST LIKES TO PRETEND THAT HIS ART IS MYSTERY, NOT TO BE APPROACHED, STILL LESS SHARED, BY THE PROFANE; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material B O L D 9 / 1 1 pt The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true pur- B O L D 7 / 9 pt The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art.in the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they
13 13 L I G H T 3 4 / 3 8 pt L I G H T 3 4 / 3 8 pt, ALTERNATES ABCDEFGHI AACHCOEGH JKLMNOPQRS JKoLLMNHPQRS TUVWXYZ THEVWXYZ abcdefghijklm abchdeffjghitm nopqrstuvwxyz nocpqrystvwxyz ({[%]}) { * } $ Nº /ABCDE Light L I G H T 9 8 / 9 2 pt L I G H T 5 0 pt T R A C K I N G 6 0 HANDGLOVES
14 14 R E G U L A R 1 6 / 1 9 pt C A P I T A L T R A C K I N G 4 5 The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, SOMETIMES DOING OR PRAISING BAD WORK BECAUSE IT MAY ILLUSTRATE A RULE or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, R E G U L A R 1 2 / 1 5 pt C A P I T A L T R A C K I N G 4 0 The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. IN THIS STAGE ALSO THE ARTIST LIKES TO PRETEND THAT HIS ART IS MYSTERY, NOT TO BE APPROACHED, STILL LESS SHARED, BY THE PROFANE; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material R E G U L A R 9 / 1 1 pt The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and R E G U L A R 7 / 9 pt The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they
15 15 CHARACTER SET Uppercase A B CD E FGH I J K L M N OPQR STU VW X YZ Lowercase a bcdefg h i j k l mn o p q r s tu v wx yz Numerals Ligatures AAADAEAVCHCOETFFFFIFFLFIFLFTHDHEHFHPHR KAKoLALLLYMBMEMHMKMPNENNOCOCOGOG OOOOOQOQRARoTHTHETTTVTYUMUNVA chctfbffjfftfhfifjfkflftgiipitkyococooooryshsisktt Punctuation, Accents && &@ # ' "!? % * ª º ^ ` ˆ ˇ /( )\[ ]{ },. ; : _ - Accented Characters Á À Â Ä Ã ÅÆÇ ÉÈÊËÍ Ì Î ÏŁ Ñ Ó Ò Ô Ö ÕØ Œ ŠÚ Ù Û Ü ŸÝŽÐ Þ á à â ä ã å æçé è ê ë íìîïıł ñ ó ò ô ö õ ø œ š úù û ü ÿý Alternates, Accented a bdeghm n p q u à á â ã ä å è é ê ë ñ ù ú û ü A VWÀ Á Â Ã Ä Å AV W À Á Â Ã Ä ÅGY Ý Ÿ a fg w wà á â ã ä å fi fl O Q o ÒÓ Ô Õ Ö Ø ò ó ô õ ö ø AEMN RU À Á Â Ã Ä Å È É Ê Ë Ñ Ù Ú Û Ü bd fghj k l p q tyýÿfi fl A E EFG GH K KQQQ R R X X ZZYY À Á Â Ã Ä Å ÈÉÊËÈÉÊË Currency Symbols $ ƒ Numerators, etc. ⁰ 1²³⁴⁵ ⁶ ⁷ ⁸ ⁹ = ( ) = ( ) Ordinals A BCDEFG H I J K L M N O P Q RS TUVWX Y Z Fractions ¼½¾ Mathematical Symbols ~=+ < > ± μ
16 16 V I C E R OY O P E N Y T P E F E AT U R E S D E A C T I VAT E D Case Sensitive Form»Hamburge-fontivesHAMBURGE-FONTIVES«All Caps Hamburgefontives HAMBURGEFONTIVES Standard Ligatures Hamburgefintifles Hamburgefintifles Discretionary Ligatures chocolate gift ist cocolate gift ist THE CHOCOLATE THE CHOCOLATE Proportional Lining Default Proportional Oldstyle Superscript/Superior Handglove2(N+X) Handglove2(N+X) Subscript/Scientific Inferiors H20 CO2 H₂0 CO₂ Numerators Handglove123ABC Handglove123ABC Denominators Handglove123ABC Handglove123ABC Fractions 123/456 A/S C/O 123/456 A/S C/O Ordinals 5th Avenue 2nd Floor 5th Avenue 2nd Floor Swashes See also Stylistic Sets 13 and 14 HAMBURGEFONTIV & HAMBURGEFONTIV & Stylistic Set 1 Open Variants Hamburgefontives & A C T I VAT E D Hamburgefontives &
17 17 V I C E R OY O P E N Y T P E F E AT U R E S D E A C T I VAT E D Stylistic Set 2 Descender Variants Gamburgefontives Gamburgefontives Stylistic Set 3 Alternate: Y Yamburgefontives Yamburgefontives Stylistic Set 4 Right Slanted Variants AMBURGEFONTIVES AMBURGEFONTIVES Stylistic Set 5 Left Slanted Variants AMBURGEFONTIVES AMBURGEFONTIVES Stylistic Set 6 Alternate: a Hamburgefontives Hamburgefontives Stylistic Set 7 Alternate: g Hamburgefontives Hamburgefontives Stylistic Set 8 Alternate: w 1 Hamburgefontiwes Hamburgefontiwes Stylistic Set 9 Alternate: w 2 Hamburgefontiwes Hamburgefontiwes Stylistic Set 10 Alternate: o, O ÖRGEFONT örgefont ÖRGEFONT örgefont Stylistic Set 11 Unicase Variants HAMBURGEFONTIVES HAMBURGEFONTIVES Stylistic Set 12 Elongated Variants hamburgefontives hamburgefontives Stylistic Set 13 Alternate Swashes 1 QUAMBURGEFONTIVEX QUAMBURGEFONTIVEX Stylistic Set 14 Alternate Swashes 2 HAMBURGEFONTIVES QUAMBURGEFONTIVEX Stylistic Set 15 Wide o Ligature Chocolate CHOCO Chocolate CHOCO A C T I VAT E D
18 18 STYLES INCLUDED Regular Italic Bold Light CHARACTER SET Standard Character Set providing coverage for Western European languages F I L E FO R M AT Desktop: OpenType PS CHARACTERS 656 characters per weight RELEASE YEAR 2007 LANGUAGE SUPPORT Albanian, Basque, Cornish, Dutch, Danish, English, Faroese, Filipino, Finnish, French, Frisian West, Galician, German, Icelandic, Indonesian, Interlingua, Irish, Italian, Kinyarwanda, Malay, Manx, Norwegian (Bokmål and Nynorsk), Oromo, Portuguese, Somali, Sotho (Northern and Southern) Spanish, Swahili, Swedish, Tsonga, Xhosa, Zulu AVAILABLE VIA, DESIGNER Andrea Tinnes and Verena Gerlach C O N TA C T Andrea Tinnes, typecuts, Schliemannstraße 6, c/o Das Deck, Berlin, Germany Verena Gerlach, Obentrautstraße 46, Berlin, Germany ABOUT TYPECUTS typecuts is an independent font and graphic label, dedicated to create and produce original contemporary fonts for retail and custom use. typecuts was founded in 2004 by Andrea Tinnes to publish and promote her own fonts which are available from the typecuts website as well as from primetype. COPYRIGHT Viceory 2007 Andrea Tinnes, Verena Gerlach Viceory PDF 2014 Andrea Tinnes, typecuts All rights
19 Andrea Tinnes + Verena Gerlach SPECIMEN CH
Das Deck. Andrea Tinnes DAS DECK SPECIMEN.
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