FF Unit Slab Mag

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Unit Slab

While ff Unit isff Meta’s “grown upsister”, ff Unit Slab andff Meta Serif are more like

second cousins. While ff Meta’s

seriffed companion plays up all of the

organic quirks found in the original sans,

ff Unit Slab’s serifs are decidedly no-nonsense

and un-selfconscious. The sturdy and plain forms of

the original lent themselves to a very straightforward serif

treatment, inspired in part by mid-20th century typewriters, particularly where

serifs have been left off of the left sides of stems to keep the counterforms open. This typeface made

its debut in the corporate identity of Edenspiekermann, Erik Spiekermann’s new Berlin- and Amsterdam-based design consultancy.

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51 pt

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15pt

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8 pt

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ff Unit Slab Regular

→ Typeface Waterfall

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aa

aa

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Ultra

→ Black

→ Bold

→ M

edium

→ Regular

→ Light

→ Thin

→

→

→ ∂

→ Weight Overview

cm

Unit Slab Medium | S, S, S | 2009

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Unit Slab Medium | S, S, S | 2009

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→ About the Designers

Erik is Honorary Professor at the University of the Arts in Bremen and in 2006 received an honorary doctorship from Pasadena Art Center. He was made an Honorary Royal Designer for Industry by the rsa in Britain in 2007 and Am-bassador for the European Year of Creativity and Innovation by the European Union for 2009.

Christian Schwartz, born 1977, is principal of Schwartzco Inc., a New York-based type design and consultation firm and partner, with London-based designer Paul Barnes, in the typefoundry Commercial Type. A graduate of Carnegie Mellon University, Schwartz worked at MetaDesign Berlin and Font Bureau prior to starting Schwartzco in 2006 and Commercial Type in 2008. Schwartz has published fonts with many respected independent foundries and designed proprietary typefaces for corporations and publications worldwide.

Schwartz and Barnes began an ongoing colla-boration in 2005 with their extensive typeface system for The Guardian, which lead to honors from the Design Museum and d&ad. The two have completed custom typefaces for clients including Esquire, the Empire State Building, The New York Times, and Condé Nastʼs busi-ness magazine. Schwartz and Barnes have been named two of the 40 most influential designers under 40 by Wallpaper*, and Schwartz was in-cluded in Time’s 2007 “Design 100”. Schwartz was awarded the prestigious Prix Charles Peignot in 2007, given every four or five years by the Association Typographique Internati-

Erik Spiekermann, born 1947, studied History of Art and English in Berlin. He is information architect, type designer (FF Meta, FF Meta Serif, ITC Officina, FF Govan, FF Info, FF Unit, LoType, Berliner Grotesk and many corporate typefaces) and author of books and articles on type and typography. He was founder (1979) of MetaDesign, Germany’s largest design firm with offices in Berlin, London and San Francisco. Projects included corporate design programmes for Audi, Skoda, Volkswagen, Lexus, Heidelberg Printing and wayfinding projects like Berlin Transit, Düsseldorf Airport and many others.

In 1989 he started FontShop, a company for production and distribution of electronic fonts. Erik is board member of ATypI and the German Design Council and Past President of the istd, International Society of Typographic Designers, as well as the iiid. In 2001 he left MetaDesign and is now a partner in Edenspiekermann with offices in Amsterdam, Berlin, London and San Francisco. He redesigned The Economist maga-zine in London for its relaunch in 2001. His book for Adobe Press, “Stop Stealing Sheep” is in its second edition as well as published in Ger-man and in Russian. His corporate font family for Nokia was released in 2002.

In 2003 he received the Gerrit Noordzij Award from the Royal Academy in Den Haag. His type system db Type for Deutsche Bahn was awarded the Federal German Design Prize in gold for 2006. In May 2007 he was the first designer to be elected into the Hall of Fame by the Euro- pean Design Awards for Communication Design.

Erik Spiekermann

Christian Schwartz

When Erik and Christian first started work on ff Meta Serif, they were also planning to do ff Unit Slab, either at the same time or right after ff Meta Serif was released. They figured that since ff Meta and ff Unit have so much in common, it would be smart to make two serif families that could be used together, along with either of the sans serifs. ff Meta, which has more organic details, was going to be the more traditional serif text face. ff Unit seemed like it would adapt well to being a clean and contemporary slab serif, especially since the i and I in the sans already showed them what the serifs would look like. Kris and Christian actually worked together to rough out complete ranges of testwords for both families at the same time, and ff Unit Slab sat half-finished while ff Meta Serif was completed.

onale to a designer under 35 who has made “an outstanding contribution to the field of type design”. Schwartz’s work also has been honored by the Cooper-Hewitt National Design Museum, the New York Type Director’s Club, the Ameri-can Institute of Graphic Arts and the Internatio-nal Society of Typographic Designers. In 2007, Schwartz and Erik Spiekermann were awarded a gold medal by the German Design Council (Rat für Formgebung) for the typeface system they designed for the Deutsche Bahn.

Kris Sowersby graduated from the Wanganui School of Design in 2003. After brief employ-ment as a graphic designer he started the klim Type Foundry in 2005, currently based in Wellington, New Zealand. His first retail type-face, Feijoa, was released onto the international market in 2007. National, Sowersby’s second re-tail release, won a Certificate of Excellence from the Type Designers Club, New York in 2008. Since then he has received two more Certificates of Excellence (Serrano, Hardys) and worked on various custom and retail typefaces including ff Meta Serif, the seriffed sibling of the renow-ned ff Meta. Sowersby’s reputation for typeface design has lead to his working with, and for, contemporary typographic luminaries such as Christian Schwartz, Erik Spiekermann, Chester Jenkins, House Industries, dna Design and Pentagram. Sowersby’s typefaces combine his-torical knowledge with contemporary craftman-ship & finish. The klim Type Foundry markets its typefaces exclusively through Village.

Kris Sowersby

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image: LiveSurface®

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→ All Weights Upright and Italic Overview

Egyptian Pharaohs

Mediterranean Sea

Khafre Pyramids

Hieroglyphic Art

Byzantine realmRevolution 1952Cairo Luxur Nile

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ThinThin Italic

LightLight Italic

RegularRegular Italic

MediumMedium Italic

BoldBold Italic

BlackBlack Italic

UltraUltra Italic

ancient Egyptian rulers of all periods

meaning: in the middle of the land

1st Wonder of the Ancient World

recording agricultural products

during thousand-year existence

military coup d’état on July 23

the City of a thousand Minarets

→ All Weights Italic and Small Caps Overview

ancient civilizations

10th millennium BC

Khamaseen wind

King Nectanebo I

Neolithic cultureTurco-Circassian29 Governorates

0 10 20 30 40 50 60

Thin ItalicThin

Light ItalicLight

Regular ItalicRegular

Medium ItalicMedium

Bold ItalicBold

Black ItalicBlack

Ultra ItalicUltra

defined as a complex society of

a conception or birth of Jesus

local wind blowing in Africa

Thirtieth dynasty of Egypt

same family for generations

Peoples of north Caucasus

administered by governors

→ Work in Progress Notes

ABCDEFGHIJKLMNOPQRSTUVWXYZbcdefghijklmnopqrstuvwxyzäöüß1234567890!?&

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Try making these a little shorter, to put emphasis on the outer serifs.

Try making these a little shorter, to put emphasis on the outer serifs.

Too long.

Try adding a short serif on the outside.

Much too heavy – did I make this mistake in the original too?

Too long.

Smooth out a bit.

Try trimming these serifs off.

A bit too narrow.

Slightly too long.

Take more weight out on top than bottom.

A bit narrow, and the horizontals are 5–7 units heavy.

This part should be almost as heavy as the vertical curves below.

The lightest point should be here.

Pull center to right a bit – this is looking a little too much like Swift as it is.

Try this stroke a bit heavier.

Light?

This should be weighted more like the horizontals on E F L etc.

These shouldn’t look quite so much like they come together, if that makes sense.

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7.

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ABCDEFGHIJKLMNOPQRSTUVWXYZbcdefghijklmnopqrstuvwxyzäöüß1234567890!?&

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Unit Slab k04

hamburgefontsivhamburgefontsiv


HAMBURGEFONTSIVHAMBURGEFONTSIV


→ Work in Progress Notes

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1. Should match o hairline (and hairlines in top bowl).

2. Just a few units, to make the curve more supple.

3. Use alt with no inside left-hand serifs.

4. Slightly more boxy counterform.

5. Use alt with no inside left-hand serifs.

6. G-bars should all look more or less like they’re at the same height. I wonder if the top serif is a bit too short?

7. Just a little.

1. Even f in this weight may be a little wide at the top.

2. See sans italic for bowl shapes.

3. More angle in Thin, Black, Ultra or less on Regular. I prefer Black & Ultra but think they’re a little too extreme, so lean them over a bit and decrease the angle on this one –

or do whatever looks best to you.

4. A little smoother, and curl up a little more at the end.

5. See two alts in vfb, and apply to all weights. By the way, if you’re not adding a ‘beak’ in the Roman, why add one in the italic?

Unit Slab k04





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6. See sans italic.

7. Move arch down a bit? See sans italic.

8. The tails are softest on the Black, less soft on the Ultra and Thin, and really really tight and almost pointy/boxy on the Regular. I think the Black is too soft and the Ultra is just right, so pull the curve

here out a bit and see vfb for the Regular (applies to all tails).

9. I want to feel the angle more on this side of the counterform.

10. Try curling these up a little more as they go toward the ter- minal, to keep the e’s from looking like they're falling forward.

11. Top could be slightly narrower. Take a little weight off the serif if you have to.

12. The forms look great, for the most part, but the spacing on these lowercases is much too tight, especially when you see them mixed with the roman.

13. This can come up just a little bit further.

14. More rectangular, but make sure to maintain the feeling of the italic angle on the right side.

15. Try stiffening up the spine a bit.

16. Is the spacing a bit tight?

→ Possible Combinations

ff Unit Slab works well as headlines or emphasis for text in ff Meta Serif, ff Meta, or ff Unit. ff Meta head-lines and emphasis in ff Unit Slab text don’t look amazing, but they do work. The only combo that doesn’t work at all is ff Meta Serif emphasis in ff Unit or ff Unit Slab text, but most people would know better.

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in sever-al variations, with different choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the inter-nationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scien-tific purposes. The main advantage of the metric system is that it has a single base unit for each physical quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple be-cause they will be in the ratio of ten, one hundred, one thousand, etc. All

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in sever-al variations, with different choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the internationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scientific purposes. The main ad-vantage of the metric system is that it has a single base unit for each physi-cal quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple because they will be in the ra-tio of ten, one hundred, one thousand,

ff Meta Serif with ff Unit Slab

ff Unit Slab with ff Meta Serif (headline only)

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in several variations, with different choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the inter-nationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scien-tific purposes. The main advantage of the metric system is that it has a single base unit for each physical quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple be-cause they will be in the ratio of ten, one hundred, one thousand, etc. All

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in several variations, with different choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the internationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scientific purposes. The main ad-vantage of the metric system is that it has a single base unit for each physi-cal quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple because they will be in the ra-tio of ten, one hundred, one thousand,

ff Meta Serif with ff Unit

ff Unit Slab with ff Unit



ff Meta Serif with ff Meta

ff Unit Slab with ff Meta

ff Unit Slab works well as headlines or emphasis for text in ff Meta Serif, ff Meta, or ff Unit. ff Meta head-lines and emphasis in ff Unit Slab text don’t look amazing, but they do work. The only combo that doesn’t work at all is ff Meta Serif emphasis in ff Unit or ff Unit Slab text, but most people would know better.



ff Meta Serif with ff Unit Slab

ff Unit Slab with ff Meta Serif (headline only)

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in several variations, with different choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the inter-nationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scien-tific purposes. The main advantage of the metric system is that it has a single base unit for each physical quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple be-cause they will be in the ratio of ten, one hundred, one thousand, etc. All

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in several variations, with different choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the internationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scientific purposes. The main ad-vantage of the metric system is that it has a single base unit for each physi-cal quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple because they will be in the ra-tio of ten, one hundred, one thousand,

ff Meta Serif with ff Unit

ff Unit Slab with ff Unit



ff Meta Serif with ff Meta

ff Unit Slab with ff Meta

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in several variations, with different choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the internationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scientific pur-poses. The main advantage of the metric system is that it has a single base unit for each physical quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conver-sions are always simple because they will be in the ratio of ten, one hundred, one thousand, etc. All lengths and distances, for example, are measured in meters, or thousandths of a metre (millimeters), or thousands of meters (kilome-tres), and so on. There is no profusion of differ-

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in several variations, with differ-ent choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the internationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scientific purposes. The main advantage of the metric system is that it has a single base unit for each physical quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple because they will be in the ratio of ten, one hundred, one thousand, etc. All lengths and distances, for example, are measured in meters, or thou-sandths of a metre (millimeters), or thousands of meters (kilometres), and so on. There is

ff Unit with ff Unit Slab

ff Meta with ff Unit Slab

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in several variations, with differ-ent choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the internationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scientific purposes. The main advantage of the metric system is that it has a single base unit for each physical quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple because they will be in the ratio of ten, one hundred, one thousand, etc. All lengths and distances, for ex-ample, are measured in meters, or thousandths of a metre (millimeters), or thousands of meters (kilometres), and so on. There is no profusion of

A brief history of the metric system The metric system is a decimalized system of measurement based on the metre and the gram. It exists in several variations, with differ-ent choices of base units, though these do not affect its day-to-day use. Since the 1960s, the International System of Units (SI), explained further below, is the internationally recognized standard metric system. Metric units of mass, length, and electricity are widely used around the world for both everyday and scientific purposes. The main advantage of the metric system is that it has a single base unit for each physical quantity. All other units are powers of ten or multiples of ten of this base unit. Unit conversions are always simple because they will be in the ratio of ten, one hundred, one thousand, etc. All lengths and distances, for example, are measured in meters, or thou-sandths of a metre (millimeters), or thousands of meters (kilometres), and so on. There is

ff Unit with ff Meta Serif

ff Meta with ff Meta Serif

© 2009 FSI FontShop International GmbH. For internal use only, no publication, all rights reserved.

FF Unit Slab Thin F S T U a b h i l n t

→ Character Set


FF Unit Slab Thin Italic F I S T U a b c h i l n t


FF Unit Slab Light F L S U a b g h i l n t

→ Character Set


FF Unit Slab Light Italic F I L S U a b c g h i l n t

→ Character Set© 2009 FSI FontShop International GmbH. For internal use only, no publication, all rights reserved.

FF Unit Slab Regular F R S U a b e g i l n r t u


FF Unit Slab Regular Italic F I R S U a b c e g i l n r t u


FF Unit Slab Medium , . 0 2 9 F G H I M S U a b c d e g h i l m n o p r s t u v y ©

→ Character Set


FF Unit Slab Medium Italic F I M S U a b c d e i l m n t u


FF Unit Slab Bold B F S U a b d i l n o t

→ Character Set


FF Unit Slab Bold Italic B F I S U a b c d i l n o t


FF Unit Slab Black B F S U a b c i k l n t

→ Character Set


FF Unit Slab Black Italic B F I S U a b c i k l n t


FF Unit Slab Ultra F S U a b i l n r t

→ Character Set


FF Unit Slab Ultra Italic F I S U a b c i l n r t

→ Specimen ff Unit Dynasty

→ OpenType Features

I

T

A

B

E

M

0

3

2

G

Standard Ligatures

Historical Forms

Small Capitals

Small Capitals from Capitals

Case-Sensitive Forms

Capital Spacing

Lining Figures

Proportional Figures

Tabular Figures

Fractions

fi fb ft fi fb ft

Wachstube Wachstube

small caps small caps

CAPITALS capitals

H[(-@)] H[(-@)]

SPACING SPACING

5678 5678 5678 5678

5678 5678 5678 5678

5678 5678 5678 5678

5678/5678 5678/5678

9

8

Z

4

5

6

N

D

¡

¢

Numerators

Denominators

Ordinals

Scientific Inferiors

Superscript

Subscript

Access All Alternates

Stylistic Alternates

Stylistic Set 1

Stylistic Set 2

0123456789/ 0123456789/

/0123456789 /0123456789

1a 2o 1a 2o

C8H10N4O2 C8H10N4O2

E=mc2 E=mc2

123456798 0123456789

1 11111¹

JUMag JUMag

a a

g g

→ OpenType Features

£

¤

¥

¦

§

¨

©

ª

J

l

Stylistic Set 3

Stylistic Set 4

Stylistic Set 5

Stylistic Set 6

Stylistic Set 7

Stylistic Set 8

Stylistic Set 9

Stylistic Set 10

Ornaments

Localized Forms

JJ JJ

Mm MM

UU UU

←↑→↓ ←↑→↓

←↑→↓ ←↑→↓

←↑→↓ ←↑→↓

s s

• ••••••

ŞşŢţ ȘșȚț

→ About FontFont

Erik Spiekermann and Neville Brody launched the FontFont brand in 1990 with the goal of producing innovative digital typefaces by designers for designers. The FontFont Library is the world’s largest collection of original, contemporary typefaces. What makes it unique is its wide variety of outstan-ding type designs. The spectrum of styles ranges from tasteful, high-quality text faces to distinctive display fonts that reflect current moods and often set new typographic trends.

***The Library includes the work of some of the world’s foremost typographers and graphic designers such as Neville Brody, Erik Spiekermann, David Ber-low, Max Kisman, Erik van Blokland, Just van Rossum, Tobias Frere-Jones and many, many more. Currently the FontFont Library includes over 4,000 contemporary fonts from 150 inter-national designers and continues to grow steadily, adding new typefaces every year. FontFonts constantly

break new ground in style, quality and innovation. The library features some of the most popular typefaces in use today, including ff Meta®, ff DIN®, ff Scala®, ff Dax®, ff Kievit™, and ff Cocon™.

FontFonts are produced by fsi FontShop International. We are always scouting for new talent, and encou-rage you to submit your original font designs as possible new additions to the FontFont Library. To submit a typeface design for review, simply mail us printed samples of your design and a short cover letter to:

FsI FontShop InternationalAttn: Ugla Marekowa / Type BoardBergmannstr. 10210961 BerlinGermany

You are also welcome to submit sam-ple applications of your font, such as posters, advertisements or postcards.

We prefer to release FontFonts in sets or families, but if you have designed only a single weight, we may recom-mend you extend it by adding addi-tional weights or variations before we release it for distribution.

Your font submission does not have to be perfect when you send it, but you should bear in mind that the closer your font data is to being a finished product, the sooner it will reach the market. Once your work has been accepted, we provide you technical guidelines that help you optimize or complete your font. As a FontFont designer, you receive our standard contract which gives you a designer’s royalty of 20% of the recommended retail price of each package sold worldwide. This is equivalent to 45%–50% of the wholesale price of the font. If you’d like more informa-tion, feel free to contact us. We will be happy to answer any questions you might have.

fsi FontShop International

→ Supported Languages

.Supported LanguagesOpenType Standard

AfrikaansAlbanianAmharic (Ethiopic) 1Arvanite (Latin)

AsturianBaraba TatarBats (Latin)

BislamaBokmål NorwegianBretonBurmese (Burmese) 2CatalanChamorroCrimean (Latin)

DanishDutchEast FrisianEnglishEstonianFaeroeseFinnishFranco-ProvencalFrenchFrisianFriulianGalicianGermanGreek (Greek) 3IcelandicIndonesianInterlinguaIrishItalianJapanese (Sino-Japanese) 4Judeo-Tati (Latin)

Karaim (Latin)

Kazan Tatar (Latin)

KirmanjiKurdish (Latin)

Kyrgyz (Cyrillic) 5LadinLaotian (Laotian) 6Low GermanLuxembourgianMalagasyMalay (Latin)

Manx GaelicNorth FrisianNorthern SothoNynorsk NorwegianOccitanPilipino (Tagalog)

PortuguesePortunholRhaeto-RomanceRomani (Latin)

RomanschRussian (Cyrillic) 7Scottish GaelicSerbian (Latin)

SomaliSouthern SamiSouthern SothoSpanishSwedishTahitianTsakhur (Latin)

Tsez (Latin)

TsongaTswanaTurkmen (Cyrillic) 8Ukrainian (Cyrillic) 9Ume SamiWalloonWest FrisianXhosaYapeseYiddish (Latin)

1. [Romanization; BGN/PCGN 1967]



4. [Romanization; Kunrei]


6. [Romanization; National]




,Additional SupportedLanguages OpenType Pro

ÄlvdalskaAmharic (Ethiopic) 1AragoneseArumanianAzerbaijani (Latin)

BasqueBosnian (Latin)

Bulgarian (Cyrillic) 2Byelorussian (Belarusian latin)

Chechen (Latin)

ChichewaCook Islands MaoriCroatianCzechEsperantoGagauz (Latin)

GreenlandicHawaiianHungarianInari SamiIstro-RomanianJapanese (Sino-Japanese) 3KalaallisutKashubianKazakh (Cyrillic) 4Khmer (Khmer) 5Korean (Hangul) 6Ladino (Latin)

LatinLatvian (Lettish)

LithuanianLule SamiMacedonian (Cyrillic) 7MalteseMaoriMarshalleseMoldavian (Latin)

Mongolian (Cyrillic) 8

Northern SamiPolishRomanianRussian (Cyrillic) 9Russian (Cyrillic) 10SamoanSardinianSlovakSlovenianSorbian LowerSorbian UpperTajik (Cyrillic) 11TonganTurkishUbykhUzbek (Cyrillic) 12VåmhusmålVepsianWallisianWelshWolof

1. [Romanization; UN 1967]


3. [Romanization; Modified Hepburn]



6. [Romanization; 1939 & 1984]



9. [Romanization; Russian Academy of Sciences system]

10. [Romanization; UN 1987, National]



This specimen was designed by Alexander Roth for the FontFont Typeface Library. © August 2009 fsi FontShop International. All rights reserved.

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