Quam - YouWorkForThem · любопытный исследованием модернистов и...

Quam � ��

By Michael Parson

04

quam

reg

ular

& b

old

Introduction

06

quam

Int

rodu

ction

I have for many years, been curious about the research of the modernists and Bauhaus in particular, and how they attempted to synthesys the world in a series of basic, accessible geometric forms. I have often asked the question of what a new Bauhaus would do, what has technology brought us that can add or evolve these basic principles?

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with some of the more rigorous rules of traditional type design, a sort of functional version of the Ned font.

With only the memory of the design, purpously avoiding my old sketches

to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I used as my guides to create a slightly concave shape, rounded yet angular on it’s edges. Due to this modular nature of the design, a strong vertical axis soon stood out from the design but this was softened by adding very slight curves to a series of the forms and stroke endings. All the while straying between a rigid geometric idea and a more natural and humanistic liberty.

Having worked on a relatively light stroke, I started to experiment quite early with the idea of expanding the typeface to a larger weight range. Due to the tall, open layout of the form, it was possible to expand the design into some very dark strokes while remaining legible. I therefore decided to create

a series of different weights, from a very light, nearly hairline stroke to a dark, black style, yet with quite large stroke differences between each weight for more impact and utility. It is possible that the design could be expanded in the future.

The resulting overall design is a contempory, minimal yet function typeface with a few quirks that gives the design a true personality. Thanks to the addition of a cyrillic character set, small capitals and a large range of weights, the typeface aims to be innovative yet adaptable to a large scope of projects, from text settings to corporate designs or logo settings. It’s rigid structure is obviously not suited for a long passage of text but for shorter passages or highlights in an article, the Quam can be used for a stylistic touch.

Language supportWhile working on this font, I was also doing some research into cyrillic

letterforms and thought that the basic form of the Quam typeface suited the more angular shapes found in that character set. I therefore decided to add a further set of cyrillic glyphs to expand the versatilty of the design and allow a greater potential application. Special attention was also given to create a true italic companion font that included the variable glyphs, inspired largely by the more calligraphic or freeform cyrillic shapes.The extended character set was a very postive addition to the overall design since it not only allowed a broader use of the fonts but also gave an even greater glyph choice to a potential designer who was experimenting in setting the typeface in a shorter form, in titles or logotypes, for example.

NumeralsThe Quam typeface includes 2 choices of principle numerals, either small capital forms aligned to the xheight, or then

Я имею много лет, любопытный исследованием модернистов и Bauhaus в

частности и как они делали попытку к synthesys мира

в ряду основных, доступных геометрических форм. Я часто задавал вопрос

того, что сделал бы новый Bauhaus, что технология принесла нам, которые

могут добавить или развить эти основные принципы? Первое исследование,

которое я сделал много лет назад, достигало

высшей точки в создании шрифта по имени Нед,

модульная геометрическая форма, основанная на ряду

пересечения форм. Несколько умноженный, я вспомнил на

том подходе и наконец решил делать попытку второй версии проекта; к этому

времени комбинируя наивное

I have for many years, been curious about the research of the modernists and Bauhaus in particular, and how they attempted to synthesys the world in a series of basic, accessible geometric forms. I have often asked the question of what a new Bauhaus would do, what has technology brought us that can add or evolve these basic principles?

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with some of the more rigorous rules of traditional type design, a sort of functional version of the Ned font.

With only the memory of the design, purpously avoiding my old sketches

to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I used as my guides to create a slightly concave shape, rounded yet angular on it’s edges. Due to this modular nature of the design, a strong vertical axis soon stood out from the design but this was softened by adding very slight curves to a series of the forms and stroke endings. All the while straying between a rigid geometric idea and a more natural and humanistic liberty.

Having worked on a relatively light stroke, I started to experiment quite early with the idea of expanding the typeface to a larger weight range. Due to the tall, open layout of the form, it was possible to expand the design into some very dark strokes while remaining legible. I therefore decided to create

a series of different weights, from a very light, nearly hairline stroke to a dark, black style, yet with quite large stroke differences between each weight for more impact and utility. It is possible that the design could be expanded in the future.

The resulting overall design is a contempory, minimal yet function typeface with a few quirks that gives the design a true personality. Thanks to the addition of a cyrillic character set, small capitals and a large range of weights, the typeface aims to be innovative yet adaptable to a large scope of projects, from text settings to corporate designs or logo settings. It’s rigid structure is obviously not suited for a long passage of text but for shorter passages or highlights in an article, the Quam can be used for a stylistic touch.

Language supportWhile working on this font, I was also doing some research into cyrillic

letterforms and thought that the basic form of the Quam typeface suited the more angular shapes found in that character set. I therefore decided to add a further set of cyrillic glyphs to expand the versatilty of the design and allow a greater potential application. Special attention was also given to create a true italic companion font that included the variable glyphs, inspired largely by the more calligraphic or freeform cyrillic shapes.The extended character set was a very postive addition to the overall design since it not only allowed a broader use of the fonts but also gave an even greater glyph choice to a potential designer who was experimenting in setting the typeface in a shorter form, in titles or logotypes, for example.

NumeralsThe Quam typeface includes 2 choices of principle numerals, either small capital forms aligned to the xheight, or then

Я имею много лет, любопытный исследованием модернистов и Bauhaus в

частности и как они делали попытку к synthesys мира

в ряду основных, доступных геометрических форм. Я часто задавал вопрос

того, что сделал бы новый Bauhaus, что технология принесла нам, которые

могут добавить или развить эти основные принципы? Первое исследование,

которое я сделал много лет назад, достигало

высшей точки в создании шрифта по имени Нед,

модульная геометрическая форма, основанная на ряду

пересечения форм. Несколько умноженный, я вспомнил на

том подходе и наконец решил делать попытку второй версии проекта; к этому

времени комбинируя наивное

08

quam

Int

rodu

ction

tabular lining numerals that are aligned to the capitals. It was very rapidly decided to offer both choices since they suit their text setting with either the capital or small capital letters.Fractions are also included and cover all possible combinations the designer may need. There is also the usual set of superscript and subscript numerals that are available for mathematical settings or alternatively as a

generally more modular than the standard form so may suit logotype or title designs better than longer texts. A further little input was added to the alternates by offering a series of alternates for more unexpected glyphs, such as the dagger or copyright symbol as well as a total of three different ampersand shapes for the designer to choose from. These options where a natural evolution from the base idea of providing a contmepory design that offers a series of alternative solutions to a similar problematic. The ligatures range from the standard fi, fl, œ or æ combinations to a large offering of glyphs that are commonly found in regular text settings or problematic letter pairings. They may also be used to add a bit of flair to a title or larger setting.

design variant that requires a smaller optical size of numerals.There was some debate about creating old style numerals but the forms and style seemed outdated and uncomfortable. The strong geometric, grid based idea of the font did not seem to match true oldstyle numerals with their extended strokes so the choice was made to not include them.

FeaturesThis design features a series of opentype features to enhance the design, these start with features that I have described like numerals, fractions or language support, but this typeface equally features a series of ligatures and alternate letterforms. The alternates will allow a designer more typographic options while setting any text, but these forms are

tabular lining numerals that are aligned to the capitals. It was very rapidly decided to offer both choices since they suit their text setting with either the capital or small capital letters.Fractions are also included and cover all possible combinations the designer may need. There is also the usual set of superscript and subscript numerals that are available for mathematical settings or alternatively as a

generally more modular than the standard form so may suit logotype or title designs better than longer texts. A further little input was added to the alternates by offering a series of alternates for more unexpected glyphs, such as the dagger or copyright symbol as well as a total of three different ampersand shapes for the designer to choose from. These options where a natural evolution from the base idea of providing a contmepory design that offers a series of alternative solutions to a similar problematic. The ligatures range from the standard fi, fl, œ or æ combinations to a large offering of glyphs that are commonly found in regular text settings or problematic letter pairings. They may also be used to add a bit of flair to a title or larger setting.

design variant that requires a smaller optical size of numerals.There was some debate about creating old style numerals but the forms and style seemed outdated and uncomfortable. The strong geometric, grid based idea of the font did not seem to match true oldstyle numerals with their extended strokes so the choice was made to not include them.

FeaturesThis design features a series of opentype features to enhance the design, these start with features that I have described like numerals, fractions or language support, but this typeface equally features a series of ligatures and alternate letterforms. The alternates will allow a designer more typographic options while setting any text, but these forms are

010

quam

Ch

arac

ter

set

& w

eight

s

Character set & weights

012

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 @ § ? ¿ ! ¡ / | \ + - — - = % ‰ “ “ ” „ ‘ ‘ ’ ‚ * ° . , ; : ... • · < ‹ « » › > [ ] ( ) { } ⁄ - _ £ ¢ $ ¥ € � � � �

A B C D E F G H I J K L M N

O P Q R S T U V W X Y Za b c d e f g

h i j k l m n o p q r s t u v

w x y z








quam black ITalIc

quam BOLD ITaLIC

quam REGuLaR ITaLIC

quam light italiC

complete family character sets

quam

Co

mpl

ete

fam

ily o

f w

eight

s


A B C D E F G H I J K L M N

O P Q R S T U V W X Y Za b c d e f g

h i j k l m n o p q r s t u v

w x y z

А Б В Г Д Е Ж И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Ъ Ы Ь Э Ю Я Ё Ђ Ѓ Є Ѕ І Ї Ј Љ Њ Ћ Ќ Ў Џа б в г д е ж з и й к л м н о п р с т у ф х ц ч ш щ ъ ы ь э ю я ё ђ ѓ є ѕ і ї ј љ њ ћ ќ ў џ 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 @ § ? ¿ ! ¡ / | \ + - — - = % ‰ “ “ ” „ ‘ ‘ ’ ‚ * ° . , ; : ... • · < ‹ « » › > [ ] ( ) { } ⁄ - _ £ ¢ $ ¥ € � � � �











quam light

quam regular

quam bold

quam black

quam light

quam black ITalIc

quam regular

quam BOLD ITaLIC

quam bold

quam REGuLaR ITaLIC

quam black

quam light italiC

014

регулярный весA B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z

Å À Ã Ä Á Â È É Ê Ë Ì Í Î Ï Ñ Ò Ó Ô Õ Ö Ù Ú Û Ü Ç Ø Ł Š Ÿ Ý Ž á â ã ä å à è é ê ë ì í î ï ı ñ ò ó ô õ ö ù ú û ü ç ø ł š ý ÿ ž ´ ` ˝ ˆ ˇ ¸ ˛ ¨

a b c d e f g h i j k l m n o p q r s t u v w x y z á â ã ä å à è é ê ë ì í î ï ı ñ ò ó ô õ ö ù ú û ü ç ø ł š ý ÿ ž

bASIc lATIN-1

AccENTS

SMAll cAPITAlS

thinweight

quam

a a a aquam

Ch

arac

ter

set

| Thi

n

регулярный весА Б В Г Д Е Ж И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Ъ Ы Ь Э Ю Я Ё Ђ Ѓ Є Ѕ І Ї Ј Љ Њ Ћ Ќ Ў Џа б в г д е ж з и й к л м н о п р с т у ф х ц ч ш щ ъ ы ь э ю я ё ђ ѓ є ѕ і ї ј љ њ ћ ќ ў џ

0 1 2 3 4 5 6 7 8 9

0 1 2 3 4 5 6 7 8 90 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

@ § ? ¿ ! ¡ / | \ + - — - = % ‰ “ “ ” „ ‘ ‘ ’ ‚ * ° . , ; : ... • · < ‹ « » › > [ ] ( ) { } ⁄ - _

� � � � £ ¢ $ ¥ €

Æ Œ ET Fi Fj Ti Tj TTæ æ œ œ fi fl fj fh ff ft fy ffi ffl ffj tf tt tty ty

� � � � � Q � � � � t � � � � � � � � � � � � � � � � � � �

& & � * † ‡ © ® � � � � �

bASIc cYRIllIc-5 lETTERFoRMS

STANDARD NuMERAlS

lININg NuMERAlS

SubScRIPT & SuPERScRIPT NuMERAlS

PuNcTuATIoN

MoNETARY SYMbolS

lIgATuRES

AlTERNATE lETTERFoMRS

AMPERSANDS, SYMbolS & AlTERNATE SYMbolS

016




bASIc lATIN-1

AccENTS

SMAll cAPITAlS

regular weight

quam

a a a aquam

Ch

arac

ter

set

| Reg

ular

регулярный весА Б В Г Д Е Ж З И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Ъ Ы Ь Э Ю Я Ё Ђ Ѓ Є Ѕ І Ї Ј Љ Њ Ћ Ќ Ў Џа б в г д е ж з и й к л м н о п р с т у ф х ц ч ш щ ъ ы ь э ю я ё ђ ѓ є ѕ і ї ј љ њ ћ ќ ў џ

0 1 2 3 4 5 6 7 8 9

0 1 2 3 4 5 6 7 8 90 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

@ § ? ¿ ! ¡ / | \ + - — - = % ‰ “ “ ” „ ‘ ‘ ’ ‚ * ° . , ; : ... • · < ‹ « » › > [ ] ( ) { } ⁄ - _

� � � � £ ¢ $ ¥ €


� � � � � Q � � e g � � � � � � � � � � � � � � � � � � � �

& & & * † ‡ © ® � � � � �


STANDARD NuMERAlS

lININg NuMERAlS


PuNcTuATIoN

MoNETARY SYMbolS

lIgATuRES



коммуникацияcommunication

communicationкоммуникация

020




bASIc lATIN-1

AccENTS

SMAll cAPITAlS

boldweight

quam

a a a aquam

Ch

arac

ter

set

| Bold


0 1 2 3 4 5 6 7 8 9

0 1 2 3 4 5 6 7 8 90 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

@ § ? ¿ ! ¡ / | \ + - — - = % ‰ “ “ ” „ ‘ ‘ ’ ‚ * ° . , ; : ... • · < ‹ « » › > [ ] ( ) { } ⁄ - _

� � � � £ ¢ $ ¥ €


� � � � � Q � � � � � � � � m � � � � � � � � � � � � � � �

& & � * † ‡ © ® � � � � �


STANDARD NuMERAlS

lININg NuMERAlS


PuNcTuATIoN

MoNETARY SYMbolS

lIgATuRES



022




bASIc lATIN-1

AccENTS

SMAll cAPITAlS

blackweight

quam

a a a aquam

Ch

arac

ter

set

| Black


0 1 2 3 4 5 6 7 8 9

0 1 2 3 4 5 6 7 8 90 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

@ § ? ¿ ! ¡ / | \ + - — - = % ‰ “ “ ” „ ‘ ‘ ’ ‚ * ° . , ; : ... • · < ‹ « » › > [ ] ( ) { } ⁄ - _

� � � � £ ¢ $ ¥ €


� � � � � Q � � � � � � � � � � � � � � � � � � � � � � � �

& & � * † ‡ © ® � � � � �


STANDARD NuMERAlS

lININg NuMERAlS


PuNcTuATIoN

MoNETARY SYMbolS

lIgATuRES



024

a b c d e f g h i j k l m n o p q r s

QuAM REgulARbolD ITAlIc270PT

a b c d e f g h i j k l m n o p q r s

a b c d e f g h i j k l m n o p q r s t u

026

quam

La

yout

exa

mpl

es

Layoutexamples

028

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with some of the more rigorous rules of traditional type design, a sort of functional version of the Ned font. With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I used as my guides to create a slightly concave

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with some of the more rigorous rules of traditional type design, a sort of functional version of the Ned font. With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I used as my guides to create a slightly concave shape, rounded yet angular on it’s edges. Due to this modular nature of the design, a strong vertical axis soon stood out from the design but this was softened by adding very slight curves to a series of the forms and stroke endings. All the while straying between a rigid geometric idea and a more natural and humanistic liberty.

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with some of the more rigorous rules of traditional type design, a sort of functional version of the Ned font. With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with some of the more rigorous rules of traditional type design, a sort of functional version of the Ned font. With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I used as my guides to create a slightly concave shape, rounded yet angular on it’s edges. Due to this modular nature of the design, a strong vertical axis

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design;

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the

QuAM REgulARblAck ITAlIc

cYRIllIc9PT


cYRIllIc11PT


cYRIllIc19PT

quam

La

yout

exa

mpl

es

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with some of the more rigorous rules of traditional type design, a sort of functional version of the Ned font. With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I used as my guides to create a slightly concave shape, rounded yet angular on it’s edges. Due to this modular nature of the design, a strong vertical axis soon stood out from the design but this was softened by adding very slight curves to a series of the forms and stroke endings. All the while straying between a rigid geometric idea and a more natural and humanistic liberty.

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with some of the more rigorous rules of traditional type design, a sort of functional version of the Ned font. With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I used as my guides to create a slightly concave shape, rounded yet angular on it’s edges. Due to this modular nature of the design, a strong vertical axis

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the

Первое исследование, которое я сделал много лет назад, достигало высшей точки в создании шрифта по имени Нед, модульная геометрическая форма, основанная на ряду пересечения форм. Несколько умноженный, я вспомнил на том подходе и наконец решил делать попытку второй версии проекта; к этому времени комбинируя наивное все же инновационное исследование первого процесса с некоторыми из более строгих правил традиционного проекта типа, своего рода функциональная версия шрифта Неда. С только памятью о проекте, purpously уход от моих старых эскизов к не влиять на мое текущее исследование и суды, я предпринял восстановление сил ряда форм основы и изображения схематически, как те формы могли быть приспособлены к четкому шрифту. Самая центральная форма характера - пересекающийся ряд кругов, на которых я имел обыкновение как мои гиды создавать немного вогнутую форму, округленную все же угловой, это - края. Из-за этой модульной природы проекта, сильная вертикальная ось скоро стояла из проекта, но это было смягчено, добавляя очень небольшие кривые к ряду окончаний удара и форм. Все время отклонившись между твердой геометрической идеей и более естественной и гуманистической свободой.Первое исследование, которое я сделал много лет назад, достигало высшей точки в создании шрифта по имени Нед, модульная геометрическая форма, основанная на ряду пересечения форм. Несколько умноженный, я вспомнил на том подходе и наконец решил делать попытку второй версии проекта; к этому времени комбинируя наивное все же инновационное исследование первого процесса с некоторыми из более строгих правил традиционного проекта типа, своего рода функциональная версия шрифта Неда. С только памятью о проекте, purpously уход от моих старых эскизов к не влиять на мое текущее исследование и суды, я предпринял восстановление сил ряда форм основы и изображения схематически, как те формы могли быть приспособлены к четкому шрифту. Самая центральная форма характера - пересекающийся ряд кругов, на которых я имел обыкновение как мои гиды создавать немного вогнутую форму, округленную все же угловой, это - края. Из-за этой модульной природы проекта, сильная вертикальная ось скоро стояла из проекта, но это было смягчено, добавляя очень небольшие кривые к ряду окончаний удара и форм. Все время отклонившись между твердой геометрической идеей и более естественной и гуманистической свободой.

Первое исследование, которое я сделал много лет назад, достигало высшей точки в создании шрифта по имени Нед, модульная геометрическая форма, основанная на ряду пересечения форм. Несколько умноженный, я вспомнил на том подходе и наконец решил делать попытку второй версии проекта; к этому времени комбинируя наивное все же инновационное исследование первого процесса с некоторыми из более строгих правил традиционного проекта типа, своего рода функциональная версия

030

Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with

QuAM bolD ITAlIc cYRIllIc127PT

QuAM REgulARQuAM REgulAR AlTERNATES

32PT

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back Первое исследование, которое я сделал много лет назад,

quam

La

yout

exa

mpl

es

Quite a few times, I have thought back on that approach and finally decided to attempt a second version of the design; by this time combining the naive yet innovative research of the first process with

A first research I did many years ago culminated in the creation of a typeface called Ned, a modular geometric form based on a series of intersecting shapes. Quite a few times, I have thought back Первое исследование, которое я сделал много лет назад,

�ui�e a fe� �imes, I have �hough� back on �ha� approach and finall� decided �o a��emp� a second version of �he design; b� �his �ime combining �he naive �e� innova�ive research of �he firs� process �i�h

032

With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I

With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series

With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles

QuAM THINTHIN WITH lIgATuRES

159PT

QuAM THINblAck

ITAlIc WITH AlTERNATES24PT

quam

La

yout

exa

mpl

esПервое исследование, которое я сделал много лет назад, достигало высшей точки в создании шрифта по имени Нед, модульная геометрическая форма, основанная на ряду пересечения форм. Несколько умноженный, я вспомнил на том подходе и наконец решил делать попытку второй версии проекта; к этому времени комбинируя наивное все же инновационное исследование первого процесса с некоторыми из более строгих правил традиционного проекта типа, своего рода функциональная версия шрифта Неда. С только памятью о проекте, purpously уход от моих старых эскизов к не влиять на мое текущее исследование и суды, я предпринял восстановление сил ряда форм основы и изображения схематически, как те формы могли быть приспособлены к четкому шрифту. Самая центральная форма характера - пересекающийся ряд кругов, на которых я имел обыкновение как мои гиды создавать немного вогнутую форму, округленную все же угловой, это - края. Из-за этой модульной природы проекта, сильная вертикальная ось скоро стояла из проекта, но это было смягчено, добавляя очень небольшие кривые к ряду окончаний удара и форм. Все время отклонившись между твердой геометрической идеей и более естественной и гуманистической свободой.Difficult day atDifficult day at

With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles that I

With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series

With only the memory of the design, purpously avoiding my old sketches to not to influence my current research and trials, I embarked on recreating a series of base forms and sketching out how those forms could be adapted to a legible typeface. The most central form of the character is an intersecting series of circles

Первое исследование, которое я сделал много лет назад, достигало высшей точки в создании шрифта по имени Нед, модульная геометрическая форма, основанная на ряду пересечения форм. Несколько умноженный, я вспомнил на том подходе и наконец решил делать попытку второй версии проекта; к этому времени комбинируя наивное все же инновационное исследование первого процесса с некоторыми из более строгих правил традиционного проекта типа, своего рода функциональная версия шрифта Неда. С только памятью о проекте, purpously уход от моих старых эскизов к не влиять на мое текущее исследование и суды, я предпринял восстановление сил ряда форм основы и изображения схематически, как те формы могли быть приспособлены к четкому шрифту. Самая центральная форма характера - пересекающийся ряд кругов, на которых я имел обыкновение как мои гиды создавать немного вогнутую форму, округленную все же угловой, это - края. Из-за этой модульной природы проекта, сильная вертикальная ось скоро стояла из проекта, но это было смягчено, добавляя очень небольшие кривые к ряду окончаний удара и форм. Все время отклонившись между твердой геометрической идеей и более естественной и гуманистической свободой.Difficult day atDifficult day at

034

3745362QuAM THINTHIN WITH lIgATuRES

159PT

QuAM THINblAck

ITAlIc WITH AlTERNATES24PT

quam

La

yout

exa

mpl

es

Заканчивающийся полный проект, минимальный все же функционируют шрифт с несколькими причудами, который дает проекту истинную индивидуальность. Спасибо к дополнению кириллического набора символов, маленьких столиц и большого диапазона весов, шрифт стремится быть инновационным все же приспосабливаемый к широкому применению проектов, от текстовых параметров настройки до корпоративных проектов или параметров настройки эмблемы. Это - твердая структура, очевидно не удовлетворен для длинного прохода текста, но для более коротких проходов или подсветок в статье, �uom может использоваться для стилистического

Заканчивающийся полный проект, минимальный все же функционируют шрифт с несколькими причудами, который дает проекту истинную индивидуальность. Спасибо к дополнению кириллического набора символов, маленьких столиц и большого диапазона весов, шрифт стремится быть инновационным все же приспосабливаемый к широкому применению проектов, от текстовых параметров настройки до корпоративных проектов или параметров настройки эмблемы. Это - твердая структура, очевидно не удовлетворен для длинного прохода текста, но для более коротких проходов или подсветок в статье, �uom может использоваться для стилистического контакта.

Заканчивающийся полный проект, минимальный все же функционируют шрифт с несколькими причудами, который дает проекту истинную индивидуальность. Спасибо к дополнению кириллического набора символов, маленьких столиц и большого диапазона весов, шрифт стремится быть инновационным все же приспосабливаемый к широкому применению проектов, от текстовых параметров настройки до корпоративных проектов или параметров настройки эмблемы. Это - твердая структура, очевидно не удовлетворен для длинного прохода текста, но для более коротких проходов или подсветок в статье, Quom может использоваться для стилистического контакта.

12th november12TH �OVE�BER

3745362Заканчивающийся полный проект, минимальный все же функционируют шрифт с несколькими причудами, который дает проекту истинную индивидуальность. Спасибо к дополнению кириллического набора символов, маленьких столиц и большого диапазона весов, шрифт стремится быть инновационным все же приспосабливаемый к широкому применению проектов, от текстовых параметров настройки до корпоративных проектов или параметров настройки эмблемы. Это - твердая структура, очевидно не удовлетворен для длинного прохода текста, но для более коротких проходов или подсветок в статье, �uom может использоваться для стилистического

Заканчивающийся полный проект, минимальный все же функционируют шрифт с несколькими причудами, который дает проекту истинную индивидуальность. Спасибо к дополнению кириллического набора символов, маленьких столиц и большого диапазона весов, шрифт стремится быть инновационным все же приспосабливаемый к широкому применению проектов, от текстовых параметров настройки до корпоративных проектов или параметров настройки эмблемы. Это - твердая структура, очевидно не удовлетворен для длинного прохода текста, но для более коротких проходов или подсветок в статье, �uom может использоваться для стилистического контакта.

Заканчивающийся полный проект, минимальный все же функционируют шрифт с несколькими причудами, который дает проекту истинную индивидуальность. Спасибо к дополнению кириллического набора символов, маленьких столиц и большого диапазона весов, шрифт стремится быть инновационным все же приспосабливаемый к широкому применению проектов, от текстовых параметров настройки до корпоративных проектов или параметров настройки эмблемы. Это - твердая структура, очевидно не удовлетворен для длинного прохода текста, но для более коротких проходов или подсветок в статье, Quom может использоваться для стилистического контакта.

12th november12TH �OVE�BER

Quam Typefaceby Michael Parson

4 weightsDisplay / Text

www.youworkforthem.com

Specimen Layout: Michael ParsonText & visuals: Michael Parson

Font used: QuamLonger text & notes set in

Helvetica Neue.

April 2012 © Copyright Typogama / Parson Research

Quam � ��

By Michael Parson

Quam - YouWorkForThem · любопытный исследованием модернистов и...

Documents

Transcript of Quam - YouWorkForThem · любопытный исследованием модернистов и...