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KlabauterLatin | Ελληνικόςregular | italicbold | bold italic black | display

a type family by Louisa-Helen Fröhlich

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ahoi klabauterKlabauter is the new nippy type family in the harbour to support Latin and Greek. This combination of reliable text weights with fresh shapes and playful secondary styles has personality.

A new type family is hoisting its anchor

If you need something expressive, make sure to check out the stormy display weight, it will blow your mind.

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κklabauter italic lowercase kappa

Land ahoi pirate jenny singsvon einem Schiff mit 236 Segeln

phillips minimilk

herrschaftszeiten

άνεμος βάρκα νησί karibikblau mit walpink

du haikalb

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ε rs κ n α

nae

bold. latin | greek bold italic. latin

regular. latin | greek italic. latin | greek

black. latindisplay. latin | greek

μ display styles

type familyKlabauter comes in Regular, Italic, Bold and Display with a matching Greek.

With this family you can sail all the seven seas

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pnos kα ρ ε

flipped stress in Klabauter Greek

common design features across

styles and scriptssturdy serifs

differences in width

for a lively rhythm

feature stroke

modulation aklabauter regular Klabauter Regular has a diagonal stress and a quirky modulated stroke. Sharp corners and smooth curves alternate and introduce a dynamic personality. The differences in the width of the letters add rhythm to the texture and make this style both natural and lively.

A seaworthy regular for navigating through typographical shoals

In text sizes the slight expansion at the top and bottom of the stems emphasises the terminals. The sturdy serifs together with the horizontal touch, introduced by the wide square letters, give this style a self-confident appearance. Klabauter Regular comes with smallcaps.

stroke expansion

n k spρ

Fβ

β

κklabauter italic

Klabauter Italic is very upright and distin-guishes itself from the regular through much narrower proportions. The stroke modulation is more emphasised than in the regular and is supported by soft corners along the curves.

The fresh salty breeze in your type collection

The absence of serifs in the lowercase leave room for fluid in-strokes and out-strokes which generate a playful touch in this cheeky style. This design features work also very well for the Greek. The italic uses different char-acter shapes which derive from a dynamic handwritten model.

common design features across styles and scripts

soft corners along the curves

stronger stroke modulation

cursive forms for the Italic

fluid out-strokes in capitals

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having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and espe-cially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people‘s hats off- then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a phi-losophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this.

having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation, whenever I find myself gro-wing grim about the mouth; whenever it is a damp, drizzly February in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whe-never my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people‘s hats off- then, I account it high time to get to sea as soon as I can.

fliegen hoch in the skyηλιοβασίλεμα how nice das Lebenam Horizont und αλάτι on the skinhas wind in den Segelnuntil the αυγή mein Schatz

οκτώ weiße γλάροιnothing better than the sea

eine βάρκα fernκυριακή απόγευμα

Lass uns sail

Από την απώτατη αρχαιότητα μέχρι τα μέσα του μεσαίωνα η εξέλιξη του ιστιοφόρου πλοίου ήταν βραδύτατη, αν και το κουπί συνέχιζε να παραμένει ισχυρό μέσον πρόωσης. Τότε το ιστίο που φέρονταν κυρίως από σταυρωτή κεραία, οριζόντια δοκό, από τον ιστό, αποτελούσε το βοηθητικό μέσον πρόωσης, αφενός για τη μερική ανάπαυση των πληρωμάτων, αλλά ειδικότερα για την λεγόμενη ουριοδρομία με τον άνεμο από πρύμνη. Όπως μας πληροφορεί ακόμη και ο ανυπέρβλητος Όμηρος η ώρα απόπλου ήταν αμέσως μετά τη θερινή δύση του Ηλίου όπου αφού κόπαζε η θαλάσσια αύρα, η πελαγία αύρα των αρχαίων άρχιζε να πνέει η «απόγεια αύρα, δηλαδή όταν «αρχίζουν να βγάζουν οι στεριές κατά την κοινή γλώσσα των Ελλήνων σύγχρονων ναυτικών.

Έτσι απέπλεαν οι τριήρεις ουριοδρομώντας, με κολπωμένο το εγκάρσιο πανί (ιστίο) τους σύμφωνα με τον σπουδαίο ναύαρχο και αρχαιολόγο σέρρε το λυκαυγές της του ήταν το τετράγωνο ιστίο και η του σε τρίγωνο και που άρχισε και η χρήση τους, παρά ταύτα πολλοί ναυτικοί ιστορικοί επιμένουν ότι η τριήρης δεν ήταν κύριο μέσον είχε τα κουπιά, επηρεασμένοι από τη σύγχρονη του όρου, αειτουργικά θεωρούν ότι το δεν αναδείχθηκε ούτε στη ρωμαϊκή περίοδο, αλλά ούτε και στη βυζαντινή αλλά περί τον με αιώνα όπου τότε μπορούσαν να πλέουν και με αντίθετο άνεμο δηλαδή να πλέουν την «εγγυτάτη», τότε άρχισαν να τα λεγόμενα πανιά λατίνια, με τα οποία οι γαλέρες και οι του λουδοβίκου

across scripts

latinregular

greekitalic

latinitalic

greekregular

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I know, it’s bigger on the inside.

heavens,this is your

ship ...

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l

k today you better take

the bike

not the busblinki

regular

bold

black

bold italic

italic

stronger stroke modulation in the bold italic

klabauter black lowercase k

gaining weightKlabauter comes with a strong bold weight which stands out with audacity. If you need even more weight take Klabauter black. This style preserves the general shapes of the regu-lar but brings some more ink on the paper. The bold italic shows more stroke modulation than the regular and is playful and friendly.

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nla

klabauter displayStrong wind in the sails lets the letters dance. The modulation of the broken stroke is exag-gerated in this funky high-contrast member of the family.

Stormy and eccentric So if you need some attention, use this fresh display weight which nobody will forget.

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klabauter displaylowercase n

extreme modulation

thin serifs

mstrong design features

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aluminumpunk in an

amphibian shipklabauter display

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about the texts and their authorThe two key texts to this seminar ‘Non-Latin typesetting in the digital age’ and ‘An approach to Non-Latin type design’ by Fiona Ross have been published in 2002. Around this time evolved a sensitivity about the potential of Unicode and OpenType in general and especially for Non-Latin scripts. Non-Latin type design was an important topic at the AtypI conference in 2002 in Rome and the results of a sponsored type design competition for all writing systems and languages are also published in Language Culture Type.

Fiona Ross has worked as a consultant, author, lecturer and type designer for non-Latin (especially Arabic and Indic) scripts. From 1978 to 1989 she worked for Linotype-Paul Ltd and was responsible for the non-Latin work. She wrote a lot of articles and books about how to ap-proach non-Latin typeface design and multi-script typeface design. Her text ‘Non-Latin scripts: Key issues in type-design’ in her latest publica-tion becomes a contemporary reference to this topic.

outlineOne of her central topics is the influence of technical and economical constraints on the type design process. These were crucial to the design of non-Latin typefaces since they were usually reproduced by processes originally developed for the Latin script. In her texts she describes the different technical possibilities of different times and proposes a new method for designers to approach the design of non-Latin typefaces to avoid the common practice of translating design decisions made because of constraints from the past into new technologies where these constraints no longer exist.

A method for non-Latin type design – The Linotype Bengali project She developed her method while she was working on a project for Lino-type-Paul Ltd. 1978 the Indian Newspaper group Ananda Bazar Patrika Ltd requested a Bengali font from for the Linotron 202 digital typesetter.

In order to not blindly adapt design decisions from the past the team analysed the state of Bengali typography and type design. They found out that Bengali typography suffered a lot through the technical con-straints of metal and hot-metal typesetting and lost the connection to its calligraphic routes. The gap between printed texts and handwriting had grown very wide and this fact harmed the literacy.One of the issues was the reduced character set. A challenge in many non-Latin scripts is the much larger character set than the Latin which caused much higher production costs and problems regarding the stor-age of the type. A common practice was to reduce character set using common components or simply to omit ‘less important’ characters. (e.g. ligatures and contextual sorts). Kerning which is essential for the correct positioning of subscript and superscript was tedious and often not done in an authentic way. Furthermore type forms were often not meant for native readers and therefore designed to please European eyes. This situation became worse by hot-metal composition tech-niques. Linecaster fonts for newspapers could only contain 96 sorts, were restricted in width and were unable to kern and position accents properly. This changed the appearance of a script tremendously.

With the new phototypesetting technology typesetting became more flexible again. There was the possibility of overlapping joins so the gaps

Helen Kern Essay on non-Latin type design

Seminar HandoutMA Typeface Design 2012–2013–Department of Typography and Graphic Communication–University of Reading26 Febuary 2013

Πόσον χαίρω που ανεχώρησα! Καλέ μου φίλε, τι πράγμα είναι η καρδιά του ανθρώπου! Να εγκαταλείψω σε που τόσον αγαπώ, που σου ήμουν αχώριστος, και να βρίσκωμ‘ ευχαριστημένος! Ηξεύρω ότι μου το συγχωρείς. Μήπως αι λοιπαί μου σχέσεις δεν εξελέ-γησαν επίτηδες από της τύχης για να στενοχωρούν μια καρδιά σαν την ιδική μου; Η καϋμένη Λεονώρα! Και όμως ήμουν αθώος. Έπταια εγώ ότι, ενώ τα ιδιότροπα θέλγητρα της αδελφής της μου παρείχαν ευχάριστον διασκέδασιν, εγεννήθη ένα αίσθημα, πάθος εις την δυστυχισμένη της καρδιά; Και όμως είμαι εντελώς αθώος. Δεν υπέθαλψα τα αισθήματά της; Δεν εγοητεύθηκα εγώ εκ των αληθεστάτων εκφράσεων της φύσεως, που τόσες φορές, μας έκαμαν να γελώμεν, όσον ολίγον γελοίαι και αν ήσαν; Δεν — ω, τι είναι ο άνθρωπος ώστε να παραπονήται διά τον εαυτόν του! Αγαπητέ μου φίλε, σου το υπόσχομαι, θα βελτιωθώ, δεν θ‘ ανα-μασσήσω πλέον κανένα μικρόν κακόν, το οποίον μας παραθέτει η τύχη, όπως έκαμα πάντοτε· θ‘ απολαύσω το παρόν, το δε παρελ-θόν θα μου είναι παρελθόν. Βέβαια, έχεις δίκαιον, φίλτατε, τα βά-σανα θα ήσαν ολιγώτερα μεταξύ των ανθρώπων, αν δεν ησχολού-ντο (ο Θεός ηξεύρει διατί ούτω επλάσθησαν) με τόσην προθυμίαν της φαντασίας εις το ν‘ ανακαλούν αναμνήσεις του παρελθόντος κακού περισσότερο παρά να περνούν αδιάφορον παρόν.Κάμε μου την χάριν να πης εις την μητέρα μου ότι θα φροντί-σω όσον το δυνατόν καλύτερα διά την υπόθεσίν της, και θα της δώσω εντός ολίγου είδησιν περί τούτου. Ωμίλησα με την θείαν μου και δεν την ηύρα καθόλου κακήν γυναίκα, ως μας την παρι-στάνουν· είναι φαιδρά και οξύθυμη γυναίκα με καλλίστην καρ-δίαν. Της εξέθεσα τα παράπονα της μητρός μου διά το κατακρα-τούμενον μερίδιον της κληρονομιάς· μου εξήγησε τους λόγους, τα αίτια και τους όρους, υπό τους οποίους θα ήτο πρόθυμη το παν να μας παραδώση και περισσότερα από όσα εζητούμεν — τέλος

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A Klabautermann is a water kobold (or nix) who assists sailors and fishermen on the Baltic and North Sea in their duties. He is a merry and diligent creature, with an expert understanding of most watercraft, and an unsupressable musical ta-lent. He also rescues sailors washed overboard. The name comes from the Low German verb klabastern meaning rumble or make a noise.

His image is of a small sailor in yellow with a tobacco pipe and woollen cap, often wearing a caulking hammer. This likeness is

1. ············ Alessia 2. ············ Bon 3. ············ Florian 4. ············ Igor 5. ············ Jonas 6. ············ Katy 7. ············ Liron 8. ············ Lisa 9. ············ Louisa 10. ··········· Reiko 11. ············ Ricardo 12. ············ Sebastian 13. ············ Stéphane 14. ············ William

carved and attached to the mast as a symbol of good luck. Despite the positive attributes, there is one omen associated with his presence: no member of a ship blessed by his presence shall ever set eyes on him. He only ever becomes visible to the crew of a doomed ship.

More recently, the Klabauter-mann is sometimes described as having more sinister attributes, and blamed for things that go wrong on the ship. This incarnation of the Klabautermann is more demon- or goblin-like, prone to play pranks.

the drunken sailorissue 6 | june 2013 95

did you know...

Klabautermanntop 14

boat names 2013

weatherLondon

and so on

Mainly dry overnight in Reading. Rain arriving in west Monday.Sunny spells and isolated showers across Britain to end the day, with showers dying away overnight. Cloud, wind and rain will arrive into Northern Ireland during the night, this edging into western frin-ges of England, Wales and Scotland by dawn.

Ηλιοφάνεια σε ολόκληρη τη χώρα και ενισχυμένους βοριάδες στο Ανατολικό Αιγαίο, περιμένουμε την Τρίτη 15 Ιουλίου 2013.Η θερμοκρασία θα κυμανθεί από 16 έως 30 βαθμούς στη Βόρεια Ελλάδα, από 17 έως 32 βαθμούς στην Κεντρική Ελλάδα, από 19 έως 32 βαθμούς στη Νότια Ελλάδα, από 18 έως 31 βαθμούς στη Δυτική Ελλάδα, από 21 έως 29 βαθμούς στις Κυκλάδες και την Κρήτη και από 20 έως 33 βαθμούς στα νησιά του Ανατολικού Αιγαίου και τα Δωδεκάνησα.

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15

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ticketoil painting in the age of digital typography1 June – 25 August 2013Museum of Modern Art, Mainz

Painting is the practice of applying paint, pigment, color or other medium [1] to a surface (support base). The medium is commonly applied to the base with a brush but other implements, such as knives, sponges, and airbrushes, can be used. In art, the term painting describes both the act and the result of the action. However, painting is also used outside of art as a common trade among crafts-men and builders. Paintings may have for their support such surfaces as walls, paper, canvas, wood, glass, lacquer, clay, leaf, copper or concrete, and may incor-porate multiple other materials including sand, clay, paper, gold leaf as well as objects.

Helen KernInside the current

March 2012200 x 200 cm oil on canvas

oil painting in the age of digital typographyJune 2013 | Museum of Modern Art, Mainz

encounters begegnungenDie Malerei zählt neben der Architek-tur, der Bildhauerei, der Grafik und der Zeichnung zu den klassischen Gattungen der bildenden Kunst. Malerei ist das Festhalten von Gedanken des Malers; dies geschieht im Gegensatz zur Zeich-nung durch das Aufbringen von feuchten Farben mittels Pinsel, Spachtel oder anderer Werkzeuge auf einen Malgrund. Neben der Tafel- und Wandmalerei unterscheidet man ferner die Glas- und Buchmalerei, des Weiteren die Malerei auf Ton oder Keramik (z. B. Griechische Vasenmalerei). Das älteste Zeugnis der Malerei sind die Höhlenmalereien mit Tierdarstellungen aus der letzten Eiszeit und dem Jungpaläolithikum.

Malereien und Zeichnungen, aber auch Reliefs und Plastiken, sind als künstleri-sche Ausdrucksformen aus der Zeit von vor 35.000 bis 10.000 Jahren bekannt.

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Άm “Šonntag” will meΐn »Süßer« mīt miř

sėgełn géhèn, wenn die (ķalten)Winďe wέhen*

* wäŗ [daς] nΐcht ώundérschön?

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klabauter regular

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Listen honey, I am the queen of the pirates, and you are the poor sailor who I have saved from drowning, at first, I do not like you very much, but after a while you start to wear those cute little shirts, and then, after many days on the ship we will suddenly

ahoi

31 | 32

acknowledgementsGerry Leonidas, Fiona Ross, Gerard Unger, James Mosley, Michael Twyman and all the visiting lecturers at the Univer- sity of Reading. Johannes Bergerhausen. All my classmates and MATD graduates for their helpful criticism and support. My family and Felix.

This specimen and the presented typeface Klabauter were designed by Louisa-Helen Fröhlich. The texts, if not noted below, are written by the author.

In partial fulfilment of the requirements of the Master in Typeface Design, University of Reading, UK.

contactLouisa-Helen Fröhlich Louisa(at)Froehlichdesign.de

additional resourcespage 13 | 14 Herman Melville: ‘Moby-Dick’

Greek text from Wikipedia el.wikipedia.org/wiki/Ιστιοφόρο

page 23 | 24 Johann Wolfgang von Goethe: ‘Die Leiden des jungen Werther’. Translator: Ioannis Aretas Greek Text from www.gutenberg.org

English text ‘Klabautermann’ from Wikipedia en.wikipedia.org/wiki/klabautermann

page 25 | 26 texts ‘Malerei’ and ‘Painting’ from Wikipedia de.wikipedia.org/wiki/malerei en.wikipedia.org/wiki/painting

page 27 | 28 lyrics ‘Am Sonntag will mein Süßer mit mir segeln geh‘n’ from Robert Gilbert

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