PDF Specimen

�e Capucine* family, designed by Alice
Savoie, is the result of a year studying
typeface design at the University of
Reading, UK.¶ Capucine is a rebel.
Originally designed for listings magazines,
Capucine rapidly followed its own path.
Playing with conventions, it moved away
from preconceived ideas about typefaces
designed for specific environments.¶
Capucine is not a crystal goblet.
It is not an anonymous, “transparent”
typeface, but has peculiar features that
make it easily recognisable and unique.
¶ Capucine is a paradox. Sans serif yet
bearing a strong calligraphic influence,
very legible because of its big x-height
but carrying a slightly informal flavour,
Capucine offers both seriousness and
liveliness in the same family.
* Capucine is the French name for nasturtium, a flower originating from South America.
�in λεπτά
Light ελαφρά
Regular κανονικά
Italic πλάγια
Semi-Bold ηµίµαυρα
Bold µαύρα
Black κατάµαυρα
ano
Hbg
aAA
AA
A
ñåę
ano
bip
ANQ
Capucine Regular
Capucine is a contemporary sans-serif typeface primarily
designed for magazines and more generally for print. With
its big x-height, small ascenders and descenders, and wide
counters, it is space-saving and designed to work well at small
sizes. Unusually for a sans-serif typeface, Capucine has a
strong calligraphic flavour and shares features with old style
faces; it shows influence of the broad-nib pen in its contrast
between thicks and thins and oblique axis. Also, there is a
sense of the flow of handwriting that gives a slightly informal
flavour to the typeface.
But Capucine is above all contemporary and unconventional,
mixing historical references with idiosyncratic features:
a strong vertical rythm, unusual “cut” instrokes (e.g. in the
top le� stem of n, m, p), a hint of a loop on some letters (the
bottom le� of b, n, m, r), a single-storey g, etc.
At big sizes, Capucine reveals its originality and its liveliness;
used at small sizes, it offers great legibility, making it suitable
for a wide range of applications.
Capucine Italic
�e italic was conceived as an independent design, yet in
the same spirit as the roman. Although its slant is slight (8°),
Capucine italic shows a greater speed and cursivity than
the upright. It has, among other characteristics, bigger
contrast between thicks and thins, emphasized instrokes and
oustrokes, and lower junctions. �e capitals bear a subtle
swashy style, reminiscent of such Art Nouveau typefaces as
Française Légère or Grasset. �e overall color of the italic is
also slightly lighter than the regular.
All those features make Capucine Italic a dynamic and lively
companion to the upright that works perfectly as a secondary
typeface. However, one might consider using it as an
independant face, for display purposes for example.
ανο
nηnη
Latin n and Greek eta,
regular and italic versions
oο
Latin o and Greek omicron
ano
ano
ano
ano
ano
Capucine Greek
�e Latin and Greek components mutually influenced each
other throughout the design process, and it would be difficult
to tell which one came first. Both scripts share some similar
features: a strong cursive influence, a hint of a loop on some
characters (e.g. on the Latin n and Greek η), the shape of the
terminals... However, each script preserves its singularity
– there has been no attempt to standardize the two. Among
other characteristics, the Greek version is less contrasted than
the Latin, as naturally the script “dances” more. �e effect
is to allow a similar overall colour when both scripts are set
together. �e placement of thicks and thins is also different
in Capucine Greek than in the Latin; as observed in historical
examples, the stress varies from one letter to another in
Greek, and attention was paid to respect this, avoiding thus a
possible “latinisation” of the script.
Capucine Family
As Capucine is designed primarily to be used in magazines,
building an extended family was a crucial part of the design
process. Capucine �in and Black were first conceived as
display variants. �ese two “extremes” reveal different
flavours, although they belong to the same family and work
well together: the �in version is delicate and refined, whereas
Capucine Black leans toward a more brushy, almost comic
style. �e Light, Semi-bold and Bold versions were then
designed to offer a range of weights that are easily useable at
text size, and that would combine effectively with any other
variant. As a whole, the family offers a solution for any kind of
text, from continuous text to more complex structures.
Each variant includes Greek and four sets of numerals.
�e family will grow further, with an italic planned for each
weight, as well as small caps.
Quantès?
parangonner
Étouffer un perroquet
Feuille de chou
Chier dans le cassetin aux apostrophes
Saint-Jean-Porte-Latine
Un fricoteur!
LEVER LES PETITS CLOUS
Bourreur de lignes
Loup-phoque
English | Capucine regular | 9/12 pt.
We only know the things that we tame, said the fox. People no longer have the time
to know anything. �ey buy things already made for peddlers. But since there are
no peddlers of friends, they no longer have friends. If you want a friend, tame me!
Goodbye, said the fox. Here’s my secret; it’s very simple: we see well only with the
heart. �e essential is invisible to the eyes.
German | Capucine regular & italic | 9/12 pt.
Man kennt die Dinge, die man zähmt, sagte der Fuchs. Die Menschen haben keine
Zeit mehr, etwas kennen zu lernen. Sie kaufen die Dinge fix und fertig bei den Händlern.
Aber weil niemand mit Freunden handelt, haben Sie Menschen keine Freunde mehr.
Wenn Du einen Freund willst, zähme mich! Adieu!, sagte der Fuchs. Dies ist mein
Geheimnis. Es ist sehr einfach: man sieht nur mit dem Herzen gut. Das Wesenliche
ist für die Augen unsichtbar.
French | Capucine light | 9/12 pt.
On ne connaît que les choses que l’on apprivoise, dit le renard. Les hommes n’ont plus
le temps de rien connaître. Ils achètent des choses toutes faites chez les marchands.
Mais comme il n’existe point de marchands d’amis, les hommes n’ont plus d’amis. Si tu
veux un ami, apprivoise-moi ! Adieu, dit le renard. Voici mon secret. Il est très simple :
on ne voit bien qu’avec le cœur. L’essentiel est invisible pour les yeux.
Spanish | Capucine regular & bold | 9/12 pt.
Sólo conocemos las cosas que domesticamos, dijo el zorro. Los hombres ya no
tienen tiempo de conocer nada. Compran en las tiendas cosas hechas. Pero
como no hay ninguna tienda donde vendan amigos, los hombres ya no tienen
amigos. ¡Si quieres un amigo, domestícame! Adiós, dijo el zorro. Te diré un
secreto. Es muy sencillo: sólo se ve bien con el corazón. Lo esencial les resulta
invisible a los ojos.
Czech | Capucine light & semi-bold | 9/12 pt.
Známe jen ty věci, které si ochočíme, řekla liška. Lidé už nemají čas, aby něco
poznávali. U obchodníků nakupují věci úplně hotové. Ale protože s přátelstvím se
nekupčí, nemají přátel. Chceš-li přítele, ochoč si mě! (...) Sbohem, řekla liška. Tady
je mé tajemství, docela jednoduché: správně vidíme jen srdcem. Co je důležité
je očím neviditelné.
Turkish | Capucine regular & black | 9/12 pt.
İnsan ancak evcilleştirirse anlar, dedi tilki. İnsanların artık anlamaya zamanları
yok. Dükkânlardan her istediklerini satın alıyorlar. Ama dostluk staılan bir
dükkân olmadığı için dostları yok artık. Eğer dost istiyorsan, beni evcilleştir !
Hosçakal, dedi tilki. İşte sana dir sır, çok basit bir şey : İnsan yalnız yüreğiyle
doğruyu görebilir. Asıl görülmesi gerekeni gözler göremez.
exhibitions
Women seeking women
Soulmates
Place your add for free by calling us!
ROCK, POP AND DANCE
Tuesday 24
Critic’s choice
Satellite & Cable
Find more reviews online
�e pick of the day
Hungarian | Capucine regular & black | 9/12 pt.
Egyik tyúk olyan, mint a másik; és egyik ember is olyan, mint a másik. Így aztán
meglehetősen unatkozom. De ha megszelídítesz, megfényesednék tőle
az életem. Lépések neszét hallanám, amely az összes többi lépés neszétől
különböznék. A többi lépés arra késztet, hogy a föld alá bújjak. A tiéd, mint
valami muzsika, előcsalna a lyukamból.
Greek | Capucine regular & italic | 9/12 pt.
∆ε γνωρίζει κανείς παρά ό,τι εξηµερώνει, είπε η αλεπού. Οι άνθρωποι δεν
ευκαιρούν πια να µάθουν τίποτε. Τ’αγοράζουν όλα έτοιµα από τους εµπόρους.
Καθώς όµως δεν υπάρχουν διόλου έµποροι φίλων, οι άνθρωποι δεν έχουν πια
φίλους. Αν θέλεις ένα φίλο, εξηµέρωσέ µε! (...) Εχε γεια! είπε η αλεπού. Ορίστε
το µυστικό µου. Είναι πολύ απλό: δε βλέπει κανείς καλά παρά µονάχα µε την
καρδιά. Η ουσία είναι αόρατη για τα µάτια.
Latvian | Capucine light & semi-bold | 9/12 pt.
Mē paszīstam tikai to, ko pieradinām, sacīja lapsa. Civēkiem vairs nav laika neko
iepazīt. Vini nopērk pie tirgotāja jau visu gatavu. Bet, tā kā nav tirgotāju, kas
pārdotu draugus, tad cilvēkiem vairs nav draugu. Ja tu vēlies draugu, pieradini mani!
Ardievu, sacīja lapsa. Lūk, mans noslēpums, tas ir loti vienkāršs: īsti mēs redzam
tikai ar sirdi. Būtiskais nav acīm saredzams.
Norwegian | Capucine regular & bold | 9/12 pt.
Vi kjenner bare de ting vi har gjort oss fortrolig med, sa reven. Menneskene har
ikke lenger tid til å bli kjent med noe. De kjøper alt ferdig i butikken. Men siden
det ikke finnes butikker som selger venner, har ikke menneskene venner lenger.
Vil du ha en venn, så gjør deg fortrolig med meg! Adjø, sa reven. Jeg skal fortelle
deg en hemmelighet. Den er veldig enkel. Man ser bare godt med hjertet. Det
vesentlige er usynlig for øyet.
Polish | Capucine regular & italic | 9/12 pt.
– Poznaje się tylko to, co sie oswoi – powiedział lis. – Ludzie mają zbyt mało czasu, aby
cokolwiek poznać. Kupują w sklepach rzeczy gotowe. A ponieważ nie ma magazynów z
przyjaciółmi, więc ludzie nie mają przyjaciół. Jeśli chcesz mieć przyjaciela, oswój mnie!
– Żegnaj – odpowiedział lis. – A oto mój sekret. Jest bardzo prosty: dobrze widzi się
tylko sercem. Najważniejsze jest niewidoczne dla oczy.
Icelandic | Capucine light | 9/12 pt.
Auðvitað er það svo með rósina mína að venjulegur vegfarandi mundi halda að hún
líktist ykkur. En hún ein er meira virði en þið allar af því að það er hún sem ég hefi
vökvað, hún sem ég hefi sett undir hjálm, hún sem ég hefi skýlt með vindhlíf, hún sem
ég hefi drepið af lirfurnar (nema tvær eða þrjár vegna fiðrildanna); af því að það er
hún sem ég hefi heyrt kveina eða gorta, eða jafvel stundum þegja.
Ένας Γέρος
Στου καφενείου του βοερού το µέσα µέρος
σκυµένος στο τραπέζι κάθετ’ ένας γέρος·
µε µιαν εφηµερίδα εµπρός του, χωρίς συντροφιά·
Και µες των άθλιων γηρατειών την καταφρόνια
σκέπτεται πόσο λίγο χάρηκε τα χρόνια
που είχε και δύναµι, και λόγο, κ’ εµορφιά.
Ξέρει που γέρασε πολύ· το νοιώθει, το κυττάζει.
Κ’ εν τούτοις ο καιρός που ήταν νέος µοιάζει
σαν χθες. Τι διάστηµα µικρό, τι διάστηµα µικρό.
Και συλλογιέται η Φρόνησις πως τον εγέλα·
και πως την εµπιστεύονταν πάντα – τι τρέλλα! –
την ψεύτρα που έλεγε· «Aύριο. Έχεις πολύν καιρό.»
An Old Man
At the noisy end of the café, head bent
over the table, an old man sits alone,
a newspaper in front of him.
And in the miserable banality of old age
he thinks how little he enjoyed the years
when he had strength, eloquence, and looks.
He knows he’s aged a lot: he sees it, feels it.
Θυµάται ορµές που βάσταγε· και πόση
χαρά θυσίαζε. Την άµυαλή του γνώσι
κάθ’ ευκαιρία χαµένη τώρα την εµπαίζει.
.... Μα απ’ το πολύ να σκέπτεται και να θυµάται
ο γέρος εζαλίσθηκε. Κι αποκοιµάται
στου καφενείου ακουµπισµένος το τραπέζι.
Από τα Ποιήµατα 1897–1933, Ίκαρος 1984
Yet it seems he was young just yesterday.
So brief an interval, so very brief.
And he thinks of Prudence, how it fooled him,
how he always believed–what madness–
that cheat who said: “Tomorrow. You have plenty of time.”
He remembers impulses bridled, the joy
he sacrificed. Every chance he lost
now mocks his senseless caution.
But so much thinking, so much remembering
makes the old man dizzy. He falls asleep,
his head resting on the café table.
C.P. Cavafy, Collected Poems.
Translated by Edmund Keeley and Philip Sherrard
tv&radio
George Clinton: Tales of
Dr Funkenstein
From P-Funk to G-Funk, George
Clinton has been the torchbearer
for the most innovative grooves.
Don Lett’s latest doc gets into the
man’s world. Friday, 9pm, BBC4
Don’t miss �e Catherine Tate Show
Catchphrase comedy at its undoubted best
from the excellent Tate, whose cast of
intransigent women across the generations
continue to delight. And Catherine Tate is very
talented. �ursday, 9pm, BBC2
Torchwood
And what happens
when you’ve been
exterminated by the
Daleks? You get your
own show, of course.
Captain Jack, sexed-up
Doctor Phew!, is back...
Sunday, 9pm, BBC3
Fear of Fanny
Julia Davis returns to get under
the made-up skin of terrifying
celebrity chef Fanny Cradock. And
if you thought she only wore bright
colours, wait til you see the food.
Monday, 9pm, BBC4
Longford
Jim Broadbent plays this notorious
proponent of liberal values. �ough
derided by the press, he pleaded
for understanding for Myra Hindley
(here played by Samantha Morton).
�ursday, 9pm, C4
TV Previews Claire Birchall (CSB), Ali Catterall (AJC), Katrina Dixon (KD), Will Hodgkinson (WH), Andrew
Mueller (AM), Phelim O’Neill (PO’N), Danielle Proud (DP),
), Julia Raeside ((JNR), John Robinson ((JR), Martin Skegg
(MS), David Stubb (DS),
), Jonathan Wright ((JW ).
October 21–27 2006 Time Out London • 178
Jacques Peretti
Down with the kids
Music fans over the age of 30 will have
amassed a sizable record collection over
the years, which they rarely play. In
the vinyl analysis, is it time to put away
childish things?
I
’ve done it. I have done it.
I can’t actually believe I’ve
done it, but I have (done
it). And now I am looking at
the floor – at where everything
I loved and cherished and held
dear to my cold heart used to
be – and I can’t help thinking
it looks wrong. Yesterday, the
entire floor space of my dusty
attic was covered in records:
30,000 lumps of plastic
warping gently in the autumn
sun. Records called things like
Trance Orgasm Express and
Black Magic Horn by longforgotten people with names
such as DJ Spanky; Mushroom
Mike and Melting Dolphins
(featuring the vocal talent of
Janeen).
�ere they stood, like some
frightening installation of
everything frightening and
“underground” from the
1990s. A few embarrassing, a
few rare, believe it or not, and
worth an absolute fortune, but
the vast majority (all of them
basically, bar and armfull),
1990s house music in its
pompous glory: when dance
music went all Rick Wakeman
and prog rock, taking itself so
seriously, it disappeared up its
own linen-trousered backside.
�e King (Crimson) of this prog
house shit was someone called
Sasha. Every Sasha record was
identical: there’d be a blurry
photo on the cover of a moody
Sasha on a cliff-top, looking out
across the sea to some far-away
destination (a place called
Meaning).
�e record would last 45
minutes, with a 25-minutes
intro of doomy synth washes.
�is would be followed by a
multiple orgasm of drum-rolls
and then some woman (Janeen
probably) wailing Take Me
Higher, Let Me Be Your Fantasy,
Come On My Face or some such
charming refrain over the top...
I’m trying to damn these
records to sound modern and
with it but truth is I have great
affection for this rubbish – it
sounds so anachronistic now,
it’s laughable. But at the time,
it all made sense and it was rock
and guitars, not dance music,
that seemed out of date. I
remember Bill Drummond of the
KLF saying that in the future,
there will be no more need for to
live music because
179 • Time Out London October 21–27 2006
I was keeping
the tackiest
abominations
ever committed to
plastic. �e rave
version of Jump by
Van Halen anyone?
20
Exhibitions
• Pow Wow
A family-friendly exhibition of New
World tapestry.
British Empire & Commonwealth
Museum, Station Approach ((0117– 925
4980) Mon–Sun 10am–5pm, to Nov 1,
£6.95, child £3.95, concs £5.95.
Guildford
• Luke Salaman:
�e engine Room
A photographic exhibition charting
the restoration of the ship’s engine.
Brunel’s SS Great Britain, Gas Ferry
Road ((0117–926 0680) Mon–Sun
10 am–5.30pm, last adm 4.30pm,
to Feb 28, £4.95, concs available.
• Something Old, Something New
A collection of recent acquisitions.
City Museum And Art Gallery, Queen’s
Road ((0117-922 7500) Mon–Sun
10am–5pm, to Apr. 1, free.
• Alex Tsander: Negrafix
Local Photographer exhibits a series
of 13 pictures capturing images or
graffiti.
Didier’s French Cafe & Bistrot,
Christmas Steps ((0117–927 7500)
Mon–Sat 9am–5pm, to Dec 30, free.
• Twisted: Knitting On �e Edge
�e subversive potential of knitting.
Here Gallery, Stokes Cro� (0117–942
(
2222) Tue–Sat 12.30pm–6.30pm,
to Oct. 31, free.
Cambridge
• Jan Pawlowicz
Abstracted paintings.
John Russell Gallery, Wherry Lane
(01473–112574)
(01473–112574
01473–112574) Tue–Sat 9am–5pm, free.
WEDNESDAY JULY 11 2007
Soulmates
Satellite & Cable
Place your ad for free
Call 0800 256 5043
• Tall & slim F, nearly 50, ints: arts &
countryside looking for an educ, interesting,
considerate M to enjoy life with. Oxford/Cots.
Call 0905 672 6702 Voicebox 70011
• Sleepless in Norwich, warm friendly,
interesting, bold, active, magical F seeks M.
Looking forward to hearing from you. E Ang.
Call 0905 672 6702 Voicebox 84 467
• Petite Brunette seeks unrepentant
reprobate, 50ish with a SOH & adventure. Devon.
petitebrunette@aol.com
• Warm & outgoing, spontaneous, intellig,
green-eyed blonde F, profess, 36, enjoys
laughter, living & lazing around, WLTM tall, good
natured, attract M, 24–32. Birmingham. Call
Call 0905 672 6702 Voicebox 83012
• Le� wing, intellig, Francophile, widow, 58,
5’7, slim, lecturer, loves the arts, seeks intellig,
humorous, M, 58–68, to enjoy life together. Ldn.
Call 0905 672 6702 Voicebox 56798
• Italian affair? 35–50 & entirely italian in Ldn?
Let me fulfil my long held fantasy & go out with
a charming, gorgeous Italian guy with a twinkle
in his eye. Ldn. italianaffair@yahoo.co.uk
• Just what you wanted! �e secret of life
from the most youthful, wise F you’ll ever
meet. 57, good-looking, slim, warm, thoughtful,
passionate, intellig. Ldn. Call 0905 672 6702
Voicebox 16594
• Lady, 40, separated, petite, likes classical
music, reading, gardening, walking WLTM
reliable courteous gentleman, 35–45, for f/ship
initially. S Mancs. lady4013@hotmail.com
• F with ambition but no night vision seeks tall,
Hampshire, M/companion, 60+, to share local
theatre, concerts, walks and talks. S Hants.
Call 0905 672 6702 Voicebox 67549
• Useful black F, 39, 5’5, slim, profess, intellig,
seeks white M, n/s, for LTR. Ldn. Call 0905 672
6702 Voicebox 09856
• Fiesty F, 5’7, dark hair/eyes, tall, slim, seeks
part-time r/ship with free spirit M. NW. Call
0905 672 6702 Voicebox 07609
• Attract & sensual, slim & romantic, F likes
travel, walking, music, architecture seeks
attract M, 45–55. attractsensual@aol.com
Artsworld
8.0am Bahia Of All �e Saints 9.50
Barenboim West Eastern Divan Orchestra
11.35 Contacts 11.50 Great Arias 12.0
Paris National Opera’s Opera Bastille 1.0
Constable At Tate 2.0 John Mayall And
Eric Clapton 3.30 Bringing Balanchine
Back 4.50 Sister Wendy’s Grand Tour 5.0
Lucia Di Lammermoor 7.20 Mozart Piano
Sonatas: Barenboim 7.40 �e Art of Eric
Gill 8.30 Art Museums Of �e World 9.0
Four American Composers: Robert Ashley
10.0 Mahler Symphony No 9 (Abbado) 11.25
Blott On �e Landscape 12.20 Still Life At
�e Penguin Cafe 1.0 Rosario Giuliani
Discovery
6.0am Ultimates 7.0 Ultimate 10 8.0 How
It’s Made 8.30 How It’s Made 9.0 Scrapheap
Challenge 10.0 American Chopper 11.0
Future Weapons 12.0 Mythbusters 1.0 How
It’s Made 1.30 How It’s Made 2.0 Forensic
Detectives 3.0 FBI Files 4.0 Time Team
5.0 How Do �ey Do It? 6.0 American
Chopper 7.0 Mythbusters 8.0 How It’s Made
8.30 How It’s Made 9.0 Extreme Medical
Stories 10.0 �e Boy With Divine Powers
11.0 Forensic Detectives 12.0 FBI Files 1.0
Crimes �at Shook �e World 2.0 Forensic
Detectives 3.0 �e Boy With Divine Powers.
4.0 Extreme Medical Stories 5.0 Future
Weapons
Five US
4.0pm Joey 4.30 Joey 5.0 Happy Days
5.30 Happy Days 6.0 Pimp My Ride 6.30
Pimp My Ride 7.0 NBA 8.0 CSI: Crime Scene
Investigation 9.0 FILM Out Of Reach (2004)
10.40 FILM No Escape (1994)
FX
10.0am Highlander 11.0 �ird Watch 12.0
Cops 12.30 King Of �e Hill 1.0 Buffy �e
Vampire Slayer 2.0 JAG 3.0 �e X Files 4.0
�ird Watch 5.0 Buffy �e Vampire Slayer
6.0 Cops 6.30 King Of �e Hill 7.0 JAG 8.0
NCIS 9.0 Family Guy 9.30 Family Guy 10.0
Reno 911! 11.0 Brotherhood 12.05 NCIS
2005 – 06 average full-time academics salaries and gender pay gaps
1
2
3
4
5
6
7
8
9
10
Institution
Female
average £
Male
average £
Total
average £
University of the Arts, London
Queen Margaret University College, Edinburgh
University of Central England in Birmingham
York St John University
Staffordshire University
Bolton University
University College for the Arts, Canterbury
Worcester University
Buckinghamshire Chilterns University College
Chichester University
42,349
38,444
36,956
37,145
36,874
38,314
37,096
36,641
38,026
38,142
41,835
38,568
37,338
37,543
37,407
38,907
37,832
37,486
38,918
39,180
42,051
38,488
37,200
37,344
37,215
38,701
37,567
37,034
38,560
38,730
Pay
gap %
−1,2
0,3
1.0
1.1
1.4
1.5
1.9
2.3
2.3
2.6
Αβάνα
H πρωτεύουσα της Κούβας
είναι ο ιδανικός προορισµός για
ταξιδιώτες που έχουν βαρεθεί
τις µαζικές οµογενοποιηµένες
κουλτούρες. Η φήµη της
επαναστάτριας προσθέτει πολύ
στη γοητεία της, όµως, η Αβάνα
προσφέρει πολύ περισσότερα
από µια όψη της ζωής χωρίς
MacDonald’s...
Φαγητό και ποτό – Η πόλη δεν είναι ένας
ιδιαίτερος γαστρονοµικός προορισµός.
Το µεγαλύτερο ατού των περισσοτέρων
εστιατορίων είναι η ατµόσφαιρά τους. Επειδή η
παλιά πόλη είναι το επίκεντρο της τουριστικής
βιοµηχανίας, είναι πολλά τα εστιατόρια εκεί
που έχουν επαναπαυθεί. To καλύτερο και
πιο αυθεντικό φαγητό το τρώει κανείς στα
paladares, που είναι ιδιωτικά σπίτια που
ανοίγουν τις πόρτες τους για ένα µικρό αριθµό
ατόµων. To απόλυτο must εστιατόριο είναι το
La Guarida (Calle Concordia 318, entre Gervasio
y Escobar, 7624940), ένα ατµοσφαιρικό µέρος
που θυµίζει την Αβάνα παλαιότερων δεκαετιών.
Επιβάλλεται, επίσης, να δειπνήσετε στο
ροµαντικό κήπο του La Cocina de Lilliam (Calle
48, Playa, 72096514). Καλή επιλογή είναι και
το La Finca (Av. 19 & Calle 140, Playa, 78235838).
Επιπλέον τα ξενοδοχεία Nacional de Cuba (Calle
O, esquina 21, 72046366/www.gran-caribe.com)
και Melia Cohiba (Paseo, entre 1ra y 3ra, 7333636/
www.somelia.com) στεγάζουν αρκετά εστιατόρια
µε κουβανέζικη και διεθνή κουζίνα.
Νύχτα – H Αβάνα είναι γεµάτη bars και clubs
µε live µουσική για πολύ χορό. Τα πιο γνωστά
συγκροτήµατα της πόλης εναλλάσσουν τις
εµφανίσεις τους στα πιο φηµισµένα clubs της
πόλης: το Casa de la Musica de Centro Habana
(Calle Galiano, entre Neptuno y Concordia,
78624165), το Casa de la Musica de Miramar (Calle
20, esquina 35, Playa, 72040447), το Salon Piano
Bar «Delirio Habanero» (Teatro Nacional de
Cuba, Paseo, esquina 39, Plaza de la Revolucion,
78790710) και το Cafe Cantante Mi Habana (Teatro
Nacional de Cuba, Paseo, esquina 39, Plaza de la
Revolucion, 78790710). Πολύ δηµοφιλείς είναι οι
Van Van, Paulito FG και Isaac Delgado. Απόλυτο
must είναι το υπαίθριο Cabaret Tropicana (Calle
72, Marianao, 7170010), το παλιότερο και πιο
θρυλικό cabaret show της Αβάνας.
Shopping – Το shopping στην Αβάνα δεν λέει και
πολλά πράγµατα, εκτός και αν είστε φανατικοί
των πούρων. Στη µαύρη αγορά κυκλοφορούν
πολλά πούρα που δεν είναι αυθεντικά, καλύτερα
επισκεφτείτε ένα από τα πολλά Casas del Habano
ή το εργοστάσιο πούρων Partagas (Calle Industria
520, entre Dragones y Barcelona, 7338060).
Κάντε και µια βόλτα από την υπαίθρια αγορά,
που στήνεται κάθε µέρα µέχρι το µεσηµέρι, στο
ιστορικό κέντρο. Το παζάρεµα επιβάλλεται.
∆ιαµονή – Από τα µεγάλα ξενοδοχεία του
κέντρου ξεχωρίζουµε το Melia Cohiba (Paseo,
entre 1ra y 3ra, 7333636/www.somelia.com, $225)
και το ιστορικό Hotel Nacional de Cuba (Calle O,
esquina 21, 8733564, $170) – το οποίο χρειάζεται
όµως επειγόντως ανακαίνιση και ιδιαίτερη
προσοχή. Στην παλιά πόλη εξαιρετικό είναι το
Hotel Santa Isabel (Calle Baratillo 9, entre Obispo
y Narciso Lopez, 78608201, www.habaguanex,
$200-$400) ενώ συµπαθέστατο και πολύ βολικό
είναι το νέο ΝΗ Parque Central (Calle Neptuno,
78606627, $125-$200). Στο Hostal Los Frailes (Calle
Brasil 8, 8629383, $90-$110) η διαµονή θα σας
µείνει αξέχαστη – το προσεγµένο design των
δωµατίων είναι άκρως κινηµατογραφικό. Καλή
επιλογή είναι, επίσης, το ξενοδοχείο Saratoga
(Prado 603 & Dragones, 78681000, $180-$260).
Typotechnica
Frankfurt 2007
by FILIP BLAŽEK
THE TYPOTECHNICA CONFERENCE organised by the
Linotype company took place on the 27 th and
28 th of April, 2007, in Frankfurt am Main. Lectures were dedicated to the technical troubles
of electronic fonts, especially to the trouble with
OpenType format. It becomes obvious that the
mere existence of the OpenType format isn’t a
sufficient solution to all the problems. This is
how the author of the opening speech, American
typographer Christian Schwartz, put it: “We’re
halfway there.” �e whole conference was thus
dedicated to sorting out how to make the move
forward. One of the key troubles lies in the fact
that the variety of typographic possibilities allowed by the OpenType format is only supported
by a handful of apps, mostly designated for DTP,
and it is out of reach for most common users (with
the exception of the Mellel text editor for Mac OS
X, and partly of certain apps supplied with this
OS). Despite the fact that Microso� is OpenType’s
co-creator, not even the latest versions of its office bundle support elemetary features such as
ligatures, small caps, alternating numerals or
local versions of certain glyphs. It is surprising
that Microso�, active in trying to make its OS accessible to the broadest possible user platform
around the world, hasn’t yet been able to offer a
tool which would, say, enable Serbs to set their
traditional varieties of Cyrillic characters, even
though the fonts supplied with Windows Vista do
contain these characters in their sets.
KONFERENCE TYPOTECHNICA, kterou čas od času
pořádá společnost Linotype, se letos konala
27. a 28. dubna ve Frankfurtu and Mohanem.
Přednášky shrnuly potíže s tvorbou i používáním
počítačových písem, zejména s fonty ve formátu
OpenType. Je jasné, že samotná existence formátu
OpenType pro vyřešení všech problémů nestačí.
Názvem své úvodní přednášky situaci výstižně
charakterizoval americký typograf Christian
Schwartz: „Jsme v půli cesty.“ Celá konference se
tedy zabývala tím, jak se pohnout kupředu. Jeden
z klíčových problémů je, že typografické vlastnosti opentypových fontů podporuje jen několik
málo aplikací určených převážně pro DTP, které
jsou pro běžného uživatele naprosto nedostupné
(s výjimkou textového editoru Mellel pro Mac OS X
a částečně také některých aplikací dodávaných
jako součást tohoto operačního systému). Navzdory tomu, že Microso� je spolutvůrcem OpenType specifikace, ani poslední verze kancelářského
balíku nenabízejí byť jen základní podporu pro
ligatury, malé kapitálky, alternativní sady číslic
nebo lokální alternativy některých znaků. Je s
podivem, že Microsoft, který se aktivně snaží
zpřístupnit svůj operační systém co nejširšímu
počtu uživatelů na celém světě, zatím nedokázal
nabídnout nástroj, který by třeba Srbům umožnil
sázet tradiční srbské varianty některých znaků
azbuky, byť fonty dodávané s operačním systémem Vista alternativní srbské znaky obsahují.
>>> 34
Capucine regular | Character set | 20 pt
BASIC LATIN
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQQRSTUVWXYZ
EXTENDED LATIN
æâáàäåãăāąǻǽçĉčćċðďđêéèëĕėęěĝğġ
ģĥħıîíìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏ
őþŕŗřßśŝşšșſţťŧûúùüűũūŭůųŵÿỳýŷźżž
ÆÂÁÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔĖĘĚ
ĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓ
ÒÖÕØǾŌŎŐÞŔŖŘŚŜŞŠȘŢŤŦÛÚÙÜŰ
ŨŪŬŮŲŴŸỲÝŶŹŻŽ
LATIN SMALL CAPS
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ŒÆIÇÐÞŊÂÁÀÄÅÃĂĀĄǺǼĈČĆĊĎĐÊÉÈËĔĖĘ
ĚĜĞĠĢĤĦÎÍÌÏĮĬĪIJĴĶĹĻĽĿŁŃŅŇÑÔÓÒÖÕØǾŌŎ
ŐŔŖŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ
GREEK
αββγδεζηθθικλµνξοπρσςτυφφχψω
άέήίϊΐόύϋΰώ
ΑΒΓ∆ΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΥΦΧΨΩ
ΆΈΉΊΪΌΎΫΏ
GREEK SMALL CAPS
ΑΒΓ∆ΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ
ΆΈΉΊΪΌΎΫΏ
NUMERALS & CURRENCY SYMBOLS
0123456789¤¥€$£¢
0123456789¥€$£ƒ
PUNCTUATION AND SYMBOLS
?!•¿¡([{—}])|¦«&�&.»‹-›‘…’�
“@;@·@”@:@„"/–\'~_¶§†‡*°®©™
№ℓ∂∫√◊℮‽℗ºª%‰
#+×≠=≈÷±≤∞≥<¬>¼½¾
OPENTYPE FEATURES
Ligatures
Stylistic alternates
Case-sensitive
punctuation
Small Caps
Numerals:
Proportional oldstyle
Proportional lining
Tabular oldstyle
Tabular lining
Fractions
Superiors and inferiors
Localized forms
��ff��fiffi����
fl ffl � � � �� �
έβρεχα έβρεχα
πίθηαι πίθηαι
µαφία µαφία
[{(CASE)}] «¿¡CA–SE» ‹CA-SE@Sens›
[{(CASE)}] «¿¡CA–SE» ‹CA-SE@SENS›
UNESCO AMSTERDAM EDF et GDF
0123456789 $£€
0123456789 $£€
|0|1|2|3|4|5|6|7|8|9|$|£|€|
|0|1|2|3|4|5|6|7|8|9|$|£|€|
1/2½ 1/4¼ 3/4¾ 5/6 ⁵⁄⁶
x⁰ n⁽q⁺¹⁾ H₂O m² Mlle Mr Ste 2ⁿd 3rd 4th
Şi să porneşti Și să pornești
Capucine italic | 14 pt
abcdefghijklmnopqrstuvwxyz�ABCDEFGHIJKLMNOPQ
RSTUVWXYZ�æâáàäåãăāąǻǽçĉčćċðďđêéèëĕėęěĝğġģĥħ
ıîíìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏőþŕŗřßśŝşšșſţťŧûúùü
űũūŭůųŵÿỳýŷźżž�ÆÂÁÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔ
ĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐÞŔ
ŖŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ�αβγδεζηθικλµ
νξοπρσςτυφχψω�άέήίϊΐόύϋΰώ�ΑΒΓ∆ΕΖΗΘΙΚΛΜΝΞΟΠ
ΡΣΤΥΦΧΨΩ�ΆΈΉΊΪΌΎΫΏ�0123456789¤¥€$£¢�012345
6789¥€$£ƒ�?!•¿¡([{—}])|¦«&�&.»‹-›‘…’“@;·”@:„"/–\'~_¶§
†‡*°®©™№ℓ∂∫√◊℮‽℗ºª%‰#+×≠=≈÷±≤∞≥<¬>¼½¾
Capucine black | 14 pt
abcdefghijklmnopqrstuvwxyz�ABCDEFGHIJKL
MNOPQRSTUVWXYZ�æâáàäåãăāąǻǽçĉčćċðď
đêéèëĕėęěĝğġģĥħıîíìïīįĭij ĵĸķĺļľŀłŋńņňñʼnœôóòö
õøǿōŏőþŕŗřßśŝşšșſţťŧûúùüűũūŭůųŵÿỳýŷźżž�
ÆÂÁÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔĖĘĚĜĞĠĢĤ
ĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐÞŔŖ
ŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ�αβγδε
ζηθικλµνξοπρσςτυφχψω�άέήίϊΐόύϋΰώ�ΑΒΓ∆
ΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ�ΆΈΉΊΪΌΎΫΏ�012
3456789¤¥€$£¢�0123456789¥€$£ƒ�?!•¿¡([{—
}])|¦«&’.»‹-›‘…’“@;·”@:„"/–\'~_¶§†‡*°®©™№ ∂ √ ℮ºª%
‰#+×≠=≈÷±≤≥<¬>
Capucine thin | 14 pt
abcdefghijklmnopqrstuvwxyz�ABCDEFGHIJKLMNOPQ
RSTUVWXYZ�æâáàäåãăāąǻǽçĉčćċðďđêéèëĕėęěĝğġģĥ
ħıîíìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏőþŕŗřßśŝşšșſţťŧûúù
üűũūŭůųŵÿỳýŷźżž�ÆÂÁÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈË
ĔĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐ
ÞŔŖŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ�αβγδεζηθ
ικλµνξοπρσςτυφχψω�άέήίϊΐόύϋΰώ�ΑΒΓ∆ΕΖΗΘΙΚΛΜ
ΝΞΟΠΡΣΤΥΦΧΨΩ�ΆΈΉΊΪΌΎΫΏ�0123456789¤¥€$£¢�
0123456789¥€$£ƒ�?!•¿¡([{—}])|¦«&�.»‹-›‘…’“@;·”@:„"/–
\'~_¶§†‡*°®©™№ ∂ √ ℮ºª%‰#+×≠=≈÷±≤≥<¬>
Capucine semi-bold | 14 pt
abcdefghijklmnopqrstuvwxyz�ABCDEFGHIJKLM
NOPQRSTUVWXYZ�æâáàäåãăāąǻǽçĉčćċðďđêéè
ëĕėęěĝğġģĥħıîí ìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏő
þŕŗřßśŝşšșſţťŧûúùüűũūŭůųŵÿỳýŷźżž�ÆÂÁÀÄÅÃ
ĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻ
ĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐÞŔŖŘŚŜŞŠȘŢŤŦÛÚÙÜ
ŰŨŪŬŮŲŴŸỲÝŶŹŻŽ�αβγδεζηθικλµνξοπρσςτυφχ
ψω�άέήίϊΐόύϋΰώ�ΑΒΓ∆ΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧ
ΨΩ�ΆΈΉΊΪΌΎΫΏ�0123456789¤¥€$£¢�01234567
89¥€$£ƒ�?!•¿¡([{—}])|¦«&’.»‹-›‘…’“@;·”@:„"/–\'~_¶
§†‡*°®©™№ ∂ √ ℮ºª%‰#+×≠=≈÷±≤≥<¬>
Capucine light | 14 pt
abcdefghijklmnopqrstuvwxyz�ABCDEFGHIJKLMNOPQ
RSTUVWXYZ�æâáàäåãăāąǻǽçĉčćċðďđêéèëĕėęěĝğġģĥ
ħıîí ìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏőþŕŗřßśŝşšșſţťŧûúù
üűũūŭůųŵÿỳýŷźżž�ÆÂÁÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈË
ĔĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐ
ÞŔŖŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ�αβγδεζηθ
ικλµνξοπρσςτυφχψω�άέήίϊΐόύϋΰώ�ΑΒΓ∆ΕΖΗΘΙΚΛΜ
ΝΞΟΠΡΣΤΥΦΧΨΩ�ΆΈΉΊΪΌΎΫΏ�0123456789¤¥€$£¢�
0123456789¥€$£ƒ�?!•¿¡([{—}])|¦«&�.»‹-›‘…’“@;·”@:„"/–
\'~_¶§†‡*°®©™№ ∂ √ ℮ºª%‰#+×≠=≈÷±≤≥<¬>
Capucine bold | 14 pt
abcdefghijklmnopqrstuvwxyz�ABCDEFGHIJKL
MNOPQRSTUVWXYZ�æâáàäåãăāąǻǽçĉčćċðďđê
éèëĕėęěĝğġģĥħıîíìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿ
ōŏőþŕŗřßśŝşšșſţťŧûúùüűũūŭůųŵÿỳýŷźżž�ÆÂÁ
ÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮ
ĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐÞŔŖŘŚŜŞŠȘ
ŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ�αβγδεζηθικλµν
ξοπρσςτυφχψω�άέήίϊΐόύϋΰώ�ΑΒΓ∆ΕΖΗΘΙΚΛΜ
ΝΞΟΠΡΣΤΥΦΧΨΩ�ΆΈΉΊΪΌΎΫΏ�0123456789¤
¥€$£¢�0123456789¥€$£ƒ�?! •¿¡([{—}])|¦«&’.»‹›‘…’“@;·”@:„"/–\'~_¶§†‡*°®©™№ ∂ √ ℮ºª%‰#+×≠
=≈÷±≤≥<¬>
Credits
p.10: Poem by C.P Cavafy (from www.cavafy.org)
p.11, 12, 13: Text from �e Guardian Guide
p.11: Pictures from the BBC website
p.14: Text from Time Out Cyprus, picture from Robin �om’s Flickr page
p.15: Text by Filip Blažek, kindly offered by the author
�anks
to Gerry Leonidas, Gerard Unger, all the visiting lecturers and staff
of the Department of Typography and Graphic Communication,
to the AHRC for its financial support,
to my fellow students for sharing hours and hours of work together,
and to my friends and family for their support.
�
�e Capucine family and this booklet are designed by Alice Savoie,
and submitted in partial fulfilment of the requirements
for the Master of Arts in Typeface Design,
Department of Typography and Graphic Communication,
University of Reading, 2007.
alice@frenchtype.com