Wim Crouwel/ Underware

System:Touch

Wim Crouwel/ Underware

System/Touch

Wim Crouwel/ Underware

System/Touch

4 5

oütt

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s y s t e m

F RO M T H E A G E O F L E T T ER PR ESS T H RO U G H DESIG NIN G T YPE F O R T H E

S C R E E N, T H E D U T C H H A V E A L O N G H I S T O R Y O F I N F L U E N C E I N T H E

W O R L D O F T YPE A N D DESIG N. I T SEEM S T H A T F O R EA C H G EN ERA T IO N

OF GREAT TYPOGRAPHERS THERE IS AN EQUAL NUMBER OF EXCEPTIONALLY

I M P O R T A N T F I G U R E S T O C O M E O U T O F T H E N E T H E R L A N D S. T W O S U C H

F I G U R E S A R E W I M C R O U W E L A N D T H E T Y P E F O U N D R Y, U N D E R W A R E.

Wim Crouwel is arguably one of the most

influential designers in Dutch history.

Born in 1928, he originally trained as a painter

but found a growing interest in the

orderly principles and aesthetics of

functionalism. Crouwel moved to Amsterdam

in 1951, designing exhibition stands during the

day and taking graphic design classes at

night. (Middendorp 117) In 1963, Crouwel

helped form Total Design, the Netherlands'

first large-scale, multi-disciplinary design

studio. Crouwel has also designed stamps and

worked with institutions like the Van Abbe

Museum and the Stedelijk Museum. Crouwel's

style is typified by a strong use of systems and

grids, and this style extends into the design of

his typefaces as well.

Most of the typefaces Crouwel is known for

today were never meant to be complete alphabets,

but rather they were designed as wordmarks

for a specific name or company. However, his

first complete typeface is both his most famous

and most controversial—the New Alphabet.

Created in 1967 for the emerging technology

of the cathode-ray tube, the New Alphabet

stands out as his most consistent integration

of form and function.

4 5

oütt

h

s y s t e m

F RO M T H E A G E O F L E T T ER PR ESS T H RO U G H DESIG NIN G T YPE F O R T H E

S C R E E N, T H E D U T C H H A V E A L O N G H I S T O R Y O F I N F L U E N C E I N T H E

W O R L D O F T YPE A N D DESIG N. I T SEEM S T H A T F O R EA C H G EN ERA T IO N

OF GREAT TYPOGRAPHERS THERE IS AN EQUAL NUMBER OF EXCEPTIONALLY

I M P O R T A N T F I G U R E S T O C O M E O U T O F T H E N E T H E R L A N D S. T W O S U C H

F I G U R E S A R E W I M C R O U W E L A N D T H E T Y P E F O U N D R Y, U N D E R W A R E.

Wim Crouwel is arguably one of the most

influential designers in Dutch history.

Born in 1928, he originally trained as a painter

but found a growing interest in the

orderly principles and aesthetics of

functionalism. Crouwel moved to Amsterdam

in 1951, designing exhibition stands during the

day and taking graphic design classes at

night. (Middendorp 117) In 1963, Crouwel

helped form Total Design, the Netherlands'

first large-scale, multi-disciplinary design

studio. Crouwel has also designed stamps and

worked with institutions like the Van Abbe

Museum and the Stedelijk Museum. Crouwel's

style is typified by a strong use of systems and

grids, and this style extends into the design of

his typefaces as well.

Most of the typefaces Crouwel is known for

today were never meant to be complete alphabets,

but rather they were designed as wordmarks

for a specific name or company. However, his

first complete typeface is both his most famous

and most controversial—the New Alphabet.

Created in 1967 for the emerging technology

of the cathode-ray tube, the New Alphabet

stands out as his most consistent integration

of form and function.

6 7

Underware is a design col-

lective founded by Akiem

Helmling (German), Bas Jacobs

(Finnish) and Sami Kortemäki

(Dutch). The three met in 1998

while studying typography and

type design as part of a one

year postgraduate course at

the Royal Academy of Art in

The Hague, the Netherlands.

They continued working to-

gether after graduation and

today Underware has studios

in The Hague, Amsterdam, and

Helsinki. They design books

and magazines, posters, web-

sites, and custom wordmarks;

but they are best known as a type foundry,

creating popular font families like Dolly, Sauna,

and Auto. (Middendorp 290)

Part of the phenomenon that is the internet,

Underware is one of a growing number of small

type foundries using the web to distribute their

fonts. But Underware takes full advantage of the

technology offering OpenType families equipped

with ligatures, swashes and alternative char-

acters that give users a wealth of creative

opportunity. Underware also takes part in the

globalization of design, creating Typeradio, a

radio channel on type and design, and offering

type design workshops around Europe.

Wim Crouwel began his design career in

the early 1950s. During that time there were

two important aesthetic movements influenc-

ing the Netherlands. The first became known

as functionalism and the second was the

International Typographic Style being devel-

oped in Switzerland. Functionalism was a kind

of pragmatic constructivism that had origins in

pre-war movements of De Stijl and The Nieuwe

Zakelijkheid (literally, “New

Objectivity”). Architecture

of the time displayed a

democratic approach to

building with more func-

tional considerations. Of

course, the International

Typographic Style was

extremely influential in the

world of graphic design

and it’s apparent Crouwel

drew heavily from the

"We just jump into a

project and then see

where the rocket ends

up; like untrained

astronauts pressing

the start button."—Akiem Helmling of Underware

6 7

Underware is a design col-

lective founded by Akiem

Helmling (German), Bas Jacobs

(Finnish) and Sami Kortemäki

(Dutch). The three met in 1998

while studying typography and

type design as part of a one

year postgraduate course at

the Royal Academy of Art in

The Hague, the Netherlands.

They continued working to-

gether after graduation and

today Underware has studios

in The Hague, Amsterdam, and

Helsinki. They design books

and magazines, posters, web-

sites, and custom wordmarks;

but they are best known as a type foundry,

creating popular font families like Dolly, Sauna,

and Auto. (Middendorp 290)

Part of the phenomenon that is the internet,

Underware is one of a growing number of small

type foundries using the web to distribute their

fonts. But Underware takes full advantage of the

technology offering OpenType families equipped

with ligatures, swashes and alternative char-

acters that give users a wealth of creative

opportunity. Underware also takes part in the

globalization of design, creating Typeradio, a

radio channel on type and design, and offering

type design workshops around Europe.

Wim Crouwel began his design career in

the early 1950s. During that time there were

two important aesthetic movements influenc-

ing the Netherlands. The first became known

as functionalism and the second was the

International Typographic Style being devel-

oped in Switzerland. Functionalism was a kind

of pragmatic constructivism that had origins in

pre-war movements of De Stijl and The Nieuwe

Zakelijkheid (literally, “New

Objectivity”). Architecture

of the time displayed a

democratic approach to

building with more func-

tional considerations. Of

course, the International

Typographic Style was

extremely influential in the

world of graphic design

and it’s apparent Crouwel

drew heavily from the

"We just jump into a

project and then see

where the rocket ends

up; like untrained

astronauts pressing

the start button."—Akiem Helmling of Underware

8 9

Swiss. But it really wasn’t until Crouwel and

Benno Wissing, his co-founder of Total Design,

combined the Swiss aesthetic with the Dutch

functionalism that the style infiltrated graphic

design in the Netherlands. (Middendorp 114)

In Crouwel’s design work and the work of his

studio Total Design, you can make clear con-

nections to the Swiss Style: overall adherence

to a grid, flush-left text, use of only one type-

face. More so, however, it’s easy to see where

the Functionalism comes

through: his use of type-

faces other than Helvetica,

mostly Akzidenz Grotesk

and Univers; the invention

of highly unusual display

faces, most always based

on a grid.

Based on a grid of four

rows, Crouwel created the

type for an exhibition at

the Van Abbe Museum in

1963 by the painter Edgar

Fernhout. By using rectangles and quarter

circles the letterforms become very narrow,

purposefully reminiscent of the way Fernhout

painted. “The Fernhout typeface referred to the

way in which Fernhout painted. He used a little

flat brush with which he painted short rectangu-

lar strokes, one next to the other,” said Crouwel.

While the final outcome appears experimental in

nature, it is simply the functional solution result-

ing from a very pragmatic process. In 1980

Crouwel wrote: “Experimental typography and

Based on a grid of four rows, Crouwel created the type for an exhibition at the Van Abbe Museum in 1963 by the painter Edgar Fernhout. By using rect-angles and quarter circles the letterforms become very narrow, purposefully reminiscent of the way Fernhout painted. “The Fernhout typeface re-ferred to the way in which Fernhout painted. He used a little flat brush with which he painted short rectangular strokes, one next to the other.”

"I afunctionalisttroub led aesthetics"-wimcrouwel

8 9

Swiss. But it really wasn’t until Crouwel and

Benno Wissing, his co-founder of Total Design,

combined the Swiss aesthetic with the Dutch

functionalism that the style infiltrated graphic

design in the Netherlands. (Middendorp 114)

In Crouwel’s design work and the work of his

studio Total Design, you can make clear con-

nections to the Swiss Style: overall adherence

to a grid, flush-left text, use of only one type-

face. More so, however, it’s easy to see where

the Functionalism comes

through: his use of type-

faces other than Helvetica,

mostly Akzidenz Grotesk

and Univers; the invention

of highly unusual display

faces, most always based

on a grid.

Based on a grid of four

rows, Crouwel created the

type for an exhibition at

the Van Abbe Museum in

1963 by the painter Edgar

Fernhout. By using rectangles and quarter

circles the letterforms become very narrow,

purposefully reminiscent of the way Fernhout

painted. “The Fernhout typeface referred to the

way in which Fernhout painted. He used a little

flat brush with which he painted short rectangu-

lar strokes, one next to the other,” said Crouwel.

While the final outcome appears experimental in

nature, it is simply the functional solution result-

ing from a very pragmatic process. In 1980

Crouwel wrote: “Experimental typography and

Based on a grid of four rows, Crouwel created the type for an exhibition at the Van Abbe Museum in 1963 by the painter Edgar Fernhout. By using rect-angles and quarter circles the letterforms become very narrow, purposefully reminiscent of the way Fernhout painted. “The Fernhout typeface re-ferred to the way in which Fernhout painted. He used a little flat brush with which he painted short rectangular strokes, one next to the other.”

"I afunctionalisttroub led aesthetics"-wimcrouwel

10 11

"EXPERIMENTAL TYPOGRAPHY AND FUNCTIONAL TYPOGRAPHY ARE, UP TO A

CERTAIN POINT, OPPONENTS OF EACH OTHER. EXPERIMENTAL TYPOGRAPHY

IS NOT ONLY REFL ECTING A CUL TURAL PATTERN, BUT GIVES PRIMARILY

A SELF-REFLEXION." —WIM CROUWEL

functional typography are, up to a certain point,

opponents of each other. Experimental typography

is not only reflecting a cultural pattern, but gives

primarily a self-reflexion. As soon as we carry out

experiments in order to improve a certain typo-

graphical solution, that means as soon as we do

research, we cannot speak of experimental typog-

raphy; experimental typography never results in a

solution for a certain problem.” (Middendorp 118)

Akiem Helmling, Bas Jacobs and Sami Kortemäki

founded Underware in 1999, when Wim Crouwel

was 71 years old. Without being directly influenced

by (nor influential in) an all-encompassing aesthetic

movement like the Swiss Style, Underware has

been most affected by the culture surrounding the

Internet; not only do they distribute their fonts

digitally, they run blogs and host online radio chan-

nels, too. Today’s multi-disciplinary designers not

only make brochures, they program websites and

have one or two fonts to their credit, not to mention

the logos they’ve submitted to crowdsourcing com-

petitions. Globalization in general influenced the

studio, allowing Helmling, Jacobs and Kortemäki to

live miles apart—in different countries, even—yet

collaborate seamlessly on their typefaces.

Crouwel was best known for creating systems—

for identities, for grids, for typefaces. If you look

at how Underware designs type today, it’s easy to

draw comparisons with Crouwel’s process. On the

one hand, typefaces by Underware often have a

hand-crafted feel; the italic swashes and ligatures

of Sauna and Bello come to mind, or the way Liza

acts as if you were writing with a pen that occa-

sionally runs out of ink. But the font families and

[New

Alp

habe

t an

d sw

ash

vari

atio

ns o

f B

ello

.]

system

10 11

"EXPERIMENTAL TYPOGRAPHY AND FUNCTIONAL TYPOGRAPHY ARE, UP TO A

CERTAIN POINT, OPPONENTS OF EACH OTHER. EXPERIMENTAL TYPOGRAPHY

IS NOT ONLY REFL ECTING A CUL TURAL PATTERN, BUT GIVES PRIMARILY

A SELF-REFLEXION." —WIM CROUWEL

functional typography are, up to a certain point,

opponents of each other. Experimental typography

is not only reflecting a cultural pattern, but gives

primarily a self-reflexion. As soon as we carry out

experiments in order to improve a certain typo-

graphical solution, that means as soon as we do

research, we cannot speak of experimental typog-

raphy; experimental typography never results in a

solution for a certain problem.” (Middendorp 118)

Akiem Helmling, Bas Jacobs and Sami Kortemäki

founded Underware in 1999, when Wim Crouwel

was 71 years old. Without being directly influenced

by (nor influential in) an all-encompassing aesthetic

movement like the Swiss Style, Underware has

been most affected by the culture surrounding the

Internet; not only do they distribute their fonts

digitally, they run blogs and host online radio chan-

nels, too. Today’s multi-disciplinary designers not

only make brochures, they program websites and

have one or two fonts to their credit, not to mention

the logos they’ve submitted to crowdsourcing com-

petitions. Globalization in general influenced the

studio, allowing Helmling, Jacobs and Kortemäki to

live miles apart—in different countries, even—yet

collaborate seamlessly on their typefaces.

Crouwel was best known for creating systems—

for identities, for grids, for typefaces. If you look

at how Underware designs type today, it’s easy to

draw comparisons with Crouwel’s process. On the

one hand, typefaces by Underware often have a

hand-crafted feel; the italic swashes and ligatures

of Sauna and Bello come to mind, or the way Liza

acts as if you were writing with a pen that occa-

sionally runs out of ink. But the font families and

[New

Alp

habe

t an

d sw

ash

vari

atio

ns o

f B

ello

.]

system

12 13

OpenType features are so robust they become

systems in themselves.

Underware designed Auto, a sans-serif family,

with three sets of italics. Each italic is slightly

different, more angled than the last and more in-

formed by the written hand. You can see changes

in the letter ‘a’ across the three italics; in the

first italic the ‘a’ is still looks rather upright, in

the second it becomes more narrow and angled;

finally in the third the counterform opens up.

World War II put much of Europe in a state of

reconstruction, and the Netherlands was no ex-

ception. With their strong aesthetic inclinations,

the rebuilding included communications and de-

sign. As far back as 1919, Government agencies

like the Postal and Telecommunications Service

(PTT) were advocates and

sponsors of innovative

design. PTT went as far as

to establish an Aesthetic

Design Department, hand-

ing out commissions to

artists and designers for

all their designs. (Meggs

458) This shows the strong

commitment and supportive

environment designers in the

Netherlands benefit from.

In 1974 Crouwel was asked

to design a typeface for

Olivetti, the Italian manu-

facturer of typewriters. His

sketches for the typewriter

font were based on the shape

of a rectangle with 45-degree

angles. Eventually dubbed

Gridnik, Olivetti never used

the typeface. However, Crouwel found an ap-

plication for Gridnik while designing stamps for

the PTT, drawing a special version of the typeface

for the word “nederland” and the numbers that

appear on the stamps.

Originally designed for the typewriter,

Gridnik is a workhorse text face meant for set-

ting large amounts of text. Not unlike Helvetica

Neue or Univers, Gridnik acts as a vehicle for

the written content. But at the same time,

Gridnik's subtle typographic features—rounded

corners and slightly angled terminals—give it

a kind of character not found in typefaces like

Univers or Helvetica Neue.

"We first made one

italic style. But we felt

that something was

missing—that in fact

it would be groovy to

have a palette of three

different italic styles."—Bas Jacobs speaking about Auto

12 13

OpenType features are so robust they become

systems in themselves.

Underware designed Auto, a sans-serif family,

with three sets of italics. Each italic is slightly

different, more angled than the last and more in-

formed by the written hand. You can see changes

in the letter ‘a’ across the three italics; in the

first italic the ‘a’ is still looks rather upright, in

the second it becomes more narrow and angled;

finally in the third the counterform opens up.

World War II put much of Europe in a state of

reconstruction, and the Netherlands was no ex-

ception. With their strong aesthetic inclinations,

the rebuilding included communications and de-

sign. As far back as 1919, Government agencies

like the Postal and Telecommunications Service

(PTT) were advocates and

sponsors of innovative

design. PTT went as far as

to establish an Aesthetic

Design Department, hand-

ing out commissions to

artists and designers for

all their designs. (Meggs

458) This shows the strong

commitment and supportive

environment designers in the

Netherlands benefit from.

In 1974 Crouwel was asked

to design a typeface for

Olivetti, the Italian manu-

facturer of typewriters. His

sketches for the typewriter

font were based on the shape

of a rectangle with 45-degree

angles. Eventually dubbed

Gridnik, Olivetti never used

the typeface. However, Crouwel found an ap-

plication for Gridnik while designing stamps for

the PTT, drawing a special version of the typeface

for the word “nederland” and the numbers that

appear on the stamps.

Originally designed for the typewriter,

Gridnik is a workhorse text face meant for set-

ting large amounts of text. Not unlike Helvetica

Neue or Univers, Gridnik acts as a vehicle for

the written content. But at the same time,

Gridnik's subtle typographic features—rounded

corners and slightly angled terminals—give it

a kind of character not found in typefaces like

Univers or Helvetica Neue.

"We first made one

italic style. But we felt

that something was

missing—that in fact

it would be groovy to

have a palette of three

different italic styles."—Bas Jacobs speaking about Auto

14 15

The Dutch are known for being

open-minded, tolerant of diversity

in religion, art and politics. Open-

minded is the keyword for both

Crouwel and Underware. Crouwel’s

institutional work for the Van Abbe

Museum and Stedelijk Museum, wasn’t

exactly conservative, and yet was well

received; in an interview with Michael

Place, Crouwel said, “the interested

public were very receptive to it.

I was often invited to talk and the

public that came to these talks were very accepting.”

(“Striking The Eye”) At the same time, the designers at

Underware approach their work with the same sort of

Dutch philosophy, designing faces collectively, sharing

credit. And they’re trusting; when Underware pub-

lished their first typefaces, they included the fonts on a

CD with each type specimen, leaving it up to the users

to buy a license when they decided to use the fonts.

The trio offered this in an interview for MyFonts:

“The current OpenType

jungle actually shows that

most people don’t know

exactly what they’re buy-

ing. The only way to really

test-drive a typeface is by

installing it and using it.

All other ways (like online

test-drivers, etc) offer a

preview, but will never be

a satisfying substitute.

Would you ever buy a new

car straight from a cata-

logue or a car simulator?”

(“Creative Characters”)

When Underware published their first typefaces, such as Dolly and Sauna, they included the fonts on a CD with each type specimen, leaving it up to the users to buy a license when they decided to use the fonts.

"the current OpenType

jungle actually

shows that

most people

don’t know exactly

what they’re b u y i n g . "

— Unde r w a re. w ü f .

?

14 15

The Dutch are known for being

open-minded, tolerant of diversity

in religion, art and politics. Open-

minded is the keyword for both

Crouwel and Underware. Crouwel’s

institutional work for the Van Abbe

Museum and Stedelijk Museum, wasn’t

exactly conservative, and yet was well

received; in an interview with Michael

Place, Crouwel said, “the interested

public were very receptive to it.

I was often invited to talk and the

public that came to these talks were very accepting.”

(“Striking The Eye”) At the same time, the designers at

Underware approach their work with the same sort of

Dutch philosophy, designing faces collectively, sharing

credit. And they’re trusting; when Underware pub-

lished their first typefaces, they included the fonts on a

CD with each type specimen, leaving it up to the users

to buy a license when they decided to use the fonts.

The trio offered this in an interview for MyFonts:

“The current OpenType

jungle actually shows that

most people don’t know

exactly what they’re buy-

ing. The only way to really

test-drive a typeface is by

installing it and using it.

All other ways (like online

test-drivers, etc) offer a

preview, but will never be

a satisfying substitute.

Would you ever buy a new

car straight from a cata-

logue or a car simulator?”

(“Creative Characters”)

When Underware published their first typefaces, such as Dolly and Sauna, they included the fonts on a CD with each type specimen, leaving it up to the users to buy a license when they decided to use the fonts.

"the current OpenType

jungle actually

shows that

most people

don’t know exactly

what they’re b u y i n g . "

— Unde r w a re. w ü f .

?

16 17

DESIGNED IN 1967 FOR THE EMERGING TECHNOLOGY OF THE CATHODE-RAY

TUBE, THE NEW AL PHABET STANDS OUT AS CROUWEL'S MOST CONSISTENT

INTEGRATION OF FORM AND FUNCTION.

Up until the 1960s, letterpress printing was

the most common printing technique in the

Netherlands. (Bros, Quay 10) While Crouwel

often drew type by hand, he became primar-

ily concerned with technology, especially that

of the Cathode-Ray Tube. The idea behind New

Alphabet began after he saw the first digital

typesetting of Garamond at a print exhibition in

Germany. (iconographics.com) Crouwel saw that

the letterforms were inconsistent at different

sizes due to the use of pixels. He thought that

traditional alphabets “whose letters are individu-

ally designed with meticulous care” belong in a

time in which typesetting was a task performed

manually. (Middendorp 120) New Alphabet is an

alternative, a solution. A typeface designed

specifically for the technology of the time, with

forms best suited for digital typesetting, but

a big change from traditional alphabets. Even

more so, Crouwel attempted to change how we

perceive the alphabet. “I think I have always

inclined not to bother too much about things

that have been developed through tradition,”

says Crouwel. “It’s good to

create a breakthrough and

then see how you can adjust

it.” (Middendorp 121)

Underware is equally con-

cerned with designing for

the technology of their time.

OpenType is the most recent

font format, introduced in

1997 by both Adobe and

Microsoft. As opposed

to the Postscript and

''traditional

alphabets whose

letters are

individually

designed with

meticulous care

belong in a time in

which typesetting

was performed

manually''

—wim crouwel

[Tra

dit

ional

alp

hab

ets

who

se le

tter

s ar

e in

div

idual

ly d

esig

ned

wit

h m

etic

ulou

s ca

re b

elon

g in

a t

ime

in w

hic

h ty

pes

etti

ng w

as a

tas

k per

form

ed m

anual

ly —

Wim

Cro

uw

el]

16 17

DESIGNED IN 1967 FOR THE EMERGING TECHNOLOGY OF THE CATHODE-RAY

TUBE, THE NEW AL PHABET STANDS OUT AS CROUWEL'S MOST CONSISTENT

INTEGRATION OF FORM AND FUNCTION.

Up until the 1960s, letterpress printing was

the most common printing technique in the

Netherlands. (Bros, Quay 10) While Crouwel

often drew type by hand, he became primar-

ily concerned with technology, especially that

of the Cathode-Ray Tube. The idea behind New

Alphabet began after he saw the first digital

typesetting of Garamond at a print exhibition in

Germany. (iconographics.com) Crouwel saw that

the letterforms were inconsistent at different

sizes due to the use of pixels. He thought that

traditional alphabets “whose letters are individu-

ally designed with meticulous care” belong in a

time in which typesetting was a task performed

manually. (Middendorp 120) New Alphabet is an

alternative, a solution. A typeface designed

specifically for the technology of the time, with

forms best suited for digital typesetting, but

a big change from traditional alphabets. Even

more so, Crouwel attempted to change how we

perceive the alphabet. “I think I have always

inclined not to bother too much about things

that have been developed through tradition,”

says Crouwel. “It’s good to

create a breakthrough and

then see how you can adjust

it.” (Middendorp 121)

Underware is equally con-

cerned with designing for

the technology of their time.

OpenType is the most recent

font format, introduced in

1997 by both Adobe and

Microsoft. As opposed

to the Postscript and

''traditional

alphabets whose

letters are

individually

designed with

meticulous care

belong in a time in

which typesetting

was performed

manually''

—wim crouwel

[Tra

dit

ional

alp

hab

ets

who

se le

tter

s ar

e in

div

idual

ly d

esig

ned

wit

h m

etic

ulou

s ca

re b

elon

g in

a t

ime

in w

hic

h ty

pes

etti

ng w

as a

tas

k per

form

ed m

anual

ly —

Wim

Cro

uw

el]

18 19

Aesthetically, Underware's

Unibody 8 is the

closest match to the

grid-based fonts of

Wim Crouwel.

TrueType formats before it,

OpenType functions across

all computer platforms

and each font can contain

up to 64,000 characters.

(Dodd 169) With these new

innovations, type design-

ers can design for a wide

range of details, from small

caps and titling to tabular

figures, superscripts and

fractions. They can also include multiple alpha-

bets for different languages.

The typefaces designed by Underware take ad-

vantage of everything the OpenType format has

to offer. Typefaces like Bello and Liza contain

ligatures and alternative characters, and in the

case of Sauna, multiple italics; the regular italic

is more traditional italic, and usable for longer

text settings. Italic Swash is more for display

use or the emphasis of single words within

regular text. And while they employ the latest

technology, many of the ideas and sketches for

Underware’s fonts come from the hand. Bello

is based on handwriting with a brush, while the

blackletter Fakir is based on writing with the

broad-nibbed pen.

Unibody 8 was designed by Underware as an

optimzed screen font. Aesthetically, it is the

closest match to the grid-based fonts of

Wim Crouwel. Like Crouwel’s lettering for the

Fernhout poster and a poster for a Vormgevers

exhibit, Unibody 8 makes use of a visible grid—

in this case, the grid of pixels on a computer

screen. With a focus on function while creating

the typeface, Unibody 8 also shares the same

ideals as Crouwel’s New Alphabet, designed for

the Cathode-Ray Tube.

Wim Crouwel, a designer of type born in the

Netherlands, created systems

and gave order to Dutch design.

Underware, a Dutch type

foundry and design studio

of the 21st century. Both

concerned with the digital

technology of their time,

whether Cathode-Ray Tubes

or OpenType software. Most

importantly, both are ex-

amples of the highest quality

type and design.

18 19

Aesthetically, Underware's

Unibody 8 is the

closest match to the

grid-based fonts of

Wim Crouwel.

TrueType formats before it,

OpenType functions across

all computer platforms

and each font can contain

up to 64,000 characters.

(Dodd 169) With these new

innovations, type design-

ers can design for a wide

range of details, from small

caps and titling to tabular

figures, superscripts and

fractions. They can also include multiple alpha-

bets for different languages.

The typefaces designed by Underware take ad-

vantage of everything the OpenType format has

to offer. Typefaces like Bello and Liza contain

ligatures and alternative characters, and in the

case of Sauna, multiple italics; the regular italic

is more traditional italic, and usable for longer

text settings. Italic Swash is more for display

use or the emphasis of single words within

regular text. And while they employ the latest

technology, many of the ideas and sketches for

Underware’s fonts come from the hand. Bello

is based on handwriting with a brush, while the

blackletter Fakir is based on writing with the

broad-nibbed pen.

Unibody 8 was designed by Underware as an

optimzed screen font. Aesthetically, it is the

closest match to the grid-based fonts of

Wim Crouwel. Like Crouwel’s lettering for the

Fernhout poster and a poster for a Vormgevers

exhibit, Unibody 8 makes use of a visible grid—

in this case, the grid of pixels on a computer

screen. With a focus on function while creating

the typeface, Unibody 8 also shares the same

ideals as Crouwel’s New Alphabet, designed for

the Cathode-Ray Tube.

Wim Crouwel, a designer of type born in the

Netherlands, created systems

and gave order to Dutch design.

Underware, a Dutch type

foundry and design studio

of the 21st century. Both

concerned with the digital

technology of their time,

whether Cathode-Ray Tubes

or OpenType software. Most

importantly, both are ex-

amples of the highest quality

type and design.

20

Works Cited/

Bros, Kees, and Quay, David. Wim Crouwel Alphabets.

Amsterdam: BIS, 2003. Print.

Dodd, Robin. From Gutenberg to OpenType. Vancouver: Hartley

& Marks, 2006. Print.

Meggs, Philip B. Meggs’ History of Graphic Design. Hoboken:

John Wiley & Sons, 2006. Print.

Middendorp, Jan. Dutch Type. Rotterdam: 010, 2004. Print.

“MyFonts: Creative Characters January 2008.” MyFonts.com.

Bitstream, Inc, Jan. 2008. Web. Oct. 2010.

“Striking The Eye: An Interview With Wim Crouwel.”

CreativeReview.co.uk. Creative Review, Jul. 2007. Web. Oct. 2010.

“Wim Crouwel.” Iconographics.com. n.d. Web. Oct. 2010.

Colophon/Designer/

KEN ZINSER

Typefaces/

Foundry Gridnik New Alphabet

Sauna Dolly

Unibody 8 edgar fernhout

Paper/ MOHAWK VIA SMOOTH

PURE WHITE 80LB TEXT

80LB COVER

Course/ TYPOGRAPHY 3

Instructor/ FRANCHESKA GUERRERO

20

Works Cited/

Bros, Kees, and Quay, David. Wim Crouwel Alphabets.

Amsterdam: BIS, 2003. Print.

Dodd, Robin. From Gutenberg to OpenType. Vancouver: Hartley

& Marks, 2006. Print.

Meggs, Philip B. Meggs’ History of Graphic Design. Hoboken:

John Wiley & Sons, 2006. Print.

Middendorp, Jan. Dutch Type. Rotterdam: 010, 2004. Print.

“MyFonts: Creative Characters January 2008.” MyFonts.com.

Bitstream, Inc, Jan. 2008. Web. Oct. 2010.

“Striking The Eye: An Interview With Wim Crouwel.”

CreativeReview.co.uk. Creative Review, Jul. 2007. Web. Oct. 2010.

“Wim Crouwel.” Iconographics.com. n.d. Web. Oct. 2010.

Colophon/Designer/

KEN ZINSER

Typefaces/

Foundry Gridnik New Alphabet

Sauna Dolly

Unibody 8 edgar fernhout

Paper/ MOHAWK VIA SMOOTH

PURE WHITE 80LB TEXT

80LB COVER

Course/ TYPOGRAPHY 3

Instructor/ FRANCHESKA GUERRERO

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