* Capucine is the French name for nasturtium, a flower originating from South America.

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1 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.

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3 in λεπτά Light ελαφρά Regular κανονικά Italic πλάγια Semi-Bold ηµίµαυρα Bold µαύρα Black κατάµαυρα

4 ano Hbg aaa 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 But Capucine is above all contemporary and unconventional, mixing historical references with idiosyncratic features: a strong vertical rythm, unusual cut instrokes (e.g. in the top le stem of n, m, p), a hint of a loop on some letters (the bottom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.

5 ανο nηnη Latin n and Greek eta, regular and italic versions o ο 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.

6 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

7 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.

8 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

9 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.

10 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. Yet it seems he was young just yesterday. So brief an interval, so very brief. 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 , Ίκαρος 1984 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

11 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 Time Out London 178

12 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 I was keeping the tackiest abominations ever committed to plastic. e rave version of Jump by Van Halen anyone? 179 Time Out London October

13 20 WEDNESDAY JULY Exhibitions Pow Wow A family-friendly exhibition of New World tapestry. British Empire & Commonwealth Museum, Station Approach ( ) Mon Sun 10am 5pm, to Nov 1, 6.95, child 3.95, concs 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 ( ) 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 ( ) 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 ( ) Mon Sat 9am 5pm, to Dec 30, free. Twisted: Knitting On e Edge e subversive potential of knitting. Here Gallery, Stokes Cro ( ) Tue Sat 12.30pm 6.30pm, to Oct. 31, free. Cambridge Jan Pawlowicz Abstracted paintings. John Russell Gallery, Wherry Lane ( ) Tue Sat 9am 5pm, free. Soulmates Place your ad for free Call Tall & slim F, nearly 50, ints: arts & countryside looking for an educ, interesting, considerate M to enjoy life with. Oxford/Cots. Call Voicebox Sleepless in Norwich, warm friendly, interesting, bold, active, magical F seeks M. Looking forward to hearing from you. E Ang. Call Voicebox 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, Birmingham. Call Call Voicebox 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 Voicebox Italian affair? & 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 Voicebox 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 Voicebox Useful black F, 39, 5 5, slim, profess, intellig, seeks white M, n/s, for LTR. Ldn. Call Voicebox Fiesty F, 5 7, dark hair/eyes, tall, slim, seeks part-time r/ship with free spirit M. NW. Call Voicebox Attract & sensual, slim & romantic, F likes travel, walking, music, architecture seeks attract M, attractsensual@aol.com Satellite & Cable Artsworld 8.0am Bahia Of All e Saints 9.50 Barenboim West Eastern Divan Orchestra Contacts 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) Blott On e Landscape Still Life At e Penguin Cafe 1.0 Rosario Giuliani Discovery 6.0am Ultimates 7.0 Ultimate 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) FILM No Escape (1994) FX 10.0am Highlander 11.0 ird Watch 12.0 Cops 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 NCIS average full-time academics salaries and gender pay gaps Female Male Total Pay Institution average average average gap % 1 University of the Arts, London 42,349 41,835 42,051 1,2 2 Queen Margaret University College, Edinburgh 38,444 38,568 38,488 0,3 3 University of Central England in Birmingham 36,956 37,338 37, York St John University 37,145 37,543 37, Staffordshire University 36,874 37,407 37, Bolton University 38,314 38,907 38, University College for the Arts, Canterbury 37,096 37,832 37, Worcester University 36,641 37,486 37, Buckinghamshire Chilterns University College 38,026 38,918 38, Chichester University 38,142 39,180 38,

14 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, ), ένα ατµοσφαιρικό µέρος που θυµίζει την Αβάνα παλαιότερων δεκαετιών. Επιβάλλεται, επίσης, να δειπνήσετε στο ροµαντικό κήπο του La Cocina de Lilliam (Calle 48, Playa, ). Καλή επιλογή είναι και το La Finca (Av. 19 & Calle 140, Playa, ). Επιπλέον τα ξενοδοχεία Nacional de Cuba (Calle O, esquina 21, / και Melia Cohiba (Paseo, entre 1ra y 3ra, / 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, ), το Casa de la Musica de Miramar (Calle 20, esquina 35, Playa, ), το Salon Piano Bar «Delirio Habanero» (Teatro Nacional de Cuba, Paseo, esquina 39, Plaza de la Revolucion, ) και το Cafe Cantante Mi Habana (Teatro Nacional de Cuba, Paseo, esquina 39, Plaza de la Revolucion, ). Πολύ δηµοφιλείς είναι οι Van Van, Paulito FG και Isaac Delgado. Απόλυτο must είναι το υπαίθριο Cabaret Tropicana (Calle 72, Marianao, ), 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, ). 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, / $225) και το ιστορικό Hotel Nacional de Cuba (Calle O, esquina 21, , $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, , $200-$400) ενώ συµπαθέστατο και πολύ βολικό είναι το νέο ΝΗ Parque Central (Calle Neptuno, , $125-$200). Στο Hostal Los Frailes (Calle Brasil 8, , $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, , $180-$260).

15 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

16 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

17 GREEK αββγδεζηθθικλµνξοπρσςτυφφχψω άέήίϊΐόύϋΰώ ΑΒΓ ΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ GREEK SMALL CAPS ΑΒΓ ΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ NUMERALS & CURRENCY SYMBOLS $ $ ƒ PUNCTUATION AND SYMBOLS?! ([{ }]) «& @:@ "/ \'~_ * l ºª% #+ = ± < >¼½¾

18 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 fi ffi fl ffl έβρεχα έβρεχα πίθηαι πίθηαι µαφία µαφία [{(CASE)}] «CA SE» [{(CASE)}] «CA SE» UNESCO AMSTERDAM EDF et GDF $ $ $ $ 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

19 Capucine italic 14 pt abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQ RSTUVWXYZ æâáàäåãăāąǻǽçĉčćċðďđêéèëĕėęěĝğġģĥħ ıîíìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏőþŕŗřßśŝşšșſţťŧûúùü űũūŭůųŵÿỳýŷźżž ÆÂÁÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔ ĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐÞŔ ŖŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ αβγδεζηθικλµ νξοπρσςτυφχψω άέήίϊΐόύϋΰώ ΑΒΓ ΕΖΗΘΙΚΛΜΝΞΟΠ ΡΣΤΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ $ $ ƒ?! ([{ }]) «& "/ \'~_ * l ºª% #+ = ± < >¼½¾ Capucine black 14 pt abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKL MNOPQRSTUVWXYZ æâáàäåãăāąǻǽçĉčćċðď đêéèëĕėęěĝğġģĥħıîíìïīįĭij ĵĸķĺļľŀłŋńņňñʼnœôóòö õøǿōŏőþŕŗřßśŝşšșſţťŧûúùüűũūŭůųŵÿỳýŷźżž ÆÂÁÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔĖĘĚĜĞĠĢĤ ĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐÞŔŖ ŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ αβγδε ζηθικλµνξοπρσςτυφχψω άέήίϊΐόύϋΰώ ΑΒΓ ΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ $ $ ƒ?! ([{ }]) "/ \'~_ * ºª% #+ = ± < >

20 Capucine thin 14 pt abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQ RSTUVWXYZ æâáàäåãăāąǻǽçĉčćċðďđêéèëĕėęěĝğġģĥ ħıîíìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏőþŕŗřßśŝşšșſţťŧûúù üűũūŭůųŵÿỳýŷźżž ÆÂÁÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈË ĔĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐ ÞŔŖŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ αβγδεζηθ ικλµνξοπρσςτυφχψω άέήίϊΐόύϋΰώ ΑΒΓ ΕΖΗΘΙΚΛΜ ΝΞΟΠΡΣΤΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ $ $ ƒ?! ([{ }]) "/ \'~_ * ºª% #+ = ± < > Capucine semi-bold 14 pt abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLM NOPQRSTUVWXYZ æâáàäåãăāąǻǽçĉčćċðďđêéè ëĕėęěĝğġģĥħıîí ìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏő þŕŗřßśŝşšșſţťŧûúùüűũūŭůųŵÿỳýŷźżž ÆÂÁÀÄÅà ĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻ ĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐÞŔŖŘŚŜŞŠȘŢŤŦÛÚÙÜ ŰŨŪŬŮŲŴŸỲÝŶŹŻŽ αβγδεζηθικλµνξοπρσςτυφχ ψω άέήίϊΐόύϋΰώ ΑΒΓ ΕΖΗΘΙΚΛΜΝΞΟΠΡΣΤΥΦΧ ΨΩ ΆΈΉΊΪΌΎΫΏ $ $ ƒ?! ([{ }]) "/ \'~_ * ºª% #+ = ± < >

21 Capucine light 14 pt abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQ RSTUVWXYZ æâáàäåãăāąǻǽçĉčćċðďđêéèëĕėęěĝğġģĥ ħıîí ìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿōŏőþŕŗřßśŝşšșſţťŧûúù üűũūŭůųŵÿỳýŷźżž ÆÂÁÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈË ĔĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐ ÞŔŖŘŚŜŞŠȘŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ αβγδεζηθ ικλµνξοπρσςτυφχψω άέήίϊΐόύϋΰώ ΑΒΓ ΕΖΗΘΙΚΛΜ ΝΞΟΠΡΣΤΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ $ $ ƒ?! ([{ }]) "/ \'~_ * ºª% #+ = ± < > Capucine bold 14 pt abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKL MNOPQRSTUVWXYZ æâáàäåãăāąǻǽçĉčćċðďđê éèëĕėęěĝğġģĥħıîíìïīįĭijĵĸķĺļľŀłŋńņňñʼnœôóòöõøǿ ōŏőþŕŗřßśŝşšșſţťŧûúùüűũūŭůųŵÿỳýŷźżž ÆÂÁ ÀÄÅÃĂĀĄǺǼÇĈČĆĊĎĐÊÉÈËĔĖĘĚĜĞĠĢĤĦÎÍÌÏĪĮ ĬIJĴĶĹĻĽĿŁŊŃŅŇÑŒÔÓÒÖÕØǾŌŎŐÞŔŖŘŚŜŞŠȘ ŢŤŦÛÚÙÜŰŨŪŬŮŲŴŸỲÝŶŹŻŽ αβγδεζηθικλµν ξοπρσςτυφχψω άέήίϊΐόύϋΰώ ΑΒΓ ΕΖΗΘΙΚΛΜ ΝΞΟΠΡΣΤΥΦΧΨΩ ΆΈΉΊΪΌΎΫΏ $ $ ƒ?! ([{ }]) "/ \'~_ * ºª% #+ = ± < >

22 Credits p.10: Poem by C.P Cavafy (from 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.

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24 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,