Helsinki Type Studio A Type Catalogue

Hels

inki Studio

Type

2010

Helsinki Type Studio

Muotoilijat:Niklas EkholmJuho HiilivirtaJaakko SuomalainenJungmyung Lee


Helsinki type studio on neljän graafisen muotoilijanstudio. Kirjainmuotoilu alkoi osana erilaisiaprojekteja joihin jokainen teki omat fontit.

Luodessamme identiteettejä ja ilmeitä olemmepureutuneet graafiseen konseptiin yksityiskohdistakäsin muotoilemalla kirjaimet.

Fontit:BlavatskajaCharF-90LauraMignonMignon SansNilsRelevantTutankhamonoVoyage


theRe

is no

rEliGioN

higher

thaN

Truth

blavatskaja


Blavatskaja on perinteinen kapiteelifontti ja joitain alternatiiveja.Leikkaaukset: Roman, Roman Alternative, Bold, Bold AlternativeMuotoilu: Niklas Ekholm

b l ava t s K a j a

GRiMl o r e m i p s u m d o l o r a m e t

microwaveMIRACLES

hd ”videotyKKi” laterNa maGica

COBWEB


odis Simperiam haribeaque et occatem

dionsent veruM asit qui volupTis prepernam

dolupta eCtiis reritio RitemQu atentis et

qui Quid nulpa non preristissit faccul

consedigenis ut litures explic tendiane

doluptatus doloribus doloris ullecepedi

dolent laboreritium est qui aut maioriae.

ehenihici dolupiendae ne secto omnihil

a b c d e f g h i j

k l m n o p q r s

t u v w x y z

! ? . , ( ) † $ #

omniscia dendios

dolorem Ut expedis

erum quaspidis

†

CON NIMBUS ECLESTIA

QUATEC AUT GRETANEM

SIC BIBERUM VOLUpTO

A B C D E F G H I

J K L M N O p Q

R S T U V W X Y Z

Helsinki Type Studio Helsinki Type Studio

Headlinecombustiongasification

Char


Headlinecombustiongasification

Char


Char on suuriin pistekokoihin tehty slab serif fontti. Leikkaukset: Char semiboldMuotoilu: Jaakko Suomalainen

Never forget the struggle, never forget the streetsand don’t sell out

Char is the solid material that remains after light gases e.g. coal gas and tar e.g. coal tar have been driven-out or released from a carbonaceous material

GASMaskHotToppenHuippista


Char on suuriin pistekokoihin tehty slab serif fontti. Leikkaukset: Char semiboldMuotoilu: Jaakko Suomalainen

Never forget the struggle, never forget the streetsand don’t sell out

Char is the solid material that remains after light gases e.g. coal gas and tar e.g. coal tar have been driven-out or released from a carbonaceous material

GASMaskHotToppenHuippista


F-090

-----

-----F-125----------f-198


F–90 on modulaarinen monospace otsikkofontti.Inspiraationa retrofuturistinen avaruustekno.Kaksi leikkausta F-90 (regular) F-125 (bold) F-198 (black)Muotoilu:Niklas Ekholm

the second space age

F–90

n u c l e a r f u s i o n p r o p u l s i o n


–––––––––––––

technobabble

quota:394,76%

–––––––––––––

“Captain Pike has an illusion

and you have reality. May you

find your way as pleasant.”

“The more complex the mind

the greater the need for

the simplicity of play.”

//////////////////////////

Dramatical robots for

entertainment and security

in warp speed. silicon-

based life on the moon of

saturn

ABCDEFGHIJKL

MNOPQRSTUVWXYZ

1234567890

!#%'+,.-–/:;?‘’“”


LAURA

LOUIS


LAURA

LOUIS


B E S P O K E N

FO R

he 1920s is the

decade in

which fashion

entered the

modern era. It

was the decade

in which women first lib-

erated themselves from

constricting fashions

and began to wear more

comfortable clothes,

such as short skirts or

trousers. Men likewise

abandoned overly for-

mal clothes and began

to wear sport clothes for

the first time. The suits

men wear today are

still based, for the most

part, on those men wore

in the late 1920s.

After World War I,

America entered a pros-

perous era and, as a re-

sult of its role in the war,

came out onto the world

stage. Social customs

and morals were relaxed

in the optimism brought

on by the end of the war

and the booming of the

stock market. Women

were entering the work-

force in record numbers.

The nationwide prohi-

bition on alcohol was

ignored by many.

Clothing changed with

womens changing roles

in modern society, par-

ticularly with the idea of

new fashion. Althought

society matrons of a

certain age continued

to wear conservative

dresses, forward-looking

and younger women

now made sportswear

into the greatest change

in post-war fashion.

The tubular dresses of

the teens had evolved

into a similar silhou-

ette that now sported

shorter skirts with pleats,

gathers, or slits to allow

motion. Undergarments

began to transform

after World War I to

conform to the ideals of

a flatter chest and more

boyish figure. The corset

was diminishing and the

bandeau, flattening style

was prevalent in the

early 1920s. During the

mid-twenties all-in-one

lingerie became popular,

leaving behind the cor-

set and moving into the

curvier brassiere era of

the 1930s.

0

1

2

3

4

5

6

7

8

9

T

T

N

O

F

4 H

S

I

Y

O

B

Laura fontti on tehty muotijulkaisua varten.Innoituksen lähteinä toimi vanhat aikakauslehti julkaisut modernismin alkuajoilta sekä vanhat mainoskyltteihin piirretyt groteskit. Leikkaukset: Laura, Laura Medium, Laura BoldMuotoilu: Jaakko Suomalainen, Jungmyung Lee


B E S P O K E N

FO R

he 1920s is the

decade in

which fashion

entered the

modern era. It

was the decade

in which women first lib-

erated themselves from

constricting fashions

and began to wear more

comfortable clothes,

such as short skirts or

trousers. Men likewise

abandoned overly for-

mal clothes and began

to wear sport clothes for

the first time. The suits

men wear today are

still based, for the most

part, on those men wore

in the late 1920s.

After World War I,

America entered a pros-

perous era and, as a re-

sult of its role in the war,

came out onto the world

stage. Social customs

and morals were relaxed

in the optimism brought

on by the end of the war

and the booming of the

stock market. Women

were entering the work-

force in record numbers.

The nationwide prohi-

bition on alcohol was

ignored by many.

Clothing changed with

womens changing roles

in modern society, par-

ticularly with the idea of

new fashion. Althought

society matrons of a

certain age continued

to wear conservative

dresses, forward-looking

and younger women

now made sportswear

into the greatest change

in post-war fashion.

The tubular dresses of

the teens had evolved

into a similar silhou-

ette that now sported

shorter skirts with pleats,

gathers, or slits to allow

motion. Undergarments

began to transform

after World War I to

conform to the ideals of

a flatter chest and more

boyish figure. The corset

was diminishing and the

bandeau, flattening style

was prevalent in the

early 1920s. During the

mid-twenties all-in-one

lingerie became popular,

leaving behind the cor-

set and moving into the

curvier brassiere era of

the 1930s.

0

1

2

3

4

5

6

7

8

9

T

T

N

O

F

4 H

S

I

Y

O

B

Laura fontti on tehty muotijulkaisua varten.Innoituksen lähteinä toimi vanhat aikakauslehti julkaisut modernismin alkuajoilta sekä vanhat mainoskyltteihin piirretyt groteskit. Leikkaukset: Laura, Laura Medium, Laura BoldMuotoilu: Jaakko Suomalainen, Jungmyung Lee


Mi

gn

on


Mignon on hollantilaisen kalligrafisen periaatteen moderni ja skandinaavisen puhdas tulkinta.Leikkaukset: Roman, Italic, BoldMuotoilu: Niklas Ekholm

A B C D E F g H i J K L M n o P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9! ( ) , . - : ;' “ ” – — � � � � � � � � � � fi fl ff ffl

kaleidoskopiaA n C i E n R E g i M E

chancellor

bezier curveW E T E n S C H A P E n S C H o o n H E i D

Mignon“Libro de diferentes cifras de guitarra”


ather, it works holisti-

cally and pragmatical-

ly. it says things like

“try thinking of it this

way” – or more specifi-

cally, “try to ignore the

apparently futile tra-

ditional questions by substituting the

following new and possibly interesting

questions.” it does not pretend to have

a better candidate for doing the same

old things which we did when we spoke

in the old way. Rather, it sug- A gests

that we might want to srop doing those

things and do something else. But it

does not argue for this su8gestion on the

basis of antecedent criteria common to

the old and the new language games.

For just insofar as the new language re-

ally is new, there will be no such criteria.

Conforming to my own preceprs, i am

not going to offer argumenrs against

the vocabulary i want to replace.

Playing jazz vibe chords quickly excites my wife. Many-wived Jack laughs at probes of “Sex quiz”. Sympathizing would fix Quaker objec-tives. Jack amazed a few girls by dropping the antique onyx vase! The vixen jumped quickly on her foe barking with zeal. Mix Zapf with Veljovic and get quirky Beziers.

structurecalligraphy

contrast

Typografisch ontwerp met de meesters van de Koninklijke

Academie van Beeldende Kunsten in Den Haag.


Mig

no

n


Mignon Sans on hollantilaisen kalligrafisen perinteen perustuva päätteetön ilmentymä.Leikkaukset: Light, Light italicMuotoilu: Niklas Ekholm

A B C D E F g H i J K L M n o P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z 4 5 6 7 8 9! , . - : " fi

kaleidoskopiaA n C i E n R E g i M E

chancellor

bezier curveW E T E n S C H A P E n S C H o o n H E i D

Mignon“Libro de diferentes cifras de guitarra”


ather, it works holistically

and pragmatically. It says

things like try thinking of

it this way or more specifi-

cally, try to ignore the ap-

parently futile traditional

questions by substituting

the following new and possibly inter-

esting questions. It does not pretend

to have a better candidate for doing the

same old things which we did when we

spoke in the old way. Rather, it sug- A

gests that we might want to srop doing

those things and do something else.

But it does not argue for this su8gestion

on the basis of antecedent criteria com-

mon to the old and the new language

games. For just insofar as the new lan-

guage really is new, there will be no

such criteria. Conforming to my own

preceprs, I am not going to offer argu-

menrs against the vocabulary I want to

replace.

Playing jazz vibe chords quickly excites my wife. Many-wived Jack laughs at probes of “Sex quiz“. Sympathizing would fix Quaker objec-tives. Jack amazed a few girls by dropping the antique onyx vase! The vixen jumped quickly on her foe barking with zeal. Mix Zapf with Vel-jovic and get quirky Beziers.

structurecalligraphyabstraction

Typografisch ontwerp met de meesters van de Koninklijke

Academie van Beeldende Kunsten in Den Haag.


NILS


Nils vetää inspiraationsa valomainosten pyöristetyistä sisäkulmista ja modernismin lupaamasta tulevaisuuden helppoudesta. Leikkaukset: Nils, Nils BoldMuotoilu: Niklas Ekholm

SKÅNSK MODERNISMBergsrådet af Gyllengrens kontor

macadamia nuts and brown sugar

consierge

Nils Regular & Bold

CHANS

PRÄST


Wilhelm (henceforth we will only call the young Baron by his Christian name) walked alone through the street. The wine had heated his northern blood—besides which it never flowed slowly; his youthful spirits, his jovial mood, and the gayety occasioned by the merry com-pany he had just quitted did not per-mit him quietly to pass by this sleeping

Endymion. Suddenly it occurred to him to open the coach-door and leap in; which having done, he let the glass fall and called out with a loud voice, “Drive on!” The coachman started up out of his blessed sleep and asked, quite confused, “Where to?” Without reflecting about the matter, Wilhelm cried, “To the Ship in West Street.”

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9! ? , - . / ( ) & – — “ ” „ fi fl f f

Det var en mörk och stormig natt. Kotiin kun saapuisin illoin, takka vain loisi hehkuaan. Some years ago—never mind

how many precisely—with little or no money in my purse and nothing particular to interest me on shore, I thought I would sail around a little to see the watery part of the world. That imaginative realm of tolerance was born with modern Europe, it is the very image of Europe of at least our dream of Europe.


THEYMAKEMERELEVANT


Relevant on TAIK:in valokuvaajien “They make me...” -näyttelyä varten tehty monospace fontti.Leikkaukset: Regular, SemiBold, Display (kapiteelit)Muotoilu: Niklas Ekholm ja Jaakko Suomalainen

RELEVANT

megatavuGeometrinen optimismi


Sen tehtävä ei ollut yksinomaan kopioida todelli-suutta, kuten myöhemmin on uskottu. Jonathan Crary on vahvasti sitä mieltä, että camera obscuran käyttö oli erilaista, kuin valokuvakameran, jota pidetään sen seuraajana. Piirtäminen ja kopiointi oli vain yksi camera obscuran monista käyttötavoista. Sen tuottama kuva on elävä ja värikäs toisin kuin valokuva, joka oli alun perin mustavalkoinen ja kuo llut.

Linssi johti näön pa-rantamiseen silmälasien avulla ja kaukoputken keksimiseen, joka vei katseen ulokoavaruu-

teen ja mikroskoopp-pi toi katseen piiriin mikro kosmoksen. Camera obscuran käyttö lisään-tyi maalaustaiteessa ja

optisesta perspektiivis-tä tuli naturalistisen maalaustaiteen itsestään selvä ominaisuus.

Relevance most commonly refers to topical relevance or aboutness, i.e. to what extent the topic of a result matches the topic of the query or information need. Relevance can also be interpreted more broadly, re-ferring to generally how “good” a retrieved result is with regard to the information.

A B C D E F G H I J K L M N O P Q R S T U V W X Y ZA B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9! ? ( ) , . - : '“ & $ + @ ” – — � � � � � � �




he place which is closed is opened, the place which is shut is sealed. That which lieth down in the closed place is opened by the Ba which is in it. By the Eye of Horus I am deliv-ered. Ornaments are stablished on the brow of Ra. My stride is made long. I lift up my two thighs [in walking]. I have journeyed over a long road. My limbs are in a flourishing con-dition. I am Horus, the Avenger of his Father, and I bring the Urrt Crown [and set it on] its

standard. The road of souls is opened. My twin soul seeth the Great god in the boat of Ra, on the day of souls. My soul is in the front there-of with the counter of the years. Come, the Eye of Horus has delivered for me my soul, my orna-ments are stablished on the brow of Ra. Light is on the faces of those who are in the members of Osiris. Ye shall not hold captive my soul. Ye shall not keep in durance my shadow. The way is open to my soul and to my shadow. It seeth the Great god in the shrine on the day of counting souls. It repeateth the words of Osiris. Those whose seats are invisible, who fetter the mem-bers of Osiris, who fetter Heart and Spirit, who set a seal upon the dead, and who would do evil to me, shall do no evil to me. Haste on the way to me. your heart is with you. My Heart-soul and my Spirit-soul are equipped; they guide you. �

OpEning thE tomboF tHE *Ba-SoUl

*The Ba refers To all non physical qualiTies ThaT make up The personaliTy of humans.

OyoUSoUL,greatlymajeStic,behold,IHavecometHatImaySeeyoU;IopenTheNetHerworLdTHatImaySeemyFatherOSiriSanddriveawaydarkneSS,ForIambeLovedoFhim.IHavecometatImaySeemyFatherOSiriSandtHatImaycUToUTtheHearToFSetHwhoHaSHarmedmyFatHerOSiriS.IHaveopenedUpeverypatHwHicHiSintHeSkyandon

earth,ForIamTHewell-belovedSonoFmyFatHerOSiriS.

– Book of The DeaD, spell 9

Tutankhamono on monospace otsikkofontti.Inspiraationa konstruktivistinen muotokieli.Leikkaukset: Tutankhamono regular, bold ja blackMuotoilu: Juho Hiilivirta

a B c D e f G h i J k l m n o p q r s T u V W X y Za b c d e f g h i j k l m n o p q r s t u v w x y z

0 1 2 3 4 5 6 7 8 9


he place which is closed is opened, the place which is shut is sealed. That which lieth down in the closed place is opened by the Ba which is in it. By the Eye of Horus I am deliv-ered. Ornaments are stablished on the brow of Ra. My stride is made long. I lift up my two thighs [in walking]. I have journeyed over a long road. My limbs are in a flourishing con-dition. I am Horus, the Avenger of his Father, and I bring the Urrt Crown [and set it on] its

standard. The road of souls is opened. My twin soul seeth the Great god in the boat of Ra, on the day of souls. My soul is in the front there-of with the counter of the years. Come, the Eye of Horus has delivered for me my soul, my orna-ments are stablished on the brow of Ra. Light is on the faces of those who are in the members of Osiris. Ye shall not hold captive my soul. Ye shall not keep in durance my shadow. The way is open to my soul and to my shadow. It seeth the Great god in the shrine on the day of counting souls. It repeateth the words of Osiris. Those whose seats are invisible, who fetter the mem-bers of Osiris, who fetter Heart and Spirit, who set a seal upon the dead, and who would do evil to me, shall do no evil to me. Haste on the way to me. your heart is with you. My Heart-soul and my Spirit-soul are equipped; they guide you. �

OpEning thE tomboF tHE *Ba-SoUl

*The Ba refers To all non physical qualiTies ThaT make up The personaliTy of humans.

OyoUSoUL,greatlymajeStic,behold,IHavecometHatImay

SeeyoU;IopenTheNetHerworLdTHatImaySeemyFatherOSiriSanddriveawaydarkneSS,ForIambeLovedoFhim.IHavecometatImaySeemyFatherOSiriSandtHatImaycUToUTtheHearToFSetHwhoHaSHarmedmyFatHerOSiriS.IHaveopenedUpeverypatHwHicHiSintHeSkyandon

earth,ForIamTHewell-belovedSonoFmyFatHerOSiriS.

– Book of The DeaD, spell 9

Tutankhamono on monospace otsikkofontti.Inspiraationa konstruktivistinen muotokieli.Leikkaukset: Tutankhamono regular, bold ja blackMuotoilu: Juho Hiilivirta

a B c D e f G h i J k l m n o p q r s T u V W X y Za b c d e f g h i j k l m n o p q r s t u v w x y z

0 1 2 3 4 5 6 7 8 9


Never surf,always dive.

CONTEMPORARY

ART EXHIBITION

Voyage, voyage,bon voyage.


Never surf,always dive.

CONTEMPORARY

ART EXHIBITION

Voyage, voyage,bon voyage.


TE

EM

U

LE

HM

US

RU

US

U

VO

YA

GE

TO

TH

E

BO

TT

OM

OF

TH

E S

EA

It is a race against the clock as the Seaview speeds to reach the proper firing position, above the trench in the Marianas in the Pacific. During this time Nelson and Crane agree on tapping the Rio-to-London telephone cable to try to eventually reach the President. However, an unsuccessful attempt on the Admirals life makes it clear that there is a

saboteur on board. But the confusion over who the saboteur might be revolves around rescued scientist Miguel Alvarez, who has become a religious zealot regarding the catastrophe, and Dr. Hiller, who secret-ly admires Dr Zuccos plan. Other obstacles present themselves: a minefield and a near-mutiny. And Crane himself begins to doubt the Admirals tactics

and reasoning. During the telephone cable attempt, Crane and Alvarez battle a giant squid. Although the London cable con-nection is made, Nelson is told there is been no contact with the States for 35 hours. Also, a hostile submarine follows the Seaview deep into the Mariana Trench, but implodes before it can destroy the Seaview.

Handsome chap&

Cutifull girl

012345 6789

Voyage kirjainperhe on muotoiltu Teemu Lehmusruusulle Voyage to the Bottom of the Sea näyttelyyn. Kirjaintyypit: Voyage Sans Semibold, Voyage regularMuotoilu: Jaakko Suomalainen


TE

EM

U

LE

HM

US

RU

US

U

VO

YA

GE

TO

TH

E

BO

TT

OM

OF

TH

E S

EA

It is a race against the clock as the Seaview speeds to reach the proper firing position, above the trench in the Marianas in the Pacific. During this time Nelson and Crane agree on tapping the Rio-to-London telephone cable to try to eventually reach the President. However, an unsuccessful attempt on the Admirals life makes it clear that there is a

saboteur on board. But the confusion over who the saboteur might be revolves around rescued scientist Miguel Alvarez, who has become a religious zealot regarding the catastrophe, and Dr. Hiller, who secret-ly admires Dr Zuccos plan. Other obstacles present themselves: a minefield and a near-mutiny. And Crane himself begins to doubt the Admirals tactics

and reasoning. During the telephone cable attempt, Crane and Alvarez battle a giant squid. Although the London cable con-nection is made, Nelson is told there is been no contact with the States for 35 hours. Also, a hostile submarine follows the Seaview deep into the Mariana Trench, but implodes before it can destroy the Seaview.

Handsome chap&

Cutifull girl

012345 6789

Voyage kirjainperhe on muotoiltu Teemu Lehmusruusulle Voyage to the Bottom of the Sea näyttelyyn. Kirjaintyypit: Voyage Sans Semibold, Voyage regularMuotoilu: Jaakko Suomalainen


Documents

Helsinki Type Studio A Type Catalogue