Klabauter
Latin | Ελληνικός
regular | italic
bold | bold italic
black | display
w
a type family by
Louisa-Helen Fröhlich
3|4
ahoi klabauter
Klabauter is the new nippy type family in
the harbour to support Latin and Greek. This
combination of reliable text weights with
fresh shapes and playful secondary styles has
personality.
A new type family
is hoisting its anchor
If you need something expressive, make
sure to check out the stormy display weight,
it will blow your mind.
57 | 68
κ
klabauter italic
lowercase kappa
Land ahoi
pirate jenny sings
von einem Schiff mit 236 Segeln
phillips minimilk
herrschaftszeiten
άνεμος βάρκα νησί
karibikblau mit walpink
du haikalb
sκnα
aε r
nμe
7|8
type family
regular. latin | greek
italic. latin | greek
bold. latin | greek
bold italic. latin
Klabauter comes in Regular, Italic, Bold
and Display with a matching Greek.
With this family you
can sail all the seven seas
display. latin | greek
black. latin
display
styles
9 | 10
son kp
a αρε
common design
features across
styles and scripts
sturdy serifs
stroke
expansion
klabauter regular
Klabauter Regular has a diagonal stress and
a quirky modulated stroke. Sharp corners
and smooth curves alternate and introduce a
dynamic personality. The differences in the
width of the letters add rhythm to the texture
and make this style both natural and lively.
A seaworthy regular
for navigating through
typographical shoals
In text sizes the slight expansion at the top
and bottom of the stems emphasises the
terminals. The sturdy serifs together with
the horizontal touch, introduced by the wide
square letters, give this style a self-confident
appearance. Klabauter Regular comes with
smallcaps.
feature
stroke
modulation
differences
in width
for a lively
rhythm
flipped stress in
Klabauter Greek
11 | 12
klabauter italic
β
Klabauter Italic is very upright and distinguishes itself from the regular through much
narrower proportions. The stroke modulation
is more emphasised than in the regular and is
supported by soft corners along the curves.
The fresh salty breeze
in your type collection
common design
features across
styles and scripts
κβρ
nkp s F
cursive forms
for the Italic
The absence of serifs in the lowercase leave
room for fluid in-strokes and out-strokes
which generate a playful touch in this cheeky
style. This design features work also very well
for the Greek. The italic uses different character shapes which derive from a dynamic
handwritten model.
stronger stroke
modulation
soft corners
along the curves
fluid out-strokes
in capitals
13 | 14
across scripts
οκτώ weiße γλάροι
nothing better than the sea
eine βάρκα fern
κυριακή απόγευμα
Lass uns sail
fliegen hoch in the sky
ηλιοβασίλεμα how nice das Leben
am Horizont und αλάτι on the skin
has wind in den Segeln
until the αυγή mein Schatz
latin
italic
latin
regular
greek
regular
greek
italic
having little or no money in my purse, and
nothing particular to interest me on shore,
I thought I would sail about a little and see
the watery part of the world. It is a way I
have of driving off the spleen and regulating
the circulation, whenever I find myself growing grim about the mouth; whenever it is a
damp, drizzly February in my soul; whenever
I find myself involuntarily pausing before
coffin warehouses, and bringing up the rear
of every funeral I meet; and especially whenever my hypos get such an upper hand of
me, that it requires a strong moral principle
to prevent me from deliberately stepping
into the street, and methodically knocking
people‘s hats off- then, I account it high time
to get to sea as soon as I can.
having little or no money in my purse, and
nothing particular to interest me on shore,
I thought I would sail about a little and see
the watery part of the world. It is a way I
have of driving off the spleen and regulating
the circulation. Whenever I find myself
growing grim about the mouth; whenever
it is a damp, drizzly November in my soul;
whenever I find myself involuntarily pausing
before coffin warehouses, and bringing up
the rear of every funeral I meet; and especially whenever my hypos get such an upper
hand of me, that it requires a strong moral
principle to prevent me from deliberately
stepping into the street, and methodically
knocking people‘s hats off- then, I account it
high time to get to sea as soon as I can. This is
my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon
his sword; I quietly take to the ship. There is
nothing surprising in this.
Από την απώτατη αρχαιότητα μέχρι τα
μέσα του μεσαίωνα η εξέλιξη του ιστιοφόρου
πλοίου ήταν βραδύτατη, αν και το κουπί
συνέχιζε να παραμένει ισχυρό μέσον
πρόωσης. Τότε το ιστίο που φέρονταν κυρίως
από σταυρωτή κεραία, οριζόντια δοκό, από
τον ιστό, αποτελούσε το βοηθητικό μέσον
πρόωσης, αφενός για τη μερική ανάπαυση
των πληρωμάτων, αλλά ειδικότερα για την
λεγόμενη ουριοδρομία με τον άνεμο από
πρύμνη. Όπως μας πληροφορεί ακόμη και ο
ανυπέρβλητος Όμηρος η ώρα απόπλου ήταν
αμέσως μετά τη θερινή δύση του Ηλίου όπου
αφού κόπαζε η θαλάσσια αύρα, η πελαγία
αύρα των αρχαίων άρχιζε να πνέει η «απόγεια
αύρα, δηλαδή όταν «αρχίζουν να βγάζουν οι
στεριές κατά την κοινή γλώσσα των Ελλήνων
σύγχρονων ναυτικών.
Έτσι απέπλεαν οι τριήρεις ουριοδρομώντας,
με κολπωμένο το εγκάρσιο πανί (ιστίο)
τους σύμφωνα με τον σπουδαίο ναύαρχο
και αρχαιολόγο σέρρε το λυκαυγές της
του ήταν το τετράγωνο ιστίο και η του σε
τρίγωνο και που άρχισε και η χρήση τους,
παρά ταύτα πολλοί ναυτικοί ιστορικοί
επιμένουν ότι η τριήρης δεν ήταν κύριο
μέσον είχε τα κουπιά, επηρεασμένοι
από τη σύγχρονη του όρου, αειτουργικά
θεωρούν ότι το δεν αναδείχθηκε ούτε
στη ρωμαϊκή περίοδο, αλλά ούτε και στη
βυζαντινή αλλά περί τον με αιώνα όπου
τότε μπορούσαν να πλέουν και με αντίθετο
άνεμο δηλαδή να πλέουν την «εγγυτάτη»,
τότε άρχισαν να τα λεγόμενα πανιά
λατίνια, με τα οποία οι γαλέρες και οι του
λουδοβίκου
heavens,
this is your
ship ...
7|8
I know,
it’s bigger
on the
inside.
17 | 18
7|8
gaining weight
k
klabauter black
lowercase k
Klabauter comes with a strong bold weight
which stands out with audacity. If you need
even more weight take Klabauter black. This
style preserves the general shapes of the regular but brings some more ink on the paper.
The bold italic shows more stroke modulation
than the regular and is playful and friendly.
l
today you
better take
the bike
not the bus
blinki
stronger stroke
modulation in
the bold italic
regular
bold
black
italic
bold
italic
19 | 20
klabauter display
Strong wind in the sails lets the letters dance.
The modulation of the broken stroke is exaggerated in this funky high-contrast member
of the family.
Stormy and eccentric
So if you need some attention, use this fresh
display weight which nobody will forget.
strong design
features
a lm
extreme
modulation
thin serifs
n
klabauter display
lowercase n
721| |822
aluminum
punk in an
amphibian ship
klabauter
display
23 | 24
7|8
4 Μαΐου
Πόσον χαίρω που ανεχώρησα! Καλέ μου φίλε, τι πράγμα είναι η
καρδιά του ανθρώπου! Να εγκαταλείψω σε που τόσον αγαπώ, που
σου ήμουν αχώριστος, και να βρίσκωμ‘ ευχαριστημένος! Ηξεύρω
ότι μου το συγχωρείς. Μήπως αι λοιπαί μου σχέσεις δεν εξελέγησαν επίτηδες από της τύχης για να στενοχωρούν μια καρδιά
σαν την ιδική μου; Η καϋμένη Λεονώρα! Και όμως ήμουν αθώος.
Έπταια εγώ ότι, ενώ τα ιδιότροπα θέλγητρα της αδελφής της
μου παρείχαν ευχάριστον διασκέδασιν, εγεννήθη ένα αίσθημα,
πάθος εις την δυστυχισμένη της καρδιά; Και όμως είμαι εντελώς
αθώος. Δεν υπέθαλψα τα αισθήματά της; Δεν εγοητεύθηκα εγώ
εκ των αληθεστάτων εκφράσεων της φύσεως, που τόσες φορές,
μας έκαμαν να γελώμεν, όσον ολίγον γελοίαι και αν ήσαν; Δεν —
ω, τι είναι ο άνθρωπος ώστε να παραπονήται διά τον εαυτόν του!
Αγαπητέ μου φίλε, σου το υπόσχομαι,
θα βελτιωθώ, δεν θ‘ αναissue 6 | june 2013
the drunken sailor
μασσήσω πλέον κανένα μικρόν κακόν, το οποίον μας παραθέτει η
τύχη, όπως έκαμα πάντοτε· θ‘ απολαύσω το παρόν, το δε παρελtop
did youταknow...
θόν 14
θα μου είναι παρελθόν. Βέβαια, έχεις δίκαιον, φίλτατε,
βάboatσανα
names
θα ήσαν ολιγώτερα μεταξύ των ανθρώπων, αν δεν ησχολού2013
ντο
(ο Θεός ηξεύρει διατί ούτω επλάσθησαν) με τόσην προθυμίαν
της φαντασίας εις το ν‘ ανακαλούν αναμνήσεις του παρελθόντος
1.·············
Alessia
A Klabautermann
is a water
kobold
carved and attached to the mast
κακού
περισσότερο παρά να περνούν
αδιάφορον
παρόν.
(or nix) who assists sailors and
as a symbol of good luck. Despite
2.·············
Bon
Κάμε
μου την χάριν να πης ειςfishermen
την μητέρα
μου
ότι
θα
φροντίon the Baltic and North
the positive attributes, there is one
3.············· Florian
σω όσον το δυνατόν καλύτεραSea
διάinτην
και θα της
theirυπόθεσίν
duties. He isτης,
a merry
omen associated with his presence:
4.············· Igor
andτούτου.
diligent creature,
with
expert
δώσω εντός ολίγου είδησιν περί
Ωμίλησα
μεanτην
θείανno member of a ship blessed by his
5.············· Jonas
of most
presence shall ever set eyes on him.
μου και δεν την ηύρα καθόλουunderstanding
κακήν γυναίκα,
ωςwatercraft,
μας την παρι6.············· Katy
and an unsupressable musical taHe only ever becomes visible to the
στάνουν· είναι φαιδρά και οξύθυμη
μεsailors
καλλίστην
lent. Heγυναίκα
also rescues
washedκαρcrew of a doomed ship.
7.············· Liron
δίαν.Lisa
Της εξέθεσα τα παράπονα
της μητρός
μουcomes
διά το
κατακραoverboard.
The name
from
More recently, the Klabauter8.·············
the Low μου
German
verb klabastern
mann
is sometimes described as
τούμενον
μερίδιον
της
κληρονομιάς·
εξήγησε
τους
λόγους,
τα
9.············· Louisa
meaning rumble or make a noise.
having more sinister attributes, and
αίτια
και
τους
όρους,
υπό
τους
οποίους
θα
ήτο
πρόθυμη
το
παν
να
10.············ Reiko
His image is of a small sailor
blamed for things that go wrong on
μας Ricardo
παραδώση και περισσότερα
από with
όσα aεζητούμεν
11.·············
in yellow
tobacco pipe— τέλος the ship. This incarnation of the
Klabautermann
1 2.············· Sebastian
13.············· Stéphane
14.············· William
and woollen cap, often wearing a
caulking hammer. This likeness is
63
Klabautermann is more demon- or
goblin-like, prone to play pranks.
Essay on non-Latin type de
Helen Kern
Seminar Handout
MA Typeface Design 2012–2013
–
Department of Typography
and Graphic Communication
–
University of Reading
26 Febuary 2013
95
weather
London
and so on
Mainly dry overnight in Reading.
Rain arriving in west Monday.
Sunny spells and isolated showers
across Britain to end the day, with
showers dying away overnight.
Cloud, wind and rain will arrive
into Northern Ireland during the
night, this edging into western fringes of England, Wales and Scotland
by dawn.
Ηλιοφάνεια σε ολόκληρη τη χώρα
και ενισχυμένους βοριάδες στο
Ανατολικό Αιγαίο, περιμένουμε την
Τρίτη 15 Ιουλίου 2013.
Η θερμοκρασία θα κυμανθεί από
16 έως 30 βαθμούς στη Βόρεια
about the texts and their author
The two key texts to this seminar ‘Non-Latin typeset
age’ and ‘An approach to Non-Latin type design’ by F
been published in 2002. Around this time evolved a s
the potential of Unicode and OpenType in general an
Non-Latin scripts. Non-Latin type design was an imp
the AtypI conference in 2002 in Rome and the results
type design competition for all writing systems and l
published in Language Culture Type.
Fiona Ross has worked as a consultant, author, lect
designer for non-Latin (especially Arabic and Indic) s
to 1989 she worked for Linotype-Paul Ltd and was res
non-Latin work. She wrote a lot of articles and books
proach non-Latin typeface design and multi-script ty
text ‘Non-Latin scripts: Key issues in type-design’ in
tion becomes a contemporary reference to this topic.
outline
One of her central topics is the influence of technical
constraints on the type design process. These were cr
of non-Latin typefaces since they were usually repro
originally developed for the Latin script. In her texts
different technical possibilities of different times and
method for designers to approach the design of non-L
to avoid the common practice of translating design d
because of constraints from the past into new techno
constraints no longer exist.
A method for non-Latin type design – The Linotype B
She developed her method while she was working on
type-Paul Ltd. 1978 the Indian Newspaper group Anan
7 | |826
25
June 2013 | Museum of Modern Art, Mainz
Helen Kern
Inside the current
March 2012
200 x 200 cm
oil on canvas
15
oil painting in the age of digital typography
encounters
begegnungen
Painting is the practice of applying paint,
pigment, color or other medium [1] to
a surface (support base). The medium
is commonly applied to the base with
a brush but other implements, such as
knives, sponges, and airbrushes, can be
used. In art, the term painting describes
both the act and the result of the action.
However, painting is also used outside
of art as a common trade among craftsmen and builders. Paintings may have
for their support such surfaces as walls,
paper, canvas, wood, glass, lacquer, clay,
leaf, copper or concrete, and may incorporate multiple other materials including
sand, clay, paper, gold leaf as well as
objects.
Die Malerei zählt neben der Architektur, der Bildhauerei, der Grafik und der
Zeichnung zu den klassischen Gattungen
der bildenden Kunst. Malerei ist das
Festhalten von Gedanken des Malers;
dies geschieht im Gegensatz zur Zeichnung durch das Aufbringen von feuchten
Farben mittels Pinsel, Spachtel oder
anderer Werkzeuge auf einen Malgrund.
Neben der Tafel- und Wandmalerei
unterscheidet man ferner die Glas- und
Buchmalerei, des Weiteren die Malerei
auf Ton oder Keramik (z. B. Griechische
Vasenmalerei). Das älteste Zeugnis der
Malerei sind die Höhlenmalereien mit
Tierdarstellungen aus der letzten Eiszeit
und dem Jungpaläolithikum.
Malereien und Zeichnungen, aber auch
Reliefs und Plastiken, sind als künstlerische Ausdrucksformen aus der Zeit von
vor 35.000 bis 10.000 Jahren bekannt.
ticket
oil pa
of digiinting in th
tal ty
pograep age
1 June –
hy
25 Aug
u st 2 0
Mu
se u m o
f M o de
13
r n A r t,
Ma in z
7 | |828
27
*wäŗ [daς] nΐcht
ώundérschön?
klabauter
regular
Άm “Šonntag” will
meΐn »Süßer« mīt miř
sėgełn géhèn, wenn die
(ķalten)Winďe wέhen*
7|8
Listen honey, I am the
queen of the pirates, and
you are the poor sailor
who I have saved from
drowning, at first, I do
not like you very much,
but after a while you
start to wear those cute
little shirts, and then,
after many days on the
ship we will suddenly
31 | 32
acknowledgements
Gerry Leonidas, Fiona Ross, Gerard Unger, James Mosley,
Michael Twyman and all the visiting lecturers at the Univer­sity of Reading. Johannes Bergerhausen. All my classmates
and MATD graduates for their helpful criticism and support.
My family and Felix.
This specimen and the presented typeface Klabauter were
designed by Louisa-Helen Fröhlich. The texts, if not noted
below, are written by the author.
In partial fulfilment of the requirements of the Master
in Typeface Design, University of Reading, UK.
contact
Louisa-Helen Fröhlich
Louisa(at)Froehlichdesign.de
additional resources
page 13 | 14 Herman Melville: ‘Moby-Dick’
Greek text from Wikipedia
el.wikipedia.org/wiki/Ιστιοφόρο
page 23 | 24 Johann Wolfgang von Goethe: ‘Die Leiden des
jungen Werther’. Translator: Ioannis Aretas
Greek Text from www.gutenberg.org
English text ‘Klabautermann’ from Wikipedia
en.wikipedia.org/wiki/klabautermann
page 25 | 26 texts ‘Malerei’ and ‘Painting’ from Wikipedia
de.wikipedia.org/wiki/malerei
en.wikipedia.org/wiki/painting
Klabauter specimen | No. 2 | 19.08.2013
page 27 | 28 lyrics ‘Am Sonntag will mein Süßer mit
mir segeln geh‘n’ from Robert Gilbert
ahoi