Upload
others
View
4
Download
0
Embed Size (px)
Citation preview
gr
bu
BurgGroteskRegular MediumBoldetc.
↓B U R G G R O T E S K
R E G U L A R , M E D I U M B O L D , M O N O ,
B O L D C O N D E N S E D○
B U R G L E T T E R N•
B U R G L O G O□
B U R G S y M B O L E↑
Andrea Tinnes
BU
RG
GR
OT
ES
K S
PE
CIM
EN
© 2011/2015 +
www.typecuts.com
Burg Grotesk
AABCDEFGHI
JKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz⇢{{&��}}⇠1234567890
������y���st¶•••▶
BOLD 70/78 ptB U R G G R O T E S K
Burg Grotesk2
www.typecuts.com
BBurg
GroteskD E S I G N
Andrea Tinnes
Y E A R
2011/2015 +
S T Y L E S
Burg GroteskBurg Grotesk MonoBurg CondensedBurg LettersBurg Symbols
F O R M A T
OpenType
F O U N D R Y
typecuts
I N F O R M A T I O N
MEDIUM 100/80 pt
Burg Grotesk — Is the official typeface of Burg Giebichenstein University of Art and Design Halle, specifically designed for the new visual identity of the art school. Burg Grotesk is a sans serif typeface based on PTL Roletta Sans, a comprehensive round family also designed by Andrea Tinnes. Compared to PTL Roletta Burg Grotesk has sharp corners at its stroke termin- als, while still combining functionality and playfulness with many refined details. The font is furthermore characterized by a mixture of rather modest and simple capitals with a slight-ly smaller proportion and more vivid lowercase letters with a slightly wider proportion, adding fluidity and rhythm to the text. Burg Grotesk currently consists of three weights — regular, medium and bold — as well as a bold condensed and a regular monospaced version; more fonts and matching italics are in the making. The OpenType fonts include many advanced layout features with various figure sets, small caps, alternate charac-ters, ligatures as well as geometric symbols and arrows.Burg Grotesk also comes with a symbol font, offering a wide range of geometric composites and patterns as well as a logo-type font called “Burg Letters”.
REGULAR 13/17 pt
Burg Grotesk3
www.typecuts.com
CB U R G
yqUhAO
I N F O R M A T I O N
Burg Letters — In using the colloquial short form “Burg” as an official term from now on, the institution’s identity is strength-ened in the internal as well as external communication. The four letters B–U–R–G function as a distinctive sign, as a stamp and mark in different constellations. And it is exactly in these letters that individual interpretation can be opted for: The B–U–R–G letters can be arranged in a freely chosen order, ranging from very subtle to really noisy and explosive. There are no limits to artistic and design freedom, however the connection to the institution still remains clearly recognisable. The letters are based on the small caps of PTL Roletta Sans Black and are strongly connected to the Burg Grotesk typeface.Burg Symbol Font — A Burg symbol font was designed as a further design element that can be individually generated. Based on the geometric elements of the Burg logo, it works as a visual language, as a repertoire for designing patterns and structures. The different patterns can be used as secondary de-sign elements within the new visual identity. Burg Logo — One elementary component of the visual identity is the Burg logo. The logo which was based on an idea by Gerhard Marcks and designed by Herbert Post has been slightly altered a number of times in the past 30 years. Now it is being altered once more in a most careful way.
Burg Grotesk4
www.typecuts.com
�&
&↙
{ �Q
*“
1st…¶aD Y N A M I S C H
R H Y T H M I S C H
U N I V E R S A L
F L E X I B E L
U M F A S S E N D
A L T E R N A T I V
S C H L I C H T
R U H I G
L E B E N D I G
E I G E N
F U N K T I O N A L
S P I E L E R I S C H
V I E L S E I T I G
S
u
Qg
l
y
r
C
e
O
Burg Grotesk5
www.typecuts.com
abgnyRoiASNQ
BOLD 330 pt
REGULAR 180 pt
B U R G G R O T E S K D E S I G N
Burg Grotesk6
www.typecuts.com
AHC abngAHC abng
420 pt
105 pt
158 pt
C O M P A R I S O N R O L E T T A B U R G G R O T E S K
Burg Grotesk7
www.typecuts.com
ABCDEFGHI�JKLMNOPQRSTUVWXYZa�bcdef�g�hi� j �k lmnopqr�stuvwxyyz
�B����G��ı��L���P�R�TU�����1234567890 01 0��3������ 01
&��ß@#'"§¶¶!?¿¡%‰*†‡®©℗™ªº^°€$£¥¢ƒ¤/(|)\[•]{·}¦ �‖[]{}
, . ; :…„“”‘ ’«»‹›_- – — ´`¨ˆ˜¯˘˙˚¸˝˛ˇ =+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑⁰1²³⁴⁵⁶⁷⁸⁹ , . : ⁺ ⁻⁼× ⁽ ⁾ [ ] 0123456789 , . : + ₋×= ( ) [ ]
0123456789 , . : + −× ( ) [ ] 1234567890 ���������� €$£¥¢ƒ¤
ÁÀÂÄÃÅÆÇÉÈÊËÍÌ Î Ï����ŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞ
áàâäãå������æçéèêëí ì î ï ı � � � � � łñóòôöõøœšúùûüÿýÿýžðþ
������������� � � � ÌÍÎÏ�������������������
���ff����fi�ffi���fl�ffl�������������������st��
←↑→↓↖↗↘↙⇠⇡⇢⇣←→←→■□▲△▶▷▼▽◀◁○●
••••••••••••••••••••••••••
REGULAR 25/30 ptO P E N T Y P E C H A R A C T E R S E T
Burg Grotesk8
www.typecuts.com
ARegularMediumBoldCondensed BoldMono RegularMono ItalicBURG
AQHuyOXABCDEFG abcdefg RegularABCDEFG abcdefg MediumABCDEFG abcdefg BoldABCDEFG abcdefg Condensed BoldABCDEFG abcdefg RegularABCDEFG abcdefg ItalicABCDEF abcdef
1012
13—15
16—18
19—21
22—24
22—24
29—31
31—33
60/60 pt, 18/20 ptB U R G G R O T E S K W E I G H T S
Burg Grotesk9
www.typecuts.com
Burg GroteskRegular
ABCDEFGHI�JKLMNOPQRSTUVWXYZ
a�bcdef�g�hi�j�klmnopqr�stuvwxyyz
�B����G��i��L���P�R�TU�����
01234567890:;&§¶%!?
ÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏ����ŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞáàâäãå������æçéèêëíìîïı�����łñóòôöõøœšúùûüÿýÿýžðþ����������������ÌÍÎÏ�������������������
112345678900 �1�3������00 &��ß@#'"§¶¶!?¿¡%‰*†‡ ®©℗™ªº^° €$£¥¢ƒ¤ ¼½¾=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑/(|)\[•]{·}¦�‖[]{},.;:…„“”‘’«»‹›_- – — ´`¨ˆ˜¯˘˙˚¸˝˛ˇ
1234567890 ���������� €$£¥¢ƒ¤⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[]0123456789,.:+₋×=()[]0123456789,.:+−=×()[]0123456789,.:+−=×()[]
���ff����fi�ffi���fl�ffl�������������������st��←↑→↓↖↗↘↙⇠⇡⇢⇣←→←→■□▲△▶▷▼▽◀◁○●• •••••••••••••••••••••••••
REGULAR ITALIC 40 pt
REGULAR 11 pt
REGULAR + ITALIC 83 ptB U R G G R O T E S K
Burg Grotesk10
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes do- ing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art is produced, in painting, a�ing, building, and what- ever else. In this stage also the artist likes to
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es �n the study o� �n ��t. �n the fi�st he loves �t �nd knows noth�n� �bout �t. �n the second he �s le��n�n�, �nd �s so �ull o� the consc�ousness, pe�h�ps �lso o� the p��de, o� h�s ��ow�n� knowled�e th�t he �s p�one to t��ns�e� h�s ��ect�on ��om the ��t to the det��l �nd p�ocesses o� the ��t, somet�mes do�n� o� p���s�n� b�d wo�k bec�use �t m�y �llus-t��te � �ule o� employ � dev�ce �bout wh�ch he knows. �t �s �n th�s second st��e th�t �ll �e�lly b�d ��t �s p�oduced, �n p��nt�n�, �ct�n�, bu�l- d�n�, �nd wh�teve� else. �n th�s st��e �lso the ��t-
REGULAR 20/23 pt
REGULAR 20/23 pt, ALTERNATES
B U R G G R O T E S K
Burg Grotesk11
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowl- edge that he is prone to transfer his affection from the art to the detail and processes of the art, ����T���� ����G �R PR�����G B�� ��R� B���U�� �T ��� �LLU�TR�T� � RUL� �R ��PL�� � ������ �B�UT ����� �� �����. It is in this second stage that all really bad art is produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, le� out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they are now absorbed into his consciousness: the amateur may drive clean through them, be they rules even against consecutive fi�hs, or soliloquies, or want of »truth to purpose«, to the final test, which is whether he likes the things or does not like it. It should not dare to write an article for The Fleuron were I not still closely shut up, so far as the art of prin- ting is concerned, in the first stage, and only beginning to peep eagerly over the high wall between that and the second stage, a wall which a man had better not begin to climb unless
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es �n the study o� �n ��t. �n the fi�st he loves �t �nd knows noth�n� �bout �t. �n the second he �s le��n�n�, �nd �s so �ull o� the consc�ousness, pe�h�ps �lso o� the p��de, o� h�s ��ow�n� knowled�e th�t he �s p�one to t��ns�e� h�s ��ect�on ��om the ��t to the det��l �nd p�o-cesses o� the ��t, ����Ti��� ��i�G �R PR�i�i�G B�� ��R� B���U�� iT ��� iLLU�TR�T� � RUL� �R ��PL�� � ���i�� �B�UT ��i�� �� �����. �t �s �n th�s second st��e th�t �ll �e�lly b�d ��t �s p�oduced, �n p��nt�n�, �ct�n�, bu�ld�n�, �nd wh�teve� else. �n th�s st��e �lso the ��t�st l�kes to p�etend th�t h�s ��t �s myste�y, not to be �pp�o�ched, st�ll less sh��ed, by the p�o��ne; �nd �n th�s st��e the �m�teu�, le� out �n the cold, �even�e h�msel�. The �ules �nd dev�ces �nd techn�c�l�t�es ��ll �nto the�� pl�ce �s the me�e m�te���l o� the t�ue pu�pose, wh�ch �s the m�k�n� �nd en�oy�n� o� be�ut��ul th�n�s. The ��t�st t�e�ts the �ule �s he ple�ses, bec�use they ��e now �bso�bed �nto h�s consc�ousness: the �m�teu� m�y d��ve cle�n th�ou�h them, be they �ules even ����nst consecut�ve fi�hs, o� sol�loqu�es, o� w�nt o� »t�uth to pu�pose«, to the fin�l test, wh�ch �s whethe� he l�kes the th�n�s o� does not l�ke �t. �t should not d��e to w��te �n ��t�cle �o� The Fleu�on we�e � not st�ll closely shut up, so ��� �s the ��t o� p��nt�n� �s conce�ned, �n the fi�st st��e, �nd only be��nn�n� to peep e��e�ly ove� the h��h w�ll between th�t �nd the second st��e, � w�ll wh�ch � m�n
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, ����T���� ����G �R PR���-��G B�� ��R� B���U�� �T ��� �LLU�TR�T� � RUL� �R ��PL�� � ������ �B�UT ����� �� �����. It is in this second stage that all really bad art is produced, in painting, acting, building, and what- ever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, le� out in the cold, revenge himself. The rules and devices and technicalities fall into their place as
REGULAR 9/12 pt
REGULAR 12/16 pt
REGULAR 9/12 pt, ALTERNATES
B U R G G R O T E S K
Burg Grotesk12
www.typecuts.com
ABCDEFGHI�JKLMNOPQRSTUVWXYZ
a�bcdef�g�hi�j�klmnopqr�stuvwxyyz
ABCDEfGhIijKLMNOpqRSTUvwxyz
01234567890:;&§¶%!?
ÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏ����ŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞáàâäãå������æçéèêëíìîïı�����łñóòôöõøœšúùûüÿýÿýžðþ����������������ÌÍÎÏ�������������������
112345678900 ������������ &&�ß@#'"§¶¶!?¿¡%‰*†‡ ®©℗™ªº^° €$£¥¢ƒ¤ ¼½¾=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑/(|)\[•]{·}¦�‖[]{},.;:…„“”‘’«»‹›_- – — ´`¨ˆ˜¯˘˙˚¸˝˛ˇ
1234567890 ���������� €$£¥¢ƒ¤⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[]0123456789,.:+₋×=()[]0123456789,.:+−=×()[]0123456789,.:+−=×()[]
���ff����fi�ffi���fl�ffl�������������������st��←↑→↓↖↗↘↙⇠⇡⇢⇣←→←→■□▲△▶▷▼▽◀◁○●• •••••••••••••••••••••••••
Burg GroteskMedium
REGULAR ITALIC 40 pt
REGULAR 11 pt
REGULAR + ITALIC 83 ptB U R G G R O T E S K
Burg Grotesk13
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes do- ing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art is produced, in painting, a�ing, building, and whatever else. In this stage also the artist likes to
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es �n the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, �nd �s so �ull o� the consc�ousness, pe�h�ps �lso o� the p��de, o� h�s ��ow�n� knowled�e th�t he �s p�one to t��ns�e� h�s ��ect�on ��om the ��t to the det��l �nd p�ocesses o� the ��t, somet�mes doing or praising bad work because it may illus-t��te � �ule o� employ � dev�ce �bout wh�ch he knows. It is in this second stage that all really bad art is produced, in painting, acting, buil- ding, and whatever else. In this stage also the
MEDIUM 20/23 pt
MEDIUM 20/23 pt, ALTERNATES
B U R G G R O T E S K
Burg Grotesk14
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and pro-cesses of the art, SOMETIMES DOING OR pRAISING BAD wORK BECAUSE IT MAy ILLUSTRATE A RULE OR EMpLOy A DEvICE ABOUT whICh hE KNOwS. It is in this second stage that all really bad art is produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The ru- les and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they are now absorbed into his consciousness: the amateur may drive clean through them, be they rules even against consecutive fifths, or soliloquies, or want of »truth to purpose«, to the final test, which is whether he likes the things or does not like it. It should not dare to write an article for The Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the first stage, and only beginning to peep eagerly over the high wall between that and the second stage, a wall which a man had bet-
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es in the study of an art. In the first he loves it and knows nothing about it. In the second he �s le��n�n�, �nd �s so �ull o� the consc�ousness, pe�h�ps �lso o� the p��de, o� h�s ��ow�n� knowled�e th�t he �s p�one to t��ns�e� h�s ��ect�on ��om the ��t to the det��l �nd p�o-cesses o� the ��t, SOMETiMES DOiNG OR pRAiSiNG BAD wORK BECAUSE iT MAy iLLUSTRATE A RULE OR EMpLOy A DEviCE ABOUT whiCh hE KNOwS. It is in this second stage that all really bad art is produced, in painting, acting, building, and whatever else. In this stage �lso the ��t�st l�kes to p�etend th�t h�s ��t �s myste�y, not to be �pp�o�ched, st�ll less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The �ules �nd dev�ces �nd techn�c�l�t�es ��ll �nto the�� pl�ce �s the me�e m�te���l o� the true purpose, which is the making and enjoying of beautiful things. The artist treats the �ule �s he ple�ses, bec�use they ��e now �bso�bed �nto h�s consc�ousness: the �m�teu� may drive clean through them, be they rules even against consecutive fifths, or solilo-quies, or want of »truth to purpose«, to the final test, which is whether he likes the things or does not like it. It should not dare to write an article for The Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the first stage, and only be��nn�n� to peep e��e�ly ove� the h��h w�ll between th�t �nd the second st��e, �
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, SOMETIMES DOING OR pRAIS-ING BAD wORK BECAUSE IT MAy ILLUSTRATE A RULE OR EMpLOy A DEvICE ABOUT whICh hE KNOwS. It is in this second stage that all really bad art is produced, in painting, acting, building, and what- ever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as
MEDIUM 9/12 pt
MEDIUM 12/16 pt
MEDIUM 9/12 pt, ALTERNATES
B U R G G R O T E S K
Burg Grotesk15
www.typecuts.com
ABCDEFGHI�JKLMNOPQRSTUVWXYZ
a�bcdef�g�hi�j�klmnopqr�stuvwxyyz
abcdefghiijklmnopqrstuvwxyz
01234567890:;&§¶%!?
ÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏ����ŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞáàâäãå������æçéèêëíìîïı�����łñóòôöõøœšúùûüÿýÿýžðþ����������������ÌÍÎÏ�������������������
112345678900 ������������ &��ß@#'"§¶¶!?¿¡%‰*†‡ ®©℗™ªº^° €$£¥¢ƒ¤ ¼½¾=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑/(|)\[•]{·}¦�‖[]{},.;:…„“”‘’«»‹›_- – — ´`¨ˆ˜¯˘˙˚¸˝˛ˇ
1234567890 ���������� €$£¥¢ƒ¤⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[]0123456789,.:+₋×=()[]0123456789,.:+−=×()[]0123456789,.:+−=×()[]
���ff����fi�ffi���fl�ffl�������������������st��←↑→↓↖↗↘↙⇠⇡⇢⇣←→←→■□▲△▶▷▼▽◀◁○●• •••••••••••••••••••••••••
Burg GroteskBold
REGULAR ITALIC 40 pt
REGULAR 11 pt
REGULAR + ITALIC 83 ptB U R G G R O T E S K
Burg Grotesk16
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learn-ing, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, some-times doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art is produced, in painting, acting, building, and whatever else. In this stage also the
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es �n the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing know-led�e th�t he �s p�one to t��ns�e� h�s ��ect�on ��om the ��t to the det��l �nd p�ocesses o� the art, sometimes doing or praising bad work because it may illustrate a rule or employ a de- vice about which he knows. It is in this sec-ond stage that all really bad art is produced, in painting, acting, building, and whatever else.
BOLD 20/23 pt
BOLD 20/23 pt, ALTERNATES
B U R G G R O T E S K
Burg Grotesk17
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and pro-cesses of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage al- so the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they are now absorbed into his consciousness: the ama- teur may drive clean through them, be they rules even against consecutive fifths, or soliloquies, or want of »truth to purpose«, to the final test, which is whether he likes the things or does not like it. It should not dare to write an article for The Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the first stage, andonly beginning to peep eagerly over the high wall between that and the second stage,
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, o� h�s ��ow�n� knowled�e th�t he �s p�one to t��ns�e� h�s ��ect�on ��om the ��t to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they are now absorbed into his consciousness: the amateur may drive clean through them, be they rules even against consecutive fifths, or soliloquies, or want of »truth to purpose«, to the final test, which is whether he likes the things or does not like it. It should not dare to write an article for The Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the first stage, and only beginning to peep eagerly over the high wall
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his grow-ing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or em-ploy a device about which he knows. It is in this second stage that all really bad art in produced, in painting, acting, building, and what ever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their
BOLD 9/12 pt
BOLD 12/16 pt
BOLD 9/12 pt, ALTERNATES
B U R G G R O T E S K
Burg Grotesk18
www.typecuts.com
ABCDEFGHI�JKLMNOPQRSTUVWXYZ
a�bcdef�g�hi�j�klmnopqr�stuvwxyyz
abcdefghiijklmnopqrstuvwxyz
01234567890:;&§¶%!?
ÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏ����ŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞáàâäãå������æçéèêëíìîïı�����łñóòôöõøœšúùûüÿýÿýžðþ����������������ÌÍÎÏ�������������������
112345678900 ������������ &��ß@#'"§¶¶!?¿¡%‰*†‡ ®©℗™ªº^° €$£¥¢ƒ¤ ¼½¾=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑/(|)\[•]{·}¦�‖[]{},.;:…„“”‘’«»‹›_- – — ´`¨ˆ˜¯˘˙˚¸˝˛ˇ
1234567890 ���������� €$£¥¢ƒ¤⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[]0123456789,.:+₋×=()[]0123456789,.:+−=×()[]0123456789,.:+−=×()[]���ff����fi�ffi���fl�ffl�������������������st��
←↑→↓↖↗↘↙⇠⇡⇢⇣←→←→■□▲△▶▷▼▽◀◁○●• •••••••••••••••••••••••••
Burg GroteskCond. Bold
CONDENSED BOLD 40 pt
CONDENSED BOLD 11 pt
CONDENSED BOLD 83 ptB U R G G R O T E S K
Burg Grotesk19
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the conscious- ness, perhaps also of the pride, of his growing know- ledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art is produced, in paint-ing, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es �n the study o� �n art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the con- sciousness, perhaps also of the pride, of his growing knowled�e th�t he �s p�one to t��ns�e� h�s ��ect�on ��om the art to the detail and processes of the art, some- t�mes do�n� o� p���s�n� b�d wo�k bec�use �t m�y �llus-trate a rule or employ a device about which he knows. It is in this second stage that all really bad art is produ-ced, in painting, acting, building, and whatever else. �n th�s st��e �lso the ��t�st l�kes to p�etend th�t h�s ��t is mystery, not to be approached, still less shared,
CONDENSED BOLD 20/23 pt
CONDENSED BOLD 20/23 pt, ALTERNATES
B U R G G R O T E S K
Burg Grotesk20
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this se- cond stage that all really bad art is produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they are now absorbed into his consciousness: the amateur may drive clean through them, be they rules even against consecutive fifths, or soliloquies, or want of »truth to purpose«, to the final test, which is whether he likes the things or does not like it. It should not dare to write an article for The Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the first stage, and only beginning to peep eagerly over the high wall between that and the second stage, a wall which a man had better not begin to climb unless he is determined to win, by his labour and keenness, the right to pass over into the third stage.The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es �n the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this se- cond stage that all really bad art is produced, in painting, acting, building, and whatever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they are now absorbed into his consciousness: the amateur may drive clean through them, be they rules even against consecu-tive fifths, or soliloquies, or want of »truth to purpose«, to the final test, which is whether he likes the things or does not like it. It should not dare to write an article for The Fleuron were I not still closely shut up, so far as the art of printing is concerned, in the first stage, and only beginning to peep eager- ly over the high wall between that and the second stage, a wall which a man had better not begin to climb unless he is determined to win, by his labour and keenness, the right to pass over into the third The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es �n the study
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows noth- ing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to trans- fer his affection from the art to the detail and processes of the art, some- times doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art is produced, in painting, acting, building, and what ever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the mak-ing and enjoying of beautiful things. The artist treats the rule as he pleases,
CONDENSED BOLD 9/12 pt
CONDENSED BOLD 12/16 pt
CONDENSED BOLD 9/12 pt, ALTERNATES
B U R G G R O T E S K
Burg Grotesk21
www.typecuts.com
ABCDEFGHIJKLMNOPQRSTUVWXYZ
a�bcdef�g�hi�j�klmnopqr�stuvwxyyz
abcdefghijklmnopqrstuvwxyz
01234567890:;&§¶%!?
ÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞáàâäãå������æçéèêëíìîïı�����łñóòôöõøœšúùûüÿýÿýžðþ�����������������������������������
112345678900 ������������ &��ß@#'"§¶¶!?¿¡%‰*†‡ ®©℗™ªº^° €$£¥¢ƒ¤ ¼½¾=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑/(|)\[•]{·}¦�‖[]{},.;:…„“”‘’«»‹›_- – —
´`¨ˆ˜¯˘˙˚¸˝˛ˇ 1234567890 ���������� €$£¥¢ƒ¤⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[]0123456789,.:+₋×=()[]0123456789,.:+−=×()
[]0123456789,.:+−=×()[]ff�fi���fl�
←↑→↓↖↗↘↙⇠⇡⇢⇣←→←→■□▲△▶▷▼▽◀◁○●••••••••••••••••••••••••••
Burg GroteskMono Italic
REGULAR 40 pt
REGULAR ITALIC 11 pt
REGULAR + ITALIC 83 ptB U R G M O N O
Burg Grotesk22
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowl-edge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may il-lustrate a rule or employ a device about which he knows. It is in this second
The Am�teur �nd Printin�: For the �m�teur �nd �or the �rtist �like there �re three st��es in the study o� �n �rt. In the first he loves it �nd knows nothin� �bout it. In the second he is le�rnin�, �nd is so �ull o� the consciousness, perh�ps �lso o� the pride, o� his �rowin� knowl-ed�e th�t he is prone to tr�ns�er his �ffection �rom the �rt to the det�il �nd processes o� the �rt, sometimes doing or praising bad work because it may il-lustrate a rule or employ a device about which he knows. It is in this second
REGULAR + ITALIC 18/23 pt
REGULAR + ITALIC 18/23 pt, ALTERNATES
B U R G M O N O
Burg Grotesk23
www.typecuts.com
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It is in this second stage that all really bad art is produced, in painting, acting, building, and what-ever else. In this stage also the artist likes to pretend that his art is mystery, not to be approached, still less shared, by the profane; and in this stage the amateur, left out in the cold, revenge himself. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The artist treats the rule as he pleases, because they are now absorbed into his con-sciousness: the amateur may drive clean through them, be they rules
The Am�teu� �nd P��nt�n�: Fo� the �m�teu� �nd �o� the ��t�st �l�ke the�e ��e th�ee st��es �n the study o� �n ��t. In the fi�st he loves �t �nd knows noth�n� �bout �t. In the second he �s le��n�n�, �nd �s so �ull o� the consc�ousness, pe�h�ps �lso o� the p��de, o� h�s ��ow�n� knowled�e th�t he �s p�one to t��ns�e� h�s �ffect�on ��om the ��t to the det��l �nd p�ocesses o� the ��t, sometimes doing or praising bad work because it may illustrate a rule or employ a device about which he knows. It �s �n th�s second st��e th�t �ll �e�lly b�d ��t �s p�oduced, �n p��nt�n�, �ct�n�, bu�ld�n�, �nd wh�t-eve� else. In th�s st��e �lso the ��t�st l�kes to p�etend th�t h�s ��t �s myste�y, not to be �pp�o�ched, st�ll less sh��ed, by the p�o��ne; �nd �n th�s st��e the �m�teu�, le�t out �n the cold, �even�e h�msel�. The rules and devices and technicalities fall into their place as the mere material of the true purpose, which is the making and enjoying of beautiful things. The ��t�st t�e�ts the �ule �s he ple�ses, bec�use they ��e now �bso�bed �nto h�s con-sc�ousness: the �m�teu� m�y d��ve cle�n th�ou�h them, be they �ules
The Amateur and Printing: For the amateur and for the artist alike there are three stages in the study of an art. In the first he loves it and knows nothing about it. In the second he is learning, and is so full of the consciousness, perhaps also of the pride, of his growing knowledge that he is prone to transfer his affection from the art to the detail and processes of the art, sometimes doing or praising bad work because it may illus-trate a rule or employ a device about which he knows. It is in this second stage that all really bad art is produced, in painting, acting, build-ing, and whatever else. In this stage also the art
REGULAR + ITALIC 9/12 pt
REGULAR + ITALIC 12/16 pt
REGULAR + ITALIC 9/12 pt, ALTERNATES
B U R G M O N O
Burg Grotesk24
www.typecuts.com
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
�B����G����L���P�R�TU�����
1234567890 ��3������0 1234567890 ����������
���y �ı��� 1100 �� ¶[]{} �‖
���ff����fi�ffi���fl�ffl�������������������st��
&@#'"§¶!?¿¡%‰*†‡®©℗™ªº^° ´`¨ˆ˜¯˘˙˚¸˝˛ˇ/(|)\[•]{·}¦,.;:…„“”‘’«»‹›_- – —
ÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏ����ŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞáàâäãå������æçéèêëíìîïı�����łñóòôöõøœšúùûüÿýÿýžðþ����������������ÌÍÎÏ�������������������
€$£¥¢ƒ¤
⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[] 0123456789,.:+₋×=()[]0123456789,.:+−×=()[] 01234567,.:+₋×=()[]H
¼½¾
=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑
←↑→↓↖↗↘↙⇠⇡⇢⇣←→←→
■□▲△▶▷▼▽◀◁○●••••••••••••••••••••••••••
Uppercase
Lowercase
Small Caps
Numerals
Alternates
Ligatures
Punctuation
Accented Characters
Currency Symbols
Numerators, etc.
Fractions
Mathematical Symbols
Arrows
Graphic Symbols
B U R G G R O T E S K C H A R A C T E R S
Burg Grotesk25
www.typecuts.com
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
1234567890 1234567890 1234567890 1234567890
���y Iı��� 1100 �� ¶[]{} �‖
fffffi���fl��
&@#'"§¶!?¿¡%‰*†‡®©℗™ªº^° ´`¨ˆ˜¯˘˙˚¸˝˛ˇ/(|)\[•]{·}¦,.;:…„“”‘’«»‹›_- – —
ÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞáàâäãå������æçéèêëíìîïı�����łñóòôöõøœšúùûüÿýÿýžðþ�����������������������������������
€$£¥¢ƒ¤
⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[] 0123456789,.:+₋×=()[] 0123456789,.:+−×=()[] 01234567,.:+₋×=()[]
¼½¾
=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑
←↑→↓↖↗↘↙⇠⇡⇢⇣←→←→
■□▲△▶▷▼▽◀◁○●••••••••••••••••••••••••••
Uppercase
Lowercase
Small Caps
Numerals
Alternates
Ligatures
Punctuation
Accented Characters
Currency Symbols
Numerators, etc.
Fractions
Mathematical Symbols
Arrows
Graphic Symbols
B U R G M O N O C H A R A C T E R S
Burg Grotesk26
www.typecuts.com
D E A C T I V A T E D A C T I V A T E DO P E N Y T P E F E A T U R E S
»Hamburge-fontives« → »HAMBURGE-FONTIVES«
13.05.1984 → 13.05.1984
H20 CO2 → H20 CO2
Hamburgefintifles → Hamburgefintifles
13.05.1984 → �3.0�.����
Handglove123 → Handglove123
Hamburgefontives → HAMBURGEFONTIVES
13.05.1984 → 13.05.1984
Handglove123 → Handglove123
speichel ist oft gift → �ei�el ist o� ��affin attest action www.site affin a�est a�ion �.s�e
Handglove2(N+X) → Handglove²⁽N⁺X⁾
13.05.1984 → ��.��.����
123/456 → 123/456
Case Sensitive Form
Proportional LiningDefault figures
Subscript/Scientific Inferiors
Standard Ligatures
Proportional Oldstyle
Denominators
All Caps
Tabular Lining
Numerators
Discretionary Ligatures
Superscript/Superior
Tabular Oldstyle
Fractions
Burg Grotesk27
www.typecuts.com
D E A C T I V A T E D A C T I V A T E DO P E N Y T P E F E A T U R E S
Hamburgefontives → H�mburgefontivesalive and kicking �live �nd kicking
Iamburgejfontiv ��� → �ambu�ge�font�v i��Interface design job ��R� �nte�face des�gn �ob �iR�
Hamburgefont → Hambur�efonttypographic gift typo�raphic �ift
Hamburgefontives → Hamburge�ontivesfeaturing films on craft �eaturing �ilms on cra�t
Stylistic Set 1Alternate: a
Stylistic Set 3Alternate: I, i, j, r, i
Stylistic Set 2Alternate: g
Stylistic Set 4Alternate: f
Hamburgefontyves → Hamburgefontyvestypographic gymnastics typographic gymnastics
Stylistic Set 5Alternate: y
|Hamburgefontives| → �Hamburgefontives�
¶ [{Hamburgefontives}] → ¶ [{Hamburgefontives}]
Hamburge & fontives → Hamburge � fontives
Hamburg 00 → Hamburg 00
Hamburg 1� → Hamburg 11
Hamburge & fontives → Hamburge � fontives
Stylistic Set 7Alternate: |
Stylistic Set 6Alternate: ¶, [, ], {, }
Stylistic Set 9Alternate: &
Stylistic Set 10Alternate: 0
Stylistic Set 11Alternate: 1
Stylistic Set 8Alternate: &
Hamburg → → Hamburg →
Hamburg → → Hamburg →
Stylistic Set 12Alternate: Arrow
Stylistic Set 13Alternate: Arrow
Burg Grotesk28
www.typecuts.com
Burg Grotesk29
www.typecuts.com
B
U
R
G
B U R G B
R
U
G
g
r
b
u
gr
b u
g
r
b u
B U
R G
B
U
R
GR
G
B
U
B U R G L E T T E R S C O N S T E L L A T I O N S
B U R G L E T T E R S C O N S T E L L A T I O N S
B U R G L E T T E R S C O N S T E L L A T I O N S LARGE POINTSIZES
MEDIUM POINTSIZES
SMALL POINTSIZES
Burg Grotesk30
www.typecuts.com
AA
BB
CC
DD
EE
FF
GG
HH
II
JJ
KK
LL
MM
NN
OO
PP
RR
SS
TT
UU
VV
WW
XX
YX
ZZ
aa
bb
cc
dd
ee
ff
gg
hh
ii
jj
kk
ll
mm
nn
oo
pp
rr
ss
tt
uu
vv
ww
xx
yx
z
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PBSrSBPx
Burg Grotesk31
www.typecuts.com
B U R G S Y M B O L S K E Y B O A R D L A Y O U T
AA
BB
CC
DD
EE
FF
HH
GG
II
JJ
KK
LL
MM
NN
OO
PP
RR
SS
TT
UU
VV
WW
XX
YY
ZZ
AA + a
BB + b
CC + c
DD + d
EE + e
FF + f
HH + h
GG + g
II + i
JJ + j
KK + k
LL + l M + m N + n
OO + o
PP + p
RR + r
QQ + q
SS + s
TT + t
UU + u
VV + v
WW + w
XX + x
YY + y
Z
abcdef hg ij
klmnop rq st
uvwxyzZ + z
NM
B U R G S Y M B O L S K E Y B O A R D L A Y O U T
B U R G S Y M B O L S K E Y B O A R D L A Y O U T
aa
bb
cc
dd
ee
ff
hh
gg
ii
jj
kk
ll
mm
nn
oo
pp
rr
ss
tt
uu
vv
ww
xx
yy
zz
CAPITALS 40 pt
LOWERCASE 40 pt
COMBINATIONS 40 pt
Burg Grotesk32
www.typecuts.com
B U R G S Y M B O L S G LY P H S 40 pt
!!
""
##
$$
%%
&&
((
’’
))
**
+
@
d
x
|
+
@
d
x
|
,
A
e
y
}
,
A
e
y
}
.
B
f
z
~
.
B
f
z
~
/
C
g
[
'
/
C
g
[
'
0
D
h
|
`
O
D
h
\
`
1
E
i
]
1
E
i
]
3
G
k
_
=
a
u
Q
3
G
k
_
=
a
u
Q
2
F
j
^
<
Z
t
P
2
F
j
^
<
Z
t
P
4
H
l
‘
>
b
v
R
4
H
l
‘
<
b
v
R
5
I
m
{
?
c
w
S
5
I
m
{
?
c
w
S
6
T
n
J
6
T
n
J
7
U
o
K
7
U
o
K
8
V
p
L
8
V
p
L
9
W
q
M
9
W
q
M
:
X
r
N
:
X
r
N
;
Y
s
O
;
Y
s
O
Burg Grotesk33
www.typecuts.com
B U R G S Y M B O L S P A T T E R N S 24/24 pt
Burg Grotesk34
www.typecuts.com
Burg Grotesk RegularBurg Grotesk MediumBurg Grotesk BoldBurg Grotesk Mono RegularBurg Grotesk Mono ItalicBurg Grotesk Condensed BoldBurg SymbolsBurg Letters
Standard Character Set providing coverage for Western European languages
Desktop: OpenType P�
Burg Grotesk: �3� characters per fontBurg Grotesk Mono: ��0 characters per fontBurg Symbols: �� per font
�0�� / �0�� +
Albanian, Basque, Cornish, Dutch, Danish, English, Faroese, Filipino, Finnish, French, Frisian West, Galician, German, Icelandic, Indonesian, Interlingua, Irish, Italian, Kinyarwanda, Malay, Manx, Norwegian (Bokmål and Nynorsk), Oromo, Portuguese, Somali, Sotho (Northern and Southern) Spanish, Swahili, Swedish, Tsonga, Xhosa, Zulu
Andrea Tinnes
Andrea Tinnes, Schliemannstraße �, c/o Das Deck, �0�3� Berlin, Germanywww.typecuts.comBurg Giebichenstein Kunsthochschule Halle, Neuwerk �, 0��0� Halle (Saale), Germanywww.burg-halle.de
typecuts is an independent font and graphic label, dedicated to create and produce original contemporary fonts for retail and custom use. typecuts was founded in �00� by Andrea Tinnes to publish and promote her own fonts which are available from the typecuts’ website as well as from primetype.
© �0�� / �0�� Andrea TinnesBurg Giebichenstein Kunsthochschule Halle University of Art and DesignP�� © �0�� / �� Andrea Tinnes, typecutsAll rights reserved.
Wolfgang Hückel, Anja Kaiser, Wolfgang Schwärzler, Andrea Tinnes
Andreas Eigendorf, Alphabet Type, for the programming and production of the fonts.
S T Y L E S I N C L U D E D
C H A R A C T E R S E T
F I L E F O R M A T
C H A R A C T E R S
Y E A R
L A N G U A G E S U P P O R T
D E S I G N E R
C O N T A C T
A B O U T T Y P E C U T S
C O P Y R I G H T
B U R G V I S U A L I D E N T I T Y
T H A N K S T O
Burg Grotesk35
www.typecuts.com
gr
bu
BurgGroteskRegular MediumBoldetc.
↓B U R G G R O T E S K
R E G U L A R , M E D I U M B O L D , M O N O ,
B O L D C O N D E N S E D○
B U R G L E T T E R N•
B U R G L O G O□
B U R G S y M B O L E↑
Andrea Tinnes
BU
RG
GR
OT
ES
K S
PE
CIM
EN
© 2011/2015 +
Burg Grotesk
www.typecuts.com