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Druk Collection

Druk is a study in extremes, featuring the


narrowest, widest, and heaviest typefaces in
the Commercial Type library to date. Starting
from Medium and going up to Super, Druk is
uncompromisingly bold.
Published Druk was consciously designed without a normal width, nor lighter
2014 & 2015
than medium weights. Berton Hasebe, the designer, wanted to avoid the
Designed by compromises of forcing the typeface away from its essence for more
Berton hasebe
general-purpose usage. Druk is conceived to offer new possibilities
38 styles to graphic designers that other typefaces cant. Its initial use as a
5 families
companion to Neue Haas Grotesk demonstrates that it works equally well
families with any number of other sans serifs, including Atlas, Graphik and Marr
Druk
druk Text Sans. Its three widths can be mixed together for bold and expressive
druk wide
druk Text wide
typographic treatments, and its text versions allow for use at very small
druk condensed sizes, giving structure and visual interest to typography at all scales.

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Druk

The sans serif letterform of the 19th century evolved in


many different ways by the end of the century. The first
condensed forms, found in the 1830s in Britain, quickly
spread all across Europe. Some of the most interesting
examples were found in Germany and Switzerland.

Published Often flat-sided, these Continental condensed sans serifs allow very tight
2014
setting, which was popular for headlines. These later became a staple
Designed by of sixties headline typography in magazines such as Twen, the German
Berton hasebe
style magazine art directed by the legendary Willy Fleckhaus in the 1960s,
8 styles which is still an enduring influence on editorial design to this day. Berton
4 weights w/ ITALICS
Hasebe created Druk for Richard Turley at Bloomberg Businessweek,
Features adapting the attitude and roughness of these old condensed sans serifs
PROPORTIONAL LINING FIGURES
FRACTIONS (prebuilt and arbitrary) for contemporary use. After using a staple diet of Neue Haas Grotesk and
SUPERSCRIPT/SUBSCRIPT
Publico for two years, they wanted to add a typeface that would look both
exciting and distinctive in and of itself. The result was Druk, which went
on to play a major role in many of their iconic covers.

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Druk Medium
Druk Medium Italic
Druk Bold
Druk Bold Italic
Druk Heavy
Druk Heavy Italic
Druk Super
Druk Super Italic

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commerce
Referncia
Druk medium, 150 Pt

Tautology
Postulated
Druk medium italic, 150 Pt

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mechanic
Torstrae
Druk bold, 150 Pt

crescere
Btsmann
Druk bold italic, 150 Pt [alternate a]

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ejection
Vandtt
Druk heavy, 150 Pt [alternate e j]

precieze
Sfritul
Druk heavy italic, 150 Pt [alternate a]

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modern
Statyb
Druk super, 150 Pt

xemga
Yry
Druk super italic, 150 Pt [alternate r]

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ballistocardiograph
Grianghrafadireachta
Druk medium, 72 Pt

kansallisrunoilijana
Ruimtevaartorganisatie
Druk medium italic, 72 Pt [alternate a r]

noninterventionist
Vlasztkerletekbl
Druk Bold, 72 Pt

Buchdruckerkunst
Partikkelegenskaper
Druk Bold italic, 72 Pt

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nepriklausomyb
Microsedimentary
Druk heavy, 72 Pt [alternate e]

Frnskukunntta
Wetenschappelijke
Druk heavy italic, 72 Pt

wyadowawszy
Hvusstanum
Druk Super, 72 Pt

Unabhngigkeit
Problematinim
Druk Super italic, 72 Pt [alternate a]

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their monuments stoodmassive and resplendentover 11 days


Cities of common ownership, private property & the sharing economy
Die nord-sdlich ausgerichteten LngsstraSSen erhielten Namen
Limea maxim (nord-sud) 178 km, este ntre ntre Cap Blanc i punctul
Druk medium, medium italic, 24 Pt

Az pletben irodk mkdnek, kztk tbb knyvkiad is


The glazed umbrellas canopy splendedly carved its arid pathway
Durant les hores que van seguir, els operadors van tractar
viferli snum skrifai hann meira en 170 bkur sem spanna allt
Druk bold, bold italic, 24 Pt

Van deze laatste kan verwacht worden dat hij op een


Um rob no pode fazer mal a um ser humano e nem, por
Questo stato il viaggio pi meraviglioso che abbiamo
Only an hour after the talks, there seemed to be progress
Druk heavy, heavy italic, 24 Pt

rnek olarak, biyologlar hangi genlerin gl


Buldogi wyodrbniy si z mastifw okoo 1100 lat
images from that evening in 2003 clearly showed
Yhdistyneiden kansakuntien peruskirja sdettiin
Druk super, super italic, 24 Pt

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Kulttuuriperinnnsuojeluun
Druk medium, 60 Pt

Psychopharmacologically
Druk bold, 60 Pt [alternate a r]

Normaltidstationerna
Druk heavy, 60 Pt

Desacostumbrarse
Druk super, 60 Pt

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Temperatuurschommelingen
Druk medium italic, 60 Pt

Salpetersureherstellung
Druk bold italic, 60 Pt

Blgelengdeomrdene
Druk heavy italic, 60 Pt [alternate a]

Quasquicentennials
Druk super italic, 60 Pt

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Druk Text

The three Druk display families are a study in extremes:


starting from Medium and going up to Super, the family
is uncompromisingly bold. Condensed sans serifs for
display is a relatively crowded genre, with many well-
conceived and executed families available; however,
condensed sans serifs intended for use at small sizes are
few and far between.

Published Druk Text is a display face designed for small sizes, useful for
2015
adding structure and personality to a page without requiring any
Designed by variation in point size. It is ideal for section titles, running heads
Berton hasebe
and running feet, labeling on maps, and thanks to its tabular
8 styles figures, it can even be used for tables, charts, and infographics.
4 weights w/ ITALICS
Druk Text also works for short blocks of text, maintaining its
Features legibility all the way down to 6pt. Like its companion display face
PROPORTIONAL LINING FIGURES
tabular LINING FIGURES for large sizes, Druk Text has four weights, from Medium to Super,
FRACTIONS (prebuilt and arbitrary)
SUPERSCRIPT/SUBSCRIPT
all with italics.

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Druk Text Medium


Druk Text Medium Italic
Druk Text Bold
Druk Text Bold Italic
Druk Text Heavy
Druk Text Heavy Italic
Druk Text Super
Druk Text Super Italic

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comparison of druk & druk text

druk, 12 pt
Every introduction to such problems of aesthetics often begins by acknowledging claims of all these
methods of attack: the General, Philosophical, and Deductivewhich start from a total metaphysics
as well the the Empirical, or Inductive, which seek to disengage this general principle of beauty from
druk text, 12 pt
An implantation of beauty in its place amongst other great concepts
as divorced from beauty of objects of aesthetic experience and fact
would allow for aesthetics from above and from belowindeed only

This first method of aesthetics par excellence can


druk, 24 pt

through this desire of Architectonic implements


designate a theory of knowledge in which thought
In such case that few overarching
druk text, 24 pt

ideas & talks in Kants generalized


outlook were all the whole system

Influenced the most


druk, 60 pt

Prolific actor
druk text, 60 pt

Though Druk Text has a decidedly condensed proportion, and feels extremely
narrow at small sizes, the family is much wider and sets much looser than Druk.
In addition to the change in proportion and tracking, terminals on characters
like a, e, and s have been opened up to maintain legibility at small sizes, and
small details and punctuation have been exaggerated for clarity.

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Veiar alveg vi strndina eru mjg mikilvgar fyrir


Przy rozmiarze klatki 9 11 cm oznacza to w przyblieniu
Afterwards master distillers confirmed specific gravity
overtly alluded to the modernist ideology in late 2001
Clbr comme lun des peintres figuratifs amricains du
Lahtisen baritoni on suuri ja vuolas, voimallinen ja herkk
Druk TEXT medium, medium Italic, 20 PT

Eind jaren 10 ontwikkelde zich het expressionisme


Perpetually renewing such hefty tomes was a luxury
Jeho rozloha je 112,91 milion km2 a asi 2100 let neslo
El cantidad de los cristales de halogenuro de plata
I want my own rhythm and vowels and consonants too
Tam olarak Vikinglerden sonra ilk Avrupal yerleimin
Druk TEXT bold, bold Italic, 20 PT [alternate j]

In jngster Zeit beschftigte sich der Knstler


It was a few minutes before 1:00 in early February
Nrmeste nabo er Sr-Afrikas sjasjon 1 kilometer
La zona dorigine di questi frutti il Sud Asiatico
Operu so tefanom Kocnom by bola koda nezai
Such a storm surge hadnt been experienced by all
Druk TEXT heavy, heavy ITALIC, 20 PT [alternate a r]

Inima petilor este bicameral fiind compus


The most prolific were Texas Everbearing figs
En su catlogo figuran 12 ttulos, que incluyen
in the early hours of june 27, two journalists
Picked & roasted on enclaves in Southern Peru
Il-Kamra tal-Kummer qed tissuerixxi li jekk
Druk TEXT super, super italic, 20 PT [alternate E f a]

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Druk Text medium, medium Italic, heavy, 18/21 PT

medium all caps The Spanish War, which began in 1739, and the
medium French war which soon followed it occasioned
further increase of the debt, which, on the 31st
of December 1748, after it had been concluded
heavy by the Treaty of Aix-la-Chapelle, amounted to
78,293,313. The most profound peace of the sev-
enteen years of continuance had taken no more
than 8,328,354 from it. A war of less than nine
years continuance added 31,338,689 to it (Re-
medium italic fer to James Postlethwaites History of the Public
Revenue). During the administration of Mr. Pel-
ham, the interest of the public debt was reduced
from 4% to 3%; or at least measures were taken
for reducing it, from four to three per cent; the
sinking fund was increased, and some part of the
public debt was paid off. In 1755, before the break-
ing out of the late war, the funded debt of Great
Proportional
Lining figures Britain amounted to 72,289,673. On the 5th of
January 1763, at the conclusion of the peace, the
funded debt amounted to 122,603,336, whereas
the unfunded debt has been stated at 13,927,589.
But the expense occasioned by the war did not end
with the conclusion of the peace, so that though,
on the 5th of January 1764, the funded debt was
increased (partly by a new loan, and partly by fund-
ing a part of the unfunded debt) to 129,586,782,
there still remained (according to the very well
medium Italic informed author of Considerations on the Trade
and Finances of Great Britain) an unfunded debt
which was brought to account in that and the fol-
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Druk Text Medium, Medium Italic, heavy, 12/14 PT Druk Text Bold, Bold italic, super, 12/14 PT

The Psychology of Beauty The Psychology of Beauty


Every introduction to the problems of Every introduction to the problems of aes-
aesthetics begins by acknowledging the thetics begins by acknowledging the exis-
existence and claims of two methods of at- tence and claims of two methods of attack
tackthe general, philosophical, deductive, the general, philosophical, deductive, which
which starts from a complete metaphysics starts from a complete metaphysics and
and installs beauty in its place among the installs beauty in its place among the other
other great concepts; and the empirical, or great concepts; and the empirical, or induc-
inductive, which seeks to disengage a general tive, which seeks to disengage a general
principle of beauty from the objects of aes- principle of beauty from the objects of aes-
thetic experience and the facts of aesthetic thetic experience and the facts of aesthet-
enjoyment: a prime example of Fechners ic enjoyment: a prime example of Fechners
aesthetics from above and from below. aesthetics from above and from below.

Methodologies Methodologies
The first was the method of aesthetics par The first was the method of aesthetics par
excellence. It was indeed only through the excellence. It was indeed only through the
desire of an eighteenth-century philoso- desire of an eighteenth-century philoso-
pher, Baumgarten, to round out his archi- pher, Baumgarten, to round out his archi-
tectonic of metaphysics that the science tectonic of metaphysics that the science
received its name, as designating the theory received its name, as designating the theo-
of knowledge in the form of feeling, paral- ry of knowledge in the form of feeling, par-
lel to that of clear, logical thought. Kant, allel to that of clear, logical thought. Kant,
Schelling, and Hegel, again, made use of the Schelling, and Hegel, again, made use of the
concept of the Beautiful as a kind of keystone concept of the Beautiful as a kind of key-
or cornice for their respective philosophical stone or cornice for their respective philo-
edifices. Aesthetics, then, came into being sophical edifices. Aesthetics, then, came
as the philosophy of the Beautiful, and it may into being as the philosophy of the Beauti-
be asked why this philosophical aesthetics ful, and it may be asked why this philosophi-
does not sufficewhy beauty should need cal aesthetics does not sufficewhy beauty
for its understanding also an aesthetics von should need for its understanding also an
unten. The answer is not that no system of aesthetics von unten. The answer is not
philosophy is universally accepted, but that that no system of philosophy is universal-
the general aesthetic theories have not, as ly accepted, but that the general aesthetic
yet at least, succeeded in answering the plain theories have not, as yet at least, succeed-
questions of the plain man in regard to ed in answering the plain questions of the
concrete beauty. Kant, indeed, frankly denied plain man in regard to concrete beauty.
that the explanation of concrete beauty, or Kant, indeed, frankly denied that the expla-
Doctrine of Taste, as he called it, was pos- nation of concrete beauty, or Doctrine of
sible, while the various definers of beauty as Taste, as he called it, was possible, while

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The Psychology of Beauty The Psychology of Beauty


Every introduction to the problems of aesthetics Every introduction to the problems of aesthetics
begins by acknowledging the existence and claims of begins by acknowledging the existence and claims
two methods of attackthe general, philosophical, of two methods of attackthe general, philosophi-
deductive, which starts from a complete metaphys- cal, deductive, which starts from a complete meta-
ics and installs beauty in its place among the other physics and installs beauty in its place among the
great concepts; and the empirical, or inductive, which other great concepts; and the empirical, or induc-
seeks to disengage a general principle of beauty from tive, which seeks to disengage a general principle of
the objects of aesthetic experience and the facts of beauty from the objects of aesthetic experience and
aesthetic enjoyment: a prime example of Fechners the facts of aesthetic enjoyment: a prime example of
aesthetics from above and from below. Fechners aesthetics from above and from below.

Methodologies Methodologies
The first was the method of aesthetics par excellence. The first was the method of aesthetics par excel-
It was indeed only through the desire of an eighteenth- lence. It was indeed only through the desire of an
century philosopher, Baumgarten, to round out his eighteenth-century philosopher, Baumgarten, to
architectonic of metaphysics that the science round out his architectonic of metaphysics that
received its name, as designating the theory of knowl- the science received its name, as designating the
edge in the form of feeling, parallel to that of clear, theory of knowledge in the form of feeling, paral-
logical thought. Kant, Schelling, and Hegel, again, lel to that of clear, logical thought. Kant, Schelling,
made use of the concept of the Beautiful as a kind of and Hegel, again, made use of the concept of the
keystone or cornice for their respective philosophical Beautiful as a kind of keystone or cornice for their
edifices. Aesthetics, then, came into being as the phi- respective philosophical edifices. Aesthetics, then,
losophy of the Beautiful, and it may be asked why this came into being as the philosophy of the Beautiful,
philosophical aesthetics does not sufficewhy beauty and it may be asked why this philosophical aesthet-
should need for its understanding also an aesthetics ics does not sufficewhy beauty should need for its
von unten. The answer is not that no system of phi- understanding also an aesthetics von unten. The
losophy is universally accepted, but that the general answer is not that no system of philosophy is univer-
aesthetic theories have not, as yet at least, succeeded sally accepted, but that the general aesthetic theo-
in answering the plain questions of the plain man in ries have not, as yet at least, succeeded in answering
regard to concrete beauty. the plain questions of the plain man in regard to
concrete beauty.
Doctrine of Taste
Kant, indeed, frankly denied that the explanation of Doctrine of Taste
concrete beauty, or Doctrine of Taste, as he called it, Kant, indeed, frankly denied that the explanation
was possible, while the various definers of beauty as of concrete beauty, or Doctrine of Taste, as he
the union of the Real and the Idealthe expression called it, was possible, while the various definers
of the Ideal to Sensehave done no more than he. No of beauty as the union of the Real and the Ideal
one of these aesthetic systems, in spite of volumes of the expression of the Ideal to Sensehave done
so-called application of their principles to works of no more than he. No one of these aesthetic systems,
art, has been able to furnish a criterion of beauty. The in spite of volumes of so-called application of their
criticism of the generations is summed up in the mild principles to works of art, has been able to furnish
remark of Fechner, in his Vorschule der Aesthetik, a criterion of beauty. The criticism of the genera-
to the effect that the philosophical path leaves one tions is summed up in the mild remark of Fechner, in
in conceptions that, by reason of their generality, do his Vorschule der Aesthetik, to the effect that the
not well fit the particular cases. And so it was that philosophical path leaves one in conceptions that,
empirical aesthetics arose, which does not seek to by reason of their generality, do not well fit the par-

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Druk Text Bold, Bold italic, 10/12 PT [alternate a r] Druk Text Bold, Bold italic, 10/12 PT [alternate j]

Justly or not, every introduction to the problems Justly or not, every introduction to the problems
of aesthetics begins by acknowledging the exis- of aesthetics begins by acknowledging the exis-
tence and claims of two methods of attackthe tence and claims of two methods of attackthe
general, philosophical, deductive, which starts general, philosophical, deductive, which starts
from a complete metaphysics and installs beauty from a complete metaphysics and installs beauty
in its place among the other great concepts; and in its place among the other great concepts; and
the empirical, or inductive, which seeks to disen- the empirical, or inductive, which seeks to dis-
gage a general principle of beauty from the objects engage a general principle of beauty from the
of aesthetic experience and the facts of aesthetic objects of aesthetic experience and the facts of
enjoyment: a prime example of James Fechners aesthetic enjoyment: a prime example of James
aesthetics from above and from below. First Fechners aesthetics from above and from be-
was the method of aesthetics par excellence. Ev- low. First was the method of aesthetics par ex-
ery desire of an eighteenth-century philosopher, cellence. Every desire of an eighteenth-century
Baumgarten, to round out his architectonic of philosopher, Baumgarten, to round out his ar-
metaphysics that the science received its name, as chitectonic of metaphysics that the science
designating the theory of knowledge in the form of received its name, as designating the theory of
feeling, parallel to that of clear, logical thought. knowledge in the form of feeling, parallel to that
Kant, Schelling, and Hegel, again, made use of the of clear, logical thought. Kant, Schelling, and
concept of the Beautiful as a kind of keystone or Hegel, again, made use of the concept of the Beau-
cornice for their respective philosophical edifices. tiful as a kind of keystone or cornice for their re-
Aesthetics, then, came into being as the philosophy spective philosophical edifices. Aesthetics, then,

Druk Text Bold, Bold italic, 10/12 PT [alternate e f] Druk Text Bold, Bold italic, 10/12 PT [alternate a]

Justly or not, every introduction to the problems Justly or not, every introduction to the problems
of aesthetics begins by acknowledging the exis- of aesthetics begins by acknowledging the exis-
tence and claims of two methods of attackthe tence and claims of two methods of attackthe
general, philosophical, deductive, which starts general, philosophical, deductive, which starts
from a complete metaphysics and installs beauty from a complete metaphysics and installs beau-
in its place among the other great concepts; and ty in its place among the other great concepts;
the empirical, or inductive, which seeks to dis- and the empirical, or inductive, which seeks to
engage a general principle of beauty from the disengage a general principle of beauty from the
objects of aesthetic experience and the facts of objects of aesthetic experience and the facts of
aesthetic enjoyment: a prime example of James aesthetic enjoyment: a prime example of James
Fechners aesthetics from above and from be- Fechners aesthetics from above and from be-
low. First was the method of aesthetics par ex- low. First was the method of aesthetics par ex-
cellence. Every desire of an eighteenth-century cellence. Every desire of an eighteenth-century
philosopher, Baumgarten, to round out his ar- philosopher, Baumgarten, to round out his ar-
chitectonic of metaphysics that the science chitectonic of metaphysics that the science
received its name, as designating the theory of received its name, as designating the theory of
knowledge in the form of feeling, parallel to that knowledge in the form of feeling, parallel to that
of clear, logical thought. Kant, Schelling, and of clear, logical thought. Kant, Schelling, and
Hegel, again, made use of the concept of the Beau- Hegel, again, made use of the concept of the Beau-
tiful as a kind of keystone or cornice for their re- tiful as a kind of keystone or cornice for their re-
spective philosophical edifices. Aesthetics, then, spective philosophical edifices. Aesthetics, then,

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The Psychology of Beauty The Psychology of Beauty


Every introduction to the problems of aesthetics Every introduction to the problems of aesthetics be-
begins by acknowledging the existence and claims of gins by acknowledging the existence and claims of
two methods of attackthe general, philosophical, two methods of attackthe general, philosophical,
deductive, which starts from a complete metaphysics deductive, which starts from a complete metaphysics
and installs beauty in its place among the other great and installs beauty in its place among the other great
concepts; and the empirical, or inductive, which seeks concepts; and the empirical, or inductive, which seeks
to disengage a general principle of beauty from the ob- to disengage a general principle of beauty from the
jects of aesthetic experience and the facts of aesthetic objects of aesthetic experience and the facts of aes-
enjoyment: a prime example of Fechners aesthetics thetic enjoyment: a prime example of Fechners aes-
from above and from below. thetics from above and from below.

Methodologies Methodologies
The first was the method of aesthetics par excellence. The first was the method of aesthetics par excel-
It was indeed only through the desire of an eighteenth- lence. It was indeed only through the desire of an
century philosopher, Baumgarten, to round out his ar- eighteenth-century philosopher, Baumgarten, to
chitectonic of metaphysics that the science received round out his architectonic of metaphysics that the
its name, as designating the theory of knowledge in science received its name, as designating the theory
the form of feeling, parallel to that of clear, logical of knowledge in the form of feeling, parallel to that
thought. Kant, Schelling, and Hegel, again, made use of clear, logical thought. Kant, Schelling, and Hegel,
of the concept of the Beautiful as a kind of keystone again, made use of the concept of the Beautiful as a
or cornice for their respective philosophical edifices. kind of keystone or cornice for their respective philo-
Aesthetics, then, came into being as the philosophy of sophical edifices. Aesthetics, then, came into being
the Beautiful, and it may be asked why this philosophi- as the philosophy of the Beautiful, and it may be asked
cal aesthetics does not sufficewhy beauty should why this philosophical aesthetics does not suffice
need for its understanding also an aesthetics von why beauty should need for its understanding also an
unten. The answer is not that no system of philosophy aesthetics von unten. The answer is not that no sys-
is universally accepted, but that the general aesthetic tem of philosophy is universally accepted, but that the
theories have not, as yet at least, succeeded in answer- general aesthetic theories have not, as yet at least,
ing the plain questions of the plain man in regard to succeeded in answering the plain questions of the
concrete beauty. plain man in regard to concrete beauty.

Doctrine of Taste Doctrine of Taste


Kant, indeed, frankly denied that the explanation of Kant, indeed, frankly denied that the explanation of
concrete beauty, or Doctrine of Taste, as he called it, concrete beauty, or Doctrine of Taste, as he called
was possible, while the various definers of beauty as it, was possible, while the various definers of beauty
the union of the Real and the Idealthe expression as the union of the Real and the Idealthe expres-
of the Ideal to Sensehave done no more than he. No sion of the Ideal to Sensehave done no more than
one of these aesthetic systems, in spite of volumes of he. No one of these aesthetic systems, in spite of vol-
so-called application of their principles to works of umes of so-called application of their principles to
art, has been able to furnish a criterion of beauty. The works of art, has been able to furnish a criterion of
criticism of the generations is summed up in the mild beauty. The criticism of the generations is summed up
remark of Fechner, in his Vorschule der Aesthetik, to in the mild remark of Fechner, in his Vorschule der
the effect that the philosophical path leaves one in con- Aesthetik, to the effect that the philosophical path
ceptions that, by reason of their generality, do not well leaves one in conceptions that, by reason of their gen-
fit the particular cases. And so it was that empirical erality, do not well fit the particular cases. And so it
aesthetics arose, which does not seek to answer those was that empirical aesthetics arose, which does not
plain questions as to the enjoyment of concrete beauty seek to answer those plain questions as to the enjoy-
down to its simplest forms, to which philosophical aes- ment of concrete beauty down to its simplest forms,
thetics had been inadequate. But it is clear that neither to which philosophical aesthetics had been inade-
has empirical aesthetics said the last word concerning quate. But it is clear that neither has empirical aes-

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Druk Text Medium, Medium Italic, heavy, 8/10 PT Druk Text Bold, Bold italic, super, 8/10 PT

The Psychology of Beauty The Psychology of Beauty


Every introduction to the problems of aesthetics Every introduction to the problems of aesthetics be-
begins by acknowledging the existence and claims of gins by acknowledging the existence and claims of
two methods of attackthe general, philosophical, two methods of attackthe general, philosophical,
deductive, which starts from a complete metaphys- deductive, which starts from a complete metaphysics
ics and installs beauty in its place among the other and installs beauty in its place among the other great
great concepts; and the empirical, or inductive, which concepts; and the empirical, or inductive, which seeks
seeks to disengage a general principle of beauty from to disengage a general principle of beauty from the
the objects of aesthetic experience and the facts of objects of aesthetic experience and the facts of aes-
aesthetic enjoyment: a prime example of Fechners thetic enjoyment: a prime example of Fechners aes-
aesthetics from above and from below. thetics from above and from below.

Methodologies Methodologies
The first was the method of aesthetics par excellence. The first was the method of aesthetics par excel-
It was indeed only through the desire of an eighteenth- lence. It was indeed only through the desire of an
century philosopher, Baumgarten, to round out his eighteenth-century philosopher, Baumgarten, to
architectonic of metaphysics that the science round out his architectonic of metaphysics that
received its name, as designating the theory of knowl- the science received its name, as designating the
edge in the form of feeling, parallel to that of clear, theory of knowledge in the form of feeling, parallel
logical thought. Kant, Schelling, and Hegel, again, to that of clear, logical thought. Kant, Schelling, and
made use of the concept of the Beautiful as a kind of Hegel, again, made use of the concept of the Beautiful
keystone or cornice for their respective philosophical as a kind of keystone or cornice for their respective
edifices. Aesthetics, then, came into being as the phi- philosophical edifices. Aesthetics, then, came into be-
losophy of the Beautiful, and it may be asked why this ing as the philosophy of the Beautiful, and it may be
philosophical aesthetics does not sufficewhy beauty asked why this philosophical aesthetics does not suf-
should need for its understanding also an aesthetics ficewhy beauty should need for its understanding
von unten. The answer is not that no system of phi- also an aesthetics von unten. The answer is not that
losophy is universally accepted, but that the general no system of philosophy is universally accepted, but
aesthetic theories have not, as yet at least, succeeded that the general aesthetic theories have not, as yet at
in answering the plain questions of the plain man in least, succeeded in answering the plain questions of
regard to concrete beauty. the plain man in regard to concrete beauty.

Doctrine of Taste Doctrine of Taste


Kant, indeed, frankly denied that the explanation of Kant, indeed, frankly denied that the explanation of
concrete beauty, or Doctrine of Taste, as he called it, concrete beauty, or Doctrine of Taste, as he called
was possible, while the various definers of beauty as it, was possible, while the various definers of beauty
the union of the Real and the Idealthe expression as the union of the Real and the Idealthe expres-
of the Ideal to Sensehave done no more than he. No sion of the Ideal to Sensehave done no more than
one of these aesthetic systems, in spite of volumes of he. No one of these aesthetic systems, in spite of vol-
so-called application of their principles to works of umes of so-called application of their principles to
art, has been able to furnish a criterion of beauty. The works of art, has been able to furnish a criterion of
criticism of the generations is summed up in the mild beauty. The criticism of the generations is summed
remark of Fechner, in his Vorschule der Aesthetik, up in the mild remark of Fechner, in his Vorschule
to the effect that the philosophical path leaves one der Aesthetik, to the effect that the philosophi-
in conceptions that, by reason of their generality, do cal path leaves one in conceptions that, by reason of
not well fit the particular cases. And so it was that their generality, do not well fit the particular cases.
empirical aesthetics arose, which does not seek to And so it was that empirical aesthetics arose, which
answer those plain questions as to the enjoyment of does not seek to answer those plain questions as to
concrete beauty down to its simplest forms, to which the enjoyment of concrete beauty down to its sim-
philosophical aesthetics had been inadequate. But it plest forms, to which philosophical aesthetics had
is clear that neither has empirical aesthetics said the been inadequate. But it is clear that neither has em-
last word concerning beauty. Criticism is still in a cha- pirical aesthetics said the last word concerning
otic state that would be impossible if aesthetic theory beauty. Criticism is still in a chaotic state that would
were firmly grounded. This situation appears to me to be impossible if aesthetic theory were firmly ground-
be due to the inherent inadequacy and inconclusive- ed. This situation appears to me to be due to the in-
ness of empirical aesthetics when it stands alone; the herent inadequacy and inconclusiveness of empirical
grounds of this inadequacy I shall seek to establish in aesthetics when it stands alone; the grounds of this
the following. Granting that the aim of every aesthet- inadequacy I shall seek to establish in the following.
ics is to determine the Nature of Beauty, and to explain Granting that the aim of every aesthetics is to deter-

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Druk Text medium, heavy, 7/9 PT Druk Text medium, 7/9 PT Druk Text bold, 7/9 PT Druk Text heavy, 7/9 PT
[tabular figures]

name JAN apr jul The sense of constructing situations The sense of constructing situa- The sense of constructing situa-
ABBO 123,864 104,403 122,231 is to fulfill human primitive desires tions is to fulfill human primitive tions is to fulfill human primitive
ahca 158,778 160,081 170,624 and pursue a superior passional qual- desires and pursue a superior pas- desires and pursue a superior
AIRD 245,856 287,968 266,550 ity. From Internationale Situationiste sional quality. From Internationale passional quality. From Inter-
ANCA 491,384 458,620 446,182 #1: This alone can lead to the further Situationiste #1: This alone can nationale Situationiste #1: This
ATGB 218,342 210,968 199,267 clarification of these simple basic lead to the further clarification alone can lead to the further
ATHA 164,168 116,164 180,652 desires, and to the confused emer- of these simple basic desires, clarification of these simple
ARRO 341,215 420,021 399,981 gence of new desires whose material and to the confused emergence basic desires, and to the con-
BANF 126,845 154,861 140,616 roots will be precisely the new reality of new desires whose material fused emergence of new desires
BARO 120,103 220,044 190,820 engendered by situationist construc- roots will be precisely the new whose material roots will be
BARR 315,614 351,414 340,156 tions. We must thus envisage a sort of reality engendered by situation- precisely the new reality engen-
Bhhi 436,493 352,241 389,325 situationist-oriented psychoanalysis ist constructions. We must thus dered by situationist construc-
BKIN 355,541 147,581 210,610 in which, in contrast to the goals pur- envisage a sort of situationist- tions. We must thus envisage
BONA 461,656 357,465 295,610 sued by the various currents stem- oriented psychoanalysis in which, a sort of situationist-oriented
BOWD 155,564 187,912 160,653 ming from Freudianism, each of the in contrast to the goals pursued psychoanalysis in which, in con-
BRET 227,298 251,236 266,561 participants in this adventure would by the various currents stemming trast to the goals pursued by
BROO 312,564 284,521 277,155 discover desires for specific ambi- from Freudianism, each of the par- the various currents stemming
Brth 202,799 179,209 304,195 ences in order to fulfill them. each ticipants in this adventure would from Freudianism, each of the
CALG 355,541 147,581 210,610 person must seek what he loves, what discover desires for specific ambi- participants in this adventure
CAMP 219,102 240,031 156,616 attracts him. Through this method ences in order to fulfill them. each would discover desires for
CANM 122,692 162,241 141,155 one can tabulate elements out of person must seek what he loves, specific ambiences in order to
CARD 158,778 160,081 170,624 which situations can be constructed, what attracts him. Through this fulfill them. each person must
Csnh 280,892 266,254 254,251 along with projects to dynamize these method one can tabulate elements seek what he loves, what at-
DATC 112,756 127,375 115,689 elements. The primary obstacle to out of which situations can be tracts him. Through this method
DECA 416,452 397,752 400,282 situations, therefore, is the culture constructed, along with projects one can tabulate elements out
dfoz 634,432 592,244 615,347 of the advanced capitalist society. The to dynamize these elements. The of which situations can be con-
dmoz 310,012 250,219 265,857 first issue of the journal Internatio- primary obstacle to situations, structed, along with projects to
DOVR 236,861 249,765 287,201 nale Situationiste defined a situation- therefore, is the culture of the ad- dynamize these elements. The
DRAT 736,875 700,658 710,456 ist as having to do with the theory vanced capitalist society. The first primary obstacle to situations,
eacr 148,572 201,368 175,265 or practical activity of constructing issue of the journal Internationale therefore, is the culture of the
ecav 587,391 561,487 572,138 situations. One who engages in the Situationiste defined a situationist advanced capitalist society. The
eire 218,342 210,968 199,267 construction of situations. The same as having to do with the theory or first issue of the journal Interna-
ekef 491,384 458,620 446,182 defined situationism as a meaning- practical activity of construct- tionale Situationiste defined a
falq 102,924 113,078 108,912 less term improperly derived from ing situations. One who engages situationist as having to do with
fbBE 634,432 592,244 615,347 the above. There is no such thing as in the construction of situations. the theory or practical activity
fdor 387,116 414,278 402,621 situationism, which would mean an of The same defined situationism as of constructing situations. One
Forw 227,298 251,236 266,561 interpretation of existing facts. The a meaningless term improperly who engages in the construction
gcmj 436,493 352,241 389,325 notion of situationism is obviously derived from the above. There is no of situations. The same defined
ggMD 123,864 104,403 122,231 devised by antisituationists. They such thing as situationism, which situationism as a meaningless
ghtr 158,778 160,081 170,624 fought against the main obstacle on would mean an of interpretation term improperly derived from
HCIE 491,384 458,620 446,182 the fulfillment of such superior pas- of existing facts. The notion of the above. There is no such thing
IRRU 245,856 287,968 266,550 sional living, identified by them in ad- situationism is obviously devised as situationism, which would
JCCA 164,168 116,164 180,652 vanced capitalism. Their theoretical by antisituationists. They fought mean an of interpretation of
JHHK 341,215 420,021 399,981 work peaked on the highly influential against the main obstacle on the existing facts. The notion of situ-
JSGB 236,861 249,765 287,201 book The Society of the Spectacle by fulfillment of such superior pas- ationism is obviously devised by
KBDE 126,845 154,861 140,616 Guy Debord. He argued that the his- sional living, identified by them in antisituationists. They fought
KSRU 587,391 561,487 572,138 tory of social life can be understood advanced capitalism. Their theo- against the main obstacle on
MMGB 736,875 700,658 710,456 as the decline of being into having, retical work peaked on the highly the fulfillment of such superior
MRMX 120,103 220,044 190,820 and having into merely appearing. influential book The Society of the passional living, identified by
MRPA 315,614 351,414 340,156 This condition, according to Debord, Spectacle by Guy Debord. He ar- them in advanced capitalism.
MSPA 436,493 352,241 389,325 is the historical moment at which gued that the history of social life Their theoretical work peaked
PBGB 355,541 147,581 210,610 the commodity completes its coloni- can be understood as the decline on the highly influential book
PCIL 219,102 240,031 156,616 zation of social life. The spectacle is of being into having, and having The Society of the Spectacle
PHGR 461,656 357,465 295,610 the inverted image of society in which into merely appearing. This condi- by Guy Debord. He argued that
PMIR 634,432 592,244 615,347 relations between commodities have tion, according to Debord, is the the history of social life can be
PZCA 416,452 397,752 400,282 supplanted relations between people, historical moment at which the understood as the decline of
RCGB 280,892 266,254 254,251 in which passive identification with commodity completes its coloniza- being into having, and having
RHBB 112,756 127,375 115,689 the spectacle supplants genuine ac- tion of social life. The spectacle into merely appearing. This
RMCA 155,564 187,912 160,653 tivity. The spectacle is not a collec- is the inverted image of society condition, according to Debord,
SCCH 227,298 251,236 266,561 tion of images, Debord writes, rath- in which relations between com- is the historical moment at
SCPT 312,564 284,521 277,155 er, it is a social relationship between modities have supplanted relations which the commodity completes
SGCA 122,692 162,241 141,155 people that is mediated by images. between people, in which passive its colonization of social life.
TBCA 148,572 201,368 175,265 In his analysis of the spectacular identification with the spectacle The spectacle is the inverted
TLLA 202,799 179,209 304,195 society, Debord notes that quality of supplants genuine activity. The image of society in which rela-
TLOZ 310,012 250,219 265,857 life is impoverished, with such lack of spectacle is not a collection of tions between commodities have
YCTW 355,541 147,581 210,610 authenticity, human perceptions are images, Debord writes, rather, supplanted relations between

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Druk Wide
Designed for the 2013 retooling of the style
and culture-focused Etc. section of Bloomberg
Businessweek, Druk Wide is first and foremost
an homage to the way Dutch graphic designers
of the early- to mid-20th century commonly
used wide, bold sans serifs to add a strong
typographic hierarchy to their work, including
Willem Sandbergs catalogs for the Stedelijk
Museum in Amsterdam.
Published Like many typefaces, Druk has its roots in type-
2014 faces from the past: the sans serifs created in
Designed by the 19th century onwards and popularised in the
Berton hasebe 20th century for expressive display typography.
8 styles
These were mainly used for posters and editorial
4 weights w/ ITALICS design, and were often the loudest voices in the
typographic spectrum. Unlike many new typefaces,
Features
PROPORTIONAL LINING FIGURES Druks forms are inspired by the ways in which
FRACTIONS (prebuilt and arbitrary) type was used in the past, rather than the way the
SUPERSCRIPT/SUBSCRIPT
typefaces themselves were drawn or cut.

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versed
Metrisen
Druk Wide medium, 100 Pt [alternate r]

jellni
Attiecb
Druk Wide medium italic, 100 Pt

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espace
Unvoca
Druk Wide bold, 100 Pt [alternate a]

msc
Vrazn
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tekoja
Pflaster
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blauw
Akkan
Druk Wide heavy italic, 100 Pt

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range
Skrifa
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mder
Holding
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Clocksmiths
pobjedom
Uzskaitjum
Druk Wide medium, 70 Pt

Prcisment
natuurlijk
Wavelengths
Druk Wide medium italic, 70 Pt [alternate a r]

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Curvatures
utilizzate
Filzberzug
Druk Wide bold, 70 Pt

Lanzndose
rychlosti
Pienemmill
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Deixadinha
politicas
Bevgelse
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Kinematica
legibility
Blgefasen
Druk Wide heavy italic, 70 Pt [alternate a]

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Mezzotints
gulosity
Suprafeei
Druk Wide super, 70 Pt

Recidivism
emerging
Gelitirilen
Druk Wide super italic, 70 Pt

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as a result of the weather the coin


Eine vergleichbare groflchige Vereisung
Pastarieji darbai padar gana didel
iet fundata fl-1847 minn Albert Gallatin bala
Druk Wide medium, medium italic, 20 Pt

Pribline 5 milird ud na svete sa


The drunkship of comiconomenclaturists
Den simpleste type kulhydrat er et
Humans often find they are at the mercy of
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Omkring 10000 r f.Kr. ansg den


El rigor es una condicin indispensable
He jabbed a teaspoon directly on
Nombreuses ondes monochromatiques
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Durante o perodo de 19992013


Durante la spedizione Nimrod guidata
Poetkom 20. stoljea, u okolici
Acestea se desfoar dup alte reguli
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Msterskapen
Druk Wide medium, 60 Pt

Blagrnuna
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Expostulated
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Gongoozling
Druk Wide super, 60 Pt

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Differenzjabbli
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Pandiculatory
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Nejdleitj
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Multiloquous
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Druk Text
Wide

While studying catalogs designed by Willem


Sandberg for the Stedelijk Museum, Berton
Hasebe noticed frequent use of small sizes of
Annonce Grotesk, a very wide and bold sans
serif, for running feet, headers within text, and
other small navigational elements. Unable to
think of a contemporary typeface able to do
this job as capably, he was inspired to adapt
Druk Wide for small sizes.

Published Druk Text Wide is designed to be useful for structural


2015 elements, clarifying typographic hierarchy without
forcing dramatic changes in scale on the page. The
Designed by
Berton hasebe
Super weight was developed for the Etc section
in Bloomberg Businessweek, where it maintains the
8 styles distinct personality of the display type even in cap-
4 weights w/ ITALICS
tions and infographics. It can also be used sparingly
Features for short blocks of text, but it is primarily intended
PROPORTIONAL LINING FIGURES for display use at small sizes, maintaining its legibility
tabular LINING FIGURES all the way down to 6pt. Like its related display face,
FRACTIONS (prebuilt and arbitrary)
Druk Text Wide has four weights, from Medium to
SUPERSCRIPT/SUBSCRIPT
Super, with italics.

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Druk Text Wide Medium


Druk Text Wide Medium Italic
Druk Text Wide Bold
Druk Text Wide Bold Italic
Druk Text Wide Heavy
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Druk Text Wide Super
Druk Text Wide Super Italic

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comparison of druk wide & druk text wide

druk wide, 12 pt
When situated in this late 20th century
European avant-garde this framework
and experience in Life is a fulfillment of
druk text wide, 12 pt
In comparison to her admission of more
Capitalist leaningsfor the purpose the
concept suggested & experimented in a

On this trip to Paris


druk wide, 24 pt

Magritte produced
an experiment with
Multifarious in their
druk text wide, 24 pt

featured aesthetics
and myriad facts on

Drafter
druk wide, 60 pt

Prelude
druk text wide, 60 pt

Though Druk Text Wide appears quite wide and


heavy in comparison to a typical text typeface, the
family is considerably narrower and lighter than
Druk Wide. In addition to the change in weights and
proportions, terminals on characters like a, e, and
s have been opened up to maintain legibility at small
sizes, and the spacing is much looser.

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discussion in infinite regress


Van de toen 2.200 inwoners raakte
Their edict raised some red flags in
Les Exils est publi aot 2001
Curnd a primit vestea c ddaca sa
Over 19 states recognized the court
Druk Text Wide medium, medium Italic, 18 PT

wattah hills 2007 pinot noir


Controlling for all variables, Moore
Industries saw a rise of 19 million
ruhiges AusflieSSen der Lava
Given Joyces later work, the critics
Cu o suprafa de 57.011km2, Lacul
Druk Text Wide bold, bold Italic, 18 PT [alternate j a r]

a natural talent in humans


Spartakidy se zastnili i mnoz
Periaatteellinen ero on kuitenkin
Potencjalnie koncentracje
En 1971, con cinco das, l escribe
False memories distorted and rid
Druk Text Wide heavy, heavy ITALIC, 18 PT [alternate a]

Hu ma iex inkarigat bala


Much of the Eames designs are
Voc pega as fotos dele e v um
commercial sustainability
At 4,205 meters, Mauna Kea is a
segir hflrarinn sem geri
Druk Text Wide super, super italic, 18 PT

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medium all caps The Spanish War, which began in


1739, and the French war which soon
medium followed it occasioned further in-
crease of the debt, which, on the 31st
of December 1748, after it had been
heavy concluded by the Treaty of Aix-la-
Chapelle, amounted to 78,293,313.
The most profound peace of the sev-
enteen years of continuance had tak-
en no more than 8,328,354 from it.
A war of less than nine years continu-
ance added 31,338,689 to it (Refer
medium italic to James Postlethwaites History of
the Public Revenue). During the ad-
ministration of Mr. Pelham, the inter-
est of the public debt was reduced
from 4% to 3%; or at least measures
were taken for reducing it, from four
to three per cent; the sinking fund
was increased, and some part of
the public debt was paid off. In 1755,
before the breaking out of the late
war, the funded debt of Great Brit-
Proportional
Lining figures ain amounted to 72,289,673. On the
5th of January 1763, at the conclu-
sion of the peace, the funded debt
amounted to 122,603,336, whereas
the unfunded debt has been stated
at 13,927,589. But the expense oc-
casioned by the war did not end with
the conclusion of the peace, so that
though, on the 5th of January 1764,
the funded debt was increased (part-
ly by a new loan, and partly by fund-
ing a part of the unfunded debt) to
129,586,782, there still remained
(according to the very well informed

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The Psychology of Beauty The Psychology of Beauty


Every introduction to the prob- Every introduction to the prob-
lems of aesthetics begins by lems of aesthetics begins by ac-
acknowledging the existence knowledging the existence and
and claims of two methods of at- claims of two methods of at-
tackthe general, philosophical, tackthe general, philosophical,
deductive, which starts from a deductive, which starts from a
complete metaphysics and in- complete metaphysics and in-
stalls beauty in its place among stalls beauty in its place among
the other great concepts; and the other great concepts; and
the empirical, or inductive, the empirical, or inductive,
which seeks to disengage a gen- which seeks to disengage a gen-
eral principle of beauty from the eral principle of beauty from
objects of aesthetic experience the objects of aesthetic experi-
and the facts of aesthetic enjoy- ence and the facts of aesthet-
ment: a prime example of Fech- ic enjoyment: a prime example
ners aesthetics from above of Fechners aesthetics from
and from below. above and from below.

Methodologies Methodologies
The first was the method of aes- The first was the method of aes-
thetics par excellence. It was in- thetics par excellence. It was in-
deed only through the desire of deed only through the desire of
an eighteenth-century philoso- an eighteenth-century philos-
pher, Baumgarten, to round out opher, Baumgarten, to round
his architectonic of metaphys- out his architectonic of meta-
ics that the science received its physics that the science re-
name, as designating the theory ceived its name, as designating
of knowledge in the form of feel- the theory of knowledge in the
ing, parallel to that of clear, form of feeling, parallel to that
logical thought. Kant, Schelling, of clear, logical thought. Kant,
and Hegel, again, made use of Schelling, and Hegel, again,
the concept of the Beautiful as made use of the concept of the
a kind of keystone or cornice Beautiful as a kind of keystone
for their respective philosophi- or cornice for their respec-
cal edifices. Aesthetics, then, tive philosophical edifices. Aes-
came into being as the philoso- thetics, then, came into being
phy of the Beautiful, and it may as the philosophy of the Beauti-
be asked why this philosophical ful, and it may be asked why this
aesthetics does not suffice philosophical aesthetics does
why beauty should need for its not sufficewhy beauty should
understanding also an aesthet- need for its understanding also
ics von unten. The answer is an aesthetics von unten. The
not that no system of philosophy answer is not that no system
is universally accepted, but that of philosophy is universally ac-
the general aesthetic theories cepted, but that the general aes-
have not, as yet at least, suc- thetic theories have not, as yet

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Justly or not, every introduc- Justly or not, every introduc-


tion to the problems of aesthet- tion to the problems of aesthet-
ics begins by acknowledging ics begins by acknowledging
the existence and claims of two the existence and claims of two
methods of attackthe gen- methods of attackthe gen-
eral, philosophical, deductive, eral, philosophical, deductive,
which starts from a complete which starts from a complete
metaphysics and installs beau- metaphysics and installs beau-
ty in its place among the other ty in its place among the other
great concepts; and the empir- great concepts; and the empir-
ical, or inductive, which seeks ical, or inductive, which seeks
to disengage a general princi- to disengage a general princi-
ple of beauty from the objects ple of beauty from the objects
of aesthetic experience and the of aesthetic experience and the
facts of aesthetic enjoyment: a facts of aesthetic enjoyment: a
prime example of James Fech- prime example of James Fech-
ners aesthetics from above ners aesthetics from above
and from below. First was the and from below. First was the
method of aesthetics par excel- method of aesthetics par excel-
lence. Every desire of an eigh- lence. Every desire of an eigh-
teenth-century philosopher, teenth-century philosopher,

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Justly or not, every introduc- Justly or not, every introduc-


tion to the problems of aesthet- tion to the problems of aesthet-
ics begins by acknowledging ics begins by acknowledging
the existence and claims of two the existence and claims of two
methods of attackthe gen- methods of attackthe gen-
eral, philosophical, deductive, eral, philosophical, deductive,
which starts from a complete which starts from a complete
metaphysics and installs beau- metaphysics and installs beau-
ty in its place among the other ty in its place among the other
great concepts; and the empir- great concepts; and the empir-
ical, or inductive, which seeks ical, or inductive, which seeks
to disengage a general princi- to disengage a general princi-
ple of beauty from the objects ple of beauty from the objects
of aesthetic experience and the of aesthetic experience and the
facts of aesthetic enjoyment: a facts of aesthetic enjoyment: a
prime example of James Fech- prime example of James Fech-
ners aesthetics from above ners aesthetics from above
and from below. First was the and from below. First was the
method of aesthetics par excel- method of aesthetics par excel-
lence. Every desire of an eigh- lence. Every desire of an eigh-
teenth-century philosopher, teenth-century philosopher,

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The Psychology of Beauty The Psychology of Beauty


Every introduction to the prob- Every introduction to the prob-
lems of aesthetics begins by ac- lems of aesthetics begins by ac-
knowledging the existence and knowledging the existence and
claims of two methods of attack claims of two methods of attack
the general, philosophical, deduc- the general, philosophical, deduc-
tive, which starts from a complete tive, which starts from a complete
metaphysics and installs beauty metaphysics and installs beauty
in its place among the other great in its place among the other great
concepts; and the empirical, or in- concepts; and the empirical, or in-
ductive, which seeks to disengage ductive, which seeks to disengage
a general principle of beauty from a general principle of beauty from
the objects of aesthetic experi- the objects of aesthetic experi-
ence and the facts of aesthetic en- ence and the facts of aesthetic en-
joyment: a prime example of Fech- joyment: a prime example of Fech-
ners aesthetics from above and ners aesthetics from above and
from below. from below.

Methodologies Methodologies
The first was the method of aes- The first was the method of aes-
thetics par excellence. It was in- thetics par excellence. It was in-
deed only through the desire of an deed only through the desire of an
eighteenth-century philosopher, eighteenth-century philosopher,
Baumgarten, to round out his ar- Baumgarten, to round out his ar-
chitectonic of metaphysics that chitectonic of metaphysics that
the science received its name, as the science received its name, as
designating the theory of knowl- designating the theory of knowl-
edge in the form of feeling, parallel edge in the form of feeling, parallel
to that of clear, logical thought. to that of clear, logical thought.
Kant, Schelling, and Hegel, again, Kant, Schelling, and Hegel, again,
made use of the concept of the made use of the concept of the
Beautiful as a kind of keystone or Beautiful as a kind of keystone or
cornice for their respective philo- cornice for their respective phil-
sophical edifices. Aesthetics, then, osophical edifices. Aesthetics,
came into being as the philoso- then, came into being as the phi-
phy of the Beautiful, and it may losophy of the Beautiful, and it may
be asked why this philosophical be asked why this philosophical
aesthetics does not sufficewhy aesthetics does not sufficewhy
beauty should need for its under- beauty should need for its under-
standing also an aesthetics von standing also an aesthetics von
unten. The answer is not that no unten. The answer is not that no
system of philosophy is universally system of philosophy is universally
accepted, but that the general aes- accepted, but that the general aes-
thetic theories have not, as yet at thetic theories have not, as yet at
least, succeeded in answering the least, succeeded in answering the
plain questions of the plain man plain questions of the plain man
in regard to concrete beauty. Kant, in regard to concrete beauty. Kant,
indeed, frankly denied that the ex- indeed, frankly denied that the ex-
planation of concrete beauty, or planation of concrete beauty, or
Doctrine of Taste, as he called Doctrine of Taste, as he called
it, was possible, while the various it, was possible, while the various

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Druk Text Wide Medium, Medium Italic, heavy, 8/10 PT Druk Text Wide Bold, Bold italic, super, 8/10 PT

The Psychology of Beauty The Psychology of Beauty


Every introduction to the problems Every introduction to the problems
of aesthetics begins by acknowl- of aesthetics begins by acknowledg-
edging the existence and claims of ing the existence and claims of two
two methods of attackthe gen- methods of attackthe general, phil-
eral, philosophical, deductive, which osophical, deductive, which starts
starts from a complete metaphysics from a complete metaphysics and
and installs beauty in its place among installs beauty in its place among
the other great concepts; and the the other great concepts; and the
empirical, or inductive, which seeks empirical, or inductive, which seeks
to disengage a general principle of to disengage a general principle of
beauty from the objects of aesthetic beauty from the objects of aesthet-
experience and the facts of aes- ic experience and the facts of aes-
thetic enjoyment: a prime example thetic enjoyment: a prime example
of Fechners aesthetics from above of Fechners aesthetics from above
and from below. and from below.

Methodologies Methodologies
The first was the method of aesthet- The first was the method of aes-
ics par excellence. It was indeed only thetics par excellence. It was in-
through the desire of an eighteenth- deed only through the desire of an
century philosopher, Baumgarten, eighteenth-century philosopher,
to round out his architectonic of Baumgarten, to round out his ar-
metaphysics that the science re- chitectonic of metaphysics that the
ceived its name, as designating the science received its name, as des-
theory of knowledge in the form of ignating the theory of knowledge in
feeling, parallel to that of clear, the form of feeling, parallel to that
logical thought. Kant, Schelling, and of clear, logical thought. Kant,
Hegel, again, made use of the con- Schelling, and Hegel, again, made
cept of the Beautiful as a kind of key- use of the concept of the Beautiful
stone or cornice for their respective as a kind of keystone or cornice for
philosophical edifices. Aesthetics, their respective philosophical edi-
then, came into being as the philoso- fices. Aesthetics, then, came into
phy of the Beautiful, and it may be being as the philosophy of the Beau-
asked why this philosophical aes- tiful, and it may be asked why this
thetics does not sufficewhy beauty philosophical aesthetics does not
should need for its understanding sufficewhy beauty should need for
also an aesthetics von unten. The its understanding also an aesthetics
answer is not that no system of phi- von unten. The answer is not that
losophy is universally accepted, but no system of philosophy is univer-
that the general aesthetic theories sally accepted, but that the general
have not, as yet at least, succeeded aesthetic theories have not, as yet at
in answering the plain questions of least, succeeded in answering the
the plain man in regard to con- plain questions of the plain man in
crete beauty. regard to concrete beauty.

Doctrine of Taste Doctrine of Taste


Kant, indeed, frankly denied that the Kant, indeed, frankly denied that the
explanation of concrete beauty, or explanation of concrete beauty, or
Doctrine of Taste, as he called it, Doctrine of Taste, as he called it,
was possible, while the various de- was possible, while the various de-
finers of beauty as the union of the finers of beauty as the union of the
Real and the Idealthe expres- Real and the Idealthe expres-
sion of the Ideal to Sensehave sion of the Ideal to Sensehave
done no more than he. No one of done no more than he. No one of
these aesthetic systems, in spite of these aesthetic systems, in spite of
volumes of so-called application of volumes of so-called application of

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Druk Text Wide medium, heavy, 7/9 PT Druk Text Wide medium, medium italic, 7/9 PT Druk Text Wide bold, bold italic, 7/9 PT
[tabular figures]

name JAN apr The sense of constructing The sense of constructing


ABBO 123,864 104,403 situations is to fulfill human situations is to fulfill human
ahca 158,778 160,081 primitive desires and pursue primitive desires and pursue
AIRD 245,856 287,968 a superior passional quality. a superior passional qual-
ANCA 491,384 458,620 From Internationale Situation- ity. From Internationale Situ-
ATGB 218,342 210,968 iste #1: This alone can lead ationiste #1: This alone can
ATHA 164,168 116,164 to the further clarification of lead to the further clarifica-
ARRO 341,215 420,021 these simple basic desires, tion of these simple basic
BANF 126,845 154,861 and to the confused emer- desires, and to the confused
BARO 120,103 220,044 gence of new desires whose emergence of new desires
BARR 315,614 351,414 material roots will be precise- whose material roots will
Bhhi 436,493 352,241 ly the new reality engendered be precisely the new reality
BKIN 355,541 147,581 by situationist constructions. engendered by situationist
BONA 461,656 357,465 We must thus envisage a sort constructions. We must thus
BOWD 155,564 187,912 of situationist-oriented psycho- envisage a sort of situationist-
BRET 227,298 251,236 analysis in which, in contrast to oriented psychoanalysis in
BROO 312,564 284,521 the goals pursued by the vari- which, in contrast to the goals
Brth 202,799 179,209 ous currents stemming from pursued by the various cur-
CALG 355,541 147,581 freudianism, each of the partic- rents stemming from freud-
CAMP 219,102 240,031 ipants in this adventure would ianism, each of the partici-
CANM 122,692 162,241 discover desires for specific pants in this adventure would
CARD 158,778 160,081 ambiences in order to fulfill discover desires for specific
Csnh 280,892 266,254 them. each person must seek ambiences in order to fulfill
DATC 112,756 127,375 what he loves, what attracts them. each person must seek
DECA 416,452 397,752 him. Through this method one what he loves, what attracts
dfoz 634,432 592,244 can tabulate elements out of him. Through this method one
dmoz 310,012 250,219 which situations can be con- can tabulate elements out of
DOVR 236,861 249,765 structed, along with projects which situations can be con-
DRAT 736,875 700,658 to dynamize these elements. structed, along with projects

Druk Text Wide medium, heavy, 6/8 Pt Druk Text Wide medium, medium italic, 6/8 PT Druk Text Wide bold, bold italic, 6/8 PT
[tabular figures]

name JAN apr The sense of constructing situa- The sense of constructing situa-
ABBO 123,864 104,403 tions is to fulfill human primitive tions is to fulfill human primitive
ahca 158,778 160,081 desires and pursue a superior desires and pursue a superior
AIRD 245,856 287,968 passional quality. From Internatio- passional quality. From Internatio-
ANCA 491,384 458,620 nale Situationiste #1: This alone nale Situationiste #1: This alone
ATGB 218,342 210,968 can lead to the further clarifica- can lead to the further clarifica-
ATHA 164,168 116,164 tion of these simple basic desires, tion of these simple basic desires,
ARRO 341,215 420,021 and to the confused emergence of and to the confused emergence of
BANF 126,845 154,861 new desires whose material roots new desires whose material roots
BARO 120,103 220,044 will be precisely the new reality will be precisely the new reality
BARR 315,614 351,414 engendered by situationist con- engendered by situationist con-
Bhhi 436,493 352,241 structions. We must thus envisage structions. We must thus envisage
BKIN 355,541 147,581 a sort of situationist-oriented psy- a sort of situationist-oriented psy-
BONA 461,656 357,465 choanalysis in which, in contrast to choanalysis in which, in contrast to
BOWD 155,564 187,912 the goals pursued by the various the goals pursued by the various
BRET 227,298 251,236 currents stemming from freudian- currents stemming from freudian-
BROO 312,564 284,521 ism, each of the participants in this ism, each of the participants in this
Brth 202,799 179,209 adventure would discover desires adventure would discover desires
CALG 355,541 147,581 for specific ambiences in order for specific ambiences in order to
CAMP 219,102 240,031 to fulfill them. each person must fulfill them. each person must seek
CANM 122,692 162,241 seek what he loves, what attracts what he loves, what attracts him.
CARD 158,778 160,081 him. Through this method one can Through this method one can tabu-
Csnh 280,892 266,254 tabulate elements out of which situ- late elements out of which situa-
DATC 112,756 127,375 ations can be constructed, along tions can be constructed, along
DECA 416,452 397,752 with projects to dynamize these with projects to dynamize these
dfoz 634,432 592,244 elements. The primary obstacle to elements. The primary obstacle
dmoz 310,012 250,219 situations, therefore, is the culture to situations, therefore, is the
DOVR 236,861 249,765 of the advanced capitalist society. culture of the advanced capitalist
DRAT 736,875 700,658 The first issue of the journal Inter- society. The first issue of the jour-
eacr 148,572 201,368 nationale Situationiste defined a nal Internationale Situationiste
ecav 587,391 561,487 situationist as having to do with defined a situationist as having
eire 218,342 210,968 the theory or practical activity of to do with the theory or practi-
ekef 491,384 458,620 constructing situations. One who cal activity of constructing situ-

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Druk Condensed

Of the families in the Druk collection, Druk Condensed is


the most explicit homage to Willy Fleckhaus. Originally
designed for the 2011 Year in Review issue of Bloomberg
Businessweek, its flat sides make letters and words snap
together in a clean and satisfying way.

Published Druk Condensed features three widths in the same Super weight. The
2014
Condensed and X Condensed are very graphic, and the XX Condensed can
Designed by appear almost abstract. Designer Berton Hasebe introduced a purposeful
Berton hasebe
and subtle change to the texture of the typeface by preventing terminals
6 styles and crossbars from lining up too often on the horizontal axis. This keeps
3 widths w/ ITALICS
an emphasis on the verticality of the letterforms and prevents words and
Features headlines from becoming monotonous. The maximum point size for this family
PROPORTIONAL LINING FIGURES
FRACTIONS (prebuilt and arbitrary) is limited only by the size of the page; however, minimum sizes should be
SUPERSCRIPT/SUBSCRIPT
respected. The Condensed does not work well below 40pt; X Condensed should
be used only at 48pt and above; and XX Condensed is limited to 72pt and above.

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Druk Condensed Super


Druk Condensed Super Italic
Druk X Condensed Super
Druk X Condensed Super Italic
Druk XX Condensed Super
Druk XX Condensed Super Italic

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electrojets
Atomorbital
Druk Condensed Super, 150 Pt [alternate e j]

Knigsberg
Semnificaii
Druk Condensed Super italic, 150 Pt

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Druk Collection 49 of 56

Viskiptafri
Satunnaiskulku
Druk X Condensed Super, 150 Pt [alternate a]

ultimogeniture
Juxtapositional
Druk X Condensed Super italic, 150 Pt

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Druk Collection 50 of 56

komprimeringsprogrammet
Proto-Ethnographic Projects
Druk XX Condensed Super, 150 Pt [alternate a r]

Les conditions dutilisation


Verfassungsschutzabteilung
Druk XX Condensed Super italic, 150 Pt

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Druk Collection 51 of 56

Vetky veliiny vak


grand & forthright
Contexto fisiolgico
Druk Condensed Super, 90 Pt

Massively shortened
Tcniques additives
Johdannaisyksikit
Druk Condensed Super italic, 90 Pt [alternate a r]

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Druk Collection 52 of 56

Elegante kjoler og fine vin!


in the recesses of memory
gilegt er a sanna hana
Druk x Condensed Super, 90 Pt [alternate a]

Yalnzca kullanm amacyla


Unter den im GroSShandel
Zjawisko komodyzacji oraz
Druk x Condensed Super italic, 90 Pt

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Druk Collection 53 of 56

The grand ceilings of the library echoed aghast


Dezenas de eventos culturais durante o vero
Frgasta framlag Fermats til strfrinnar
Druk xx Condensed Super, 90 Pt

De prijs komt tot stand door vraag en aanbod op


towards the roiling soundscape approaching
Desemneaz o individualitate contient de sine
Druk xx Condensed Super italic, 90 Pt

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Druk Collection 54 of 56

Legierungsbestandteil
Druk Condensed Super, 80 Pt

Prijestolonasljednikovievica
Druk x Condensed Super, 80 Pt

Valaheiarvegavinnuverkfrageymsluskratidyr
Druk xx Condensed Super, 80 Pt

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Tysjyvviljavalmisteet
Druk Condensed Super italic, 80 Pt

Antidisestablishmentarianism
Druk x Condensed Super italic, 80 Pt

Afyonkarahisarllatrabildiklerimizdenmisinizcesine
Druk xx Condensed Super italic, 80 Pt

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Druk Collection 56 of 56

included families about the designer

Druk Berton Hasebe (born 1982) moved from Hawaii to study


Druk Text and work in Los Angeles, obtaining a BFA from Otis College of
Druk Wide Art and Design in 2005. In 2007 he moved to the Netherlands
Druk Text Wide to study type design through the Type and Media masters
Druk Condensed course at the Royal Academy of Art (KABK) in The Hague.
Berton has resided in New York since 2008, and was a staff
designer with Commercial Type from 2008 to 2013, when he
supported languages
left to start his own studio.
Bertons typefaces have been awarded by the New York
Afrikaans, Albanian, Asturian, Basque, Breton, Bosnian, and Tokyo Type Directors Club, the ATypI, and the BRNO Bien-
Catalan, Cornish, Croatian, Czech, Danish, Dutch, nial. In 2012 he was awarded Print Magazines 20 Under 30
English, Esperanto, Estonian, Faroese, Finnish, French, Award. Berton currently teaches typography at Parsons and
Galician, German, Greenlandic, Guarani, Hawaiian, type design at The University of the Arts in Philadelphia.
Hungarian, Ibo, Icelandic, Indonesian, Irish, Gaelic,
Italian, Kurdish, Latin, Latvian, Lithuanian, Livonian,
Malagasy, Maltese, Maori, Moldavian, Norwegian, contact
Occitan, Polish, Portuguese, Romanian, Romansch,
Saami, Samoan, Scots, Scottish Gaelic, Serbian (Latin), Commercial Type
Slovak, Slovenian, Spanish (Castillian), Swahili, Swedish, 110 Lafayette Street, #203
Tagalog, Turkish, Walloon, Welsh, Wolof New York, New York 10013

office 212 604-0955


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fax 212 925-2701
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All rights reserved.
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trademark of Schwartzco Inc., dba Commercial Type.

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