burg grotesk regular, medium bold, mono, bold … · burg logo — one elementary component of the...

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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 +

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Burg Grotesk

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BOLD 70/78 ptB U R G G R O T E S K

Burg Grotesk2

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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

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CB U R G

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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

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A L T E R N A T I V

S C H L I C H T

R U H I G

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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

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Burg Grotesk5

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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

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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

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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

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ARegularMediumBoldCondensed BoldMono RegularMono ItalicBURG

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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

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Burg GroteskRegular

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REGULAR ITALIC 40 pt

REGULAR 11 pt

REGULAR + ITALIC 83 ptB U R G G R O T E S K

Burg Grotesk10

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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, 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 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

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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 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 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

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 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

REGULAR 9/12 pt

REGULAR 12/16 pt

REGULAR 9/12 pt, ALTERNATES


Burg Grotesk12

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ABCDEfGhIijKLMNOpqRSTUvwxyz

01234567890:;&§¶%!?


112345678900 �� &&�ß@#'"§¶¶!?¿¡%‰*†‡ ®©℗™ªº^° €$£¥¢ƒ¤ ¼½¾=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑/(|)\[•]{·}¦�‖[]{},.;:…„“”‘’«»‹›_- – — ´`¨ˆ˜¯˘˙˚¸˝˛ˇ

1234567890 �� €$£¥¢ƒ¤⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[]0123456789,.:+₋×=()[]0123456789,.:+−=×()[]0123456789,.:+−=×()[]

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Burg GroteskMedium


REGULAR 11 pt


Burg Grotesk13

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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, 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, building, and whatever else. In this stage also the

MEDIUM 20/23 pt

MEDIUM 20/23 pt, ALTERNATES


Burg Grotesk14

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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 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 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 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

MEDIUM 9/12 pt

MEDIUM 12/16 pt

MEDIUM 9/12 pt, ALTERNATES


Burg Grotesk15

www.typecuts.com



abcdefghiijklmnopqrstuvwxyz

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112345678900 �� &��ß@#'"§¶¶!?¿¡%‰*†‡ ®©℗™ªº^° €$£¥¢ƒ¤ ¼½¾=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑/(|)\[•]{·}¦�‖[]{},.;:…„“”‘’«»‹›_- – — ´`¨ˆ˜¯˘˙˚¸˝˛ˇ

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Burg GroteskBold


REGULAR 11 pt


Burg Grotesk16

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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 device 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


Burg Grotesk17

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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 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, 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


Burg Grotesk18

www.typecuts.com



abcdefghiijklmnopqrstuvwxyz

01234567890:;&§¶%!?


112345678900 �� &��ß@#'"§¶¶!?¿¡%‰*†‡ ®©℗™ªº^° €$£¥¢ƒ¤ ¼½¾=+−÷<>±≅≈≠≤≥¬~∞∫◊ΔΩμ∂∏π√∑/(|)\[•]{·}¦�‖[]{},.;:…„“”‘’«»‹›_- – — ´`¨ˆ˜¯˘˙˚¸˝˛ˇ

1234567890 �� €$£¥¢ƒ¤⁰1²³⁴⁵⁶⁷⁸⁹,.:⁺⁻⁼×⁽⁾[]0123456789,.:+₋×=()[]0123456789,.:+−=×()[]0123456789,.:+−=×()[]��ff��fi�ffi��fl�ffl��st��

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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 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 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 consciousness, 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


Burg Grotesk20

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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 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 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 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 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 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 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 mak-ing and enjoying of beautiful things. The artist treats the rule as he pleases,



CONDENSED BOLD 9/12 pt, ALTERNATES


Burg Grotesk21

www.typecuts.com

ABCDEFGHIJKLMNOPQRSTUVWXYZ


abcdefghijklmnopqrstuvwxyz

01234567890:;&§¶%!?

ÁÀÂÄÃÅÆÇÉÈÊËÍÌÎÏŁÑÓÒÔÖÕØŒŠÚÙÛÜŸÝŽÐÞáàâäãå��æçéèêëíìîïı��łñóòôöõøœšúùûüÿýÿýžðþ��

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[]0123456789,.:+−=×()[]ff�fi��fl�

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Burg GroteskMono Italic

REGULAR 40 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, ALTERNATES

B U R G M O N O

Burg Grotesk24

www.typecuts.com



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■□▲△▶▷▼▽◀◁○●••••••••••••••••••••••••••

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




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■□▲△▶▷▼▽◀◁○●••••••••••••••••••••••••••

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

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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

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AA

BB

CC

DD

EE

FF

GG

HH

II

JJ

KK

LL

MM

NN

OO

PP

QQ

RR

SS

TT

UU

VV

WW

XX

YX

ZZ

aa

bb

cc

dd

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PBSrSBPx

Burg Grotesk31

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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

QQ

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



aa

bb

cc

dd

ee

ff

hh

gg

ii

jj

kk

ll

mm

nn

oo

pp

rr

qq

ss

tt

uu

vv

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xx

yy

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CAPITALS 40 pt

LOWERCASE 40 pt

COMBINATIONS 40 pt

Burg Grotesk32

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B U R G S Y M B O L S G LY P H S 40 pt

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Burg Grotesk33

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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

burg grotesk regular, medium bold, mono, bold … · burg logo — one elementary component of the...

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