scangraphic digitaltype1170-9 bold osf italic excellence in typography is the result of nothing mo...

Scangraphic

DigitalType

Collection

TYPEFACE INDEX 2005

Scangraphic Digital Type Collection

Scangraphic Digital Type CollectionIn 2004 the Scangraphic Digital Type Collection was relaunched in all four font formats by Elsner+Flake GbR in Hamburg, Germany.

It currently contains about 1000 different typefaces in each Mac Post-Script, PC PostScript, PC TrueType and OpenType Plain in West Euro-pean layout, amongst well known families as Today Sans Serif designed by Volker Küster and Zapf Renaissance Antiqua by Hermann Zapf. The exclusive feature of this collection is that for more than 60 per cent of the typefaces two special versions are available. One version is drawn, spaced and kerned for textsetting (SB for Scangraphic BodyType) the other for headlines (SH for SuperType).

Individually designed spacing for both versions is the most strikling feature of Scangraphic BodyType and SuperType. The spacing of Body-Types is optimized for text sizes. On Scantext systems their widths was automatically adjusted progressively according to the selected typesize. In other words, the letterspacing will be more open in small sizes and closer in larger sizes. The spacing of SuperTypes is generally closer in order to meet the demands of compact headline setting. The kerning tables are based on the same principle. Apart from this there are differences in design. To achieve a bright, sharp and crisp appearance in text sizes, all BodyTypes have minute inktraps drawn into the critical angles. Body-Types may also have strengthened hairlines and serifs. In many cases the whole type design has been optimized to meet the optical requirements of text setting in small sizes.

Scangraphic Digital Type CollectionDie seit 1980 bekannte Scangraphic Digital Type Collection ist wieder in vier Fontformaten Mac PostScript, PC PostScript, PC TrueType und OpenType Plain bei Elsner+Flake GbR verfügbar.

Die Schriftenbibliothek umfasst zurzeit über 1000 verschiedene Schrift-Schnitte. Darunter befinden sich populäre Schriftfamilien wie die Today Sans Serif von Volker Küster und die Zapf Renais-sance Antiqua von Hermann Zapf. Einmaliges Merkmal dieser Schriften ist, dass von mehr als 60 Prozent der Schriftschnitte zwei Ausführungen zur Verfügung stehen, eine für Textsatz, die Body-Types, und eine für den Titelsatz, die SuperTypes.

Das offensichtlichste Unterscheidungsmerkmal ist die Zurichtung. Die der BodyTypes ist den Lesegraden angemessen. Die der Super-Types ist entschieden enger gehalten, um den Anforderungen des kompakten Headline-Satzes gerecht zu werden. Auch die Ästhetiktabellen für beide Schriftarten wurden individuell erar-beitet. Neben dem Unterschied in der Zurichtung gibt es auch Unterschiede im Design. In den BodyTypes werden feine Einzüge gebildet, um das Zuschmieren von spitzen Winkeln in kleinen Schriftgraden zu verhindern. Bei vielen BodyTypes wurden Haar-linien und Serifen angefettet, oder die ganze Schrift angepasst an die optischen Bedingungen des Satzes in kleinen Schriftgraden.

HamburgefontsHamburgefontsDas offensichtlichste Unterscheidungsmerkmal zwischen BodyTypes und SuperTypes ist die Zurichtung. Die der BodyTypes ist den Lesegra-den angemessen.

Individually designed spacing for both versions is the most strikling feature of Scangraphic BodyType and SuperType. The spacing of BodyTypes is opti-mized for text sizes.

ÄAlle SuperTypes enthalten integrierte Versalumlaute als Alternative. In den BodyTypes werden, falls erforderlich, feine Einzüge gebildet, um das Zuschmieren von spitzen Winkeln in kleinen Schriftgraden zu verhindern.

Integrated umlauts in headline fonts (SH) as an alternative to the floating accents. All BodyTypes (SB) have minute inktraps drawn into the critical angles if necessary.

SuperTypes are also supplied with integrated umlauts as an alternative to the floating accents. They allow the compact setting of capital lines without the usual loss of quality. Scangraphic recommends 4.5 mm capi-tal height (18 pt) as the largest size at which BodyTypes should be used, this should also be the smallest size for SuperType. To be able to adress the integrated umlauts please use unicode 007E for Aring, 005E for Adieresis, 007B for Odieresis und 007D for Udieres.

All Scangraphic fonts are completed now with individual € and @-symbols. Single fonts can be ordered under www.scangraphic-fonts.com.

Alle SuperTypes enthalten integrierte Versalumlaute als Alternati-ve, die ohne Qualitätseinbuße einen sehr kompakten Headlinesatz von Versalien zulassen. Scangraphic empfiehlt, die BodyTypes nicht größer und die SuperTypes nicht kleiner als 4,5 mm Versal-höhe (18 Punkt) anzuwenden. Sie erreichen die integrierten Versa-lumlaute auf Unicode 007E für Aring, 005E für Adieresis, 007B für Odieresis und 007D für Udieresis.

Alle Scangraphic Schriften sind jetzt mit einem schriftindividuellen €-Zeichen und @-Symbol ausgestattet. Einzelschnitte können unter www.scangraphic-fonts.com bestellt werden.

Seligenstadt, October 4, 2005

Scangraphic Digital Type Collection www.scangraphic-fonts.com

Typeface: Today SB Regular, Italic, Bold and Bold Italic

SHToday Sans SerifTMSB

Bestellnummer (vorangestellt 11 für SB, 12 für SH)Reference number (add 11 for SB and 12 for SH in front)

Figurenverzeichnis (BodyType und SuperType)Character layout (BodyType and SuperType)

SchriftnameTypeface name

SchriftschnittTypeface weight

ZeichenerläuterungNotation Definitions

2948-1Medium

Excellence in typography is the result of nothing mothan attitude. Its appeal comes from the understand

3Scangraphic Digital Type Collection

SHAachenTMSB

1015-2Bold

Excellence in typography is the result of nothinmore than attitude. Its appeal comes from the n

Medium1015-1 Excellence in typography is the result of nothing

more than attitude. Its appeal comes from the un

AlgerianTM SB

1016-1Regular

Excellence in typography is the result onothing more than attitude. Its appeal c

Alte SchwabacherTMSB

1001-1No. One

Excellence in typography is the result of nothing more than attitude. Its appeal cfrom the understanding used in its planning; the designer must care. In contemp

1001-3

1001-2No. Two

Excellence in typography is the result of nothing more than attitude. Its acomes from the understanding used in its planning; the designer must car

No. ThreeExcellence in typography is the result of nothing more than attitudIts appeal comes from the understanding used in its planning; the

1022-1Regular

Excellence in typography is the result of nothing more tha attitude. Its appeal comes from the understanding used i

Alternate GothicTMSB

SHAmaltheaTMSB

1051-2

1051-3

1051-4

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the un

1051-5Black

BoldExcellence in typography is the result of nothing morethan attitude. Its appeal comes from the understandin

MediumExcellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in i

RomanExcellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its plan

American UnicalTMSB

1017-1Regular

Excellence in typography is the result of nothing more than attitude. Its ap

1018-1Regular

Excellence in typography is the result of nothing more than attitude. Its appe

1051-1Light

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its plann

AmericanaTMSB

1018-2Regular

Italic

Excellence in typography is the result ofnothing more than attitude. Its appeal c

1018-3Bold

Excellence in typography is the resultof nothing more than attitude. Its appe

1018-4Extra Bold


1049-1Light

Excellence in typography is the result of nothmore than attitude. Its appeal comes from th

SHAntique OliveTMSB

1018-5Black


RomanItalic

1049-3 Excellence in typography is the result of nmore than attitude. Its appeal comes fro

1049-2Roman

Excellence in typography is the result of nmore than attitude. Its appeal comes fro

1049-5Medium

Italic

Excellence in typography is the result of nmore than attitude. Its appeal comes fro

1049-6Bold

Excellence in typography is the resulof nothing more than attitude. Its ap

Antique OliveTM Nord SB

1050-1Nord

Excellence in typography ithe result of nothing more

1050-2NordItalic

Excellence in typography is tresult of nothing more than

1049-4Medium

Excellence in typography is the result of nothing more than attitude. Its appeal c

1050-3 Excellence in typography is the reof nothing more than attitude. It

Excellence in typography is the result of nothing more thanattitude. Its appeal comes from the understanding used in

1050-5

SHAntique Olive Bold CondensedTMSB

1050-6

Excellence in typography is the result of nothing morethan attitude. Its appeal comes from the understandin

SHAntique OliveTM Compact SB

SHAntique OliveTM Extended SB

1050-4 Excellence in typography is theof nothing more than attitude.

Antique OliveTM Condensed SB

Anzeigen GroteskTMSB

1019-1

Excellence in typography is the result of nothing more than attitude.Its appeal comes from the understanding used in its planning; the d

Excellence in typography is the result of nothingmore than attitude. Its appeal comes from the u

1057-1

SHArnold BöcklinTM

1055-1Regular

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its planning; the designer must care. In con

Excellence in typography is the result of nothing more than atIts appeal comes from the understanding used in its planning;

1056-1Bold

SHArtscriptTM No. 1 SB

SHArtscriptTM

1020-1Regular

1020-2Regular

Italic


Excellence in typography is the result of nothimore than attitude. Its appeal comes from the

Augustea OpenTMSB

1020-3Medium


1060-1 Excellence in typography is the result of

SHAsterTMSB

1007-1

Excellence in typography is the resulof nothing more than attitude. Its a

4 Scangraphic Digital Type Collection

BalloonTMSB

1181-1LightItalic

Excellence in typography is the result of nothmore than attitude. Its appeal comes from the Excellence in typography is the result of nothmore than attitude. Its appeal comes from the

1181-2BoldItalic

Excellence in typography is the result of nothing more than attitude. Its app comes from the understanding used in its planning; the designer must care.

1182-1

SHBaskervilleTM No. 1 SB

1171-1Regular

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understandin

Excellence in typography is the result of nothing more than attituIts appeal comes from the understanding used in its planning; the

1171-2Regular

Italic

1171-4Medium

Italic

Excellence in typography is the result of nothing more thaattitude. Its appeal comes from the understanding used i


1171-5Bold

SHBaskerville Old FaceTMSB


1181-3 Extra Bold

Italic

Bank ScriptTMSB

Excellence in typography is the result of nothing mthan attitude. Its appeal comes from the understan

1171-3Medium

1188-1Regular

Excellence in typography is the result of nothinmore than attitude. Its appeal comes from the

BaskervilleTMSB

1170-2Roman SC

Excellence in typography is the result of nothinmore than attitude. Its appeal comes from the un

Excellence in typography is the result of nothing more than atIts appeal comes from the understanding used in its planning

1170-3Roman

Italic

1170-7Roman OsF

Italic

Excellence in typography is the result of nothing more than attIts appeal comes from the understanding used in its planning;

1170-8Bold OsF

1170-5BoldItalic

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the unExcellence in typography is the result of nothing mothan attitude. Its appeal comes from the understandi

1106-1Light

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the unExcellence in typography is the result of nothingmore than attitude. Its appeal comes from the un

1106-2LightItalic

1170-1Roman



1170-6Roman OsF

1170-4Bold


1170-9Bold OsF

Italic

Excellence in typography is the result of nothing mothan attitude. Its appeal comes from the understandi

1106-4Bold

Excellence in typography is the result of notmore than attitude. Its appeal comes from th

SHBelweTMSB


1106-3Medium

1106-5Bold

Excellence in typography is the result of nothing more thattitude. Its appeal comes from the understanding used i

Excellence in typography is the result of nothing mthan attitude. Its appeal comes from the understand

1115-1Roman

1115-3Bold

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the undExcellence in typography is the result of nothing morethan attitude. Its appeal comes from the understandi

1115-4BoldItalic

Excellence in typography is the result of nothing more thaattitude. Its appeal comes from the understanding used in

1117-1Bold

Bernhard ModernTMSB

1173-2Regular

Italic

Excellence in typography is the result of nothing more than attIts appeal comes from the understanding used in its planning; Excellence in typography is the result of nothing morthan attitude. Its appeal comes from the understandin

1173-3Bold

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the undeused in its planning; the designer must care. In contemporary advertising the perfect integration of

1160-1Light


1184-1Light

1184-3Bold

Excellence in typography is the result of nothing mthan attitude. Its appeal comes from the understandExcellence in typography is the result of nomore than attitude. Its appeal comes from t

1184-4Extra Bold

SHBerlingTMSB


1115-2Roman

Italic

Excellence in typography is the result of nothing morthan attitude. Its appeal comes from the understandin

1115-5Bold

SHBernhard Antique TM Condensed SB

SHBerlingTM Condensed SB

SHBelweTM Condensed SB

1173-1Regular

Excellence in typography is the result of nothing more thanattitude. Its appeal comes from the understanding used in i


1173-4BoldItalic

Bernhard SchönschriftTMSB

Excellence in typography is the result of nothing more than attitude. Its appeal comes from theunderstanding used in its planning; the designer must care. In contemporary advertising the per

1160-2Regular

SHBetonTMSB

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the und

1184-2Medium

Excellence in typography is the result of nothing mothan attitude. Its appeal comes from the understan

1184-5Extra Bold

SHBetonTM Condensed SB

Excellence in typography is the result of nothing more than 1140-1

SHBalmoralTM


Excellence in typography is the resultof nothing more than attitude. Its app

1119-1

BinnerTMSB

Blippo BlackTMSB

1120-1 Excellence in typography is the result of nothing mthan attitude. Its appeal comes from the understan

SHBodoniTM No. 1 SB

LightItalic

Excellence in typography is the result of nothing more tattitude. Its appeal comes from the understanding used

1175-2

Regular1175-3 Excellence in typography is the result of nothing mo

than attitude. Its appeal comes from the understandi

1175-5Medium

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the undExcellence in typography is the result of nothing mothan attitude. Its appeal comes from the understan

1175-6Medium

Italic

1175-8Bold Italic

Excellence in typography is the result of nothingmore than attitude. Its appeal comes from the un

1176-2Regular

Italic

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its planning; the designer mus

1176-3Medium

Excellence in typography is the result of nothing more than attitudIts appeal comes from the understanding used in its planning; the

1176-5Bold

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in it

1176-6BoldItalic

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in i

SHBodoniTMSB

1177-1Roman

Excellence in typography is the result of nothing morethan attitude. Its appeal comes from the understandinExcellence in typography is the result of nothing more tattitude. Its appeal comes from the understanding used

RomanItalic

1177-4Medium

Italic


1177-5Bold

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the u

1177-7Extra Bold

Excellence in typography is the result of nomore than attitude. Its appeal comes from

Excellence in typography is the result of nothing more thanattitude. Its appeal comes from the understanding used in

1131-1

1187-1 Excellence in typography is the result of nothing more than attitude. Its ap

comes from the understanding used in its planning; the designer must care.

SHBrodyTMSB

1147-1

Excellence in typ SHBroadwayTM

Excellence typ 1130-1


Medium

Light Italic


SHBrightonTMSB

Extra Bold1185-4 Excellence in typography is the result of

nothing more than attitude. Its appeal c

Bold1185-3 Excellence in typography is the result of nothi

more than attitude. Its appeal comes from the

SHBottleneckTM


Medium1185-2

Excellence in typography is the res1144-1

BodoniTM Condensed SB

Extra BoldExcellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its planning; the designer

Medium Italic


1178-4

MediumExcellence in typography is the result of nothing mthan attitude. Its appeal comes from the understan

1178-3

RomanExcellence in typography is the result of nothing morethan attitude. Its appeal comes from the understandin

1178-1

BodoniTM Old Style Figures SB

UltraExcellence in typography is the result ofnothing more than attitude. Its appeal co

1177-9

Extra BoldItalic

1177-8 Excellence in typography is the result ofnothing more than attitude. Its appeal c

LightExcellence in typography is the result of nothing morethan attitude. Its appeal comes from the understandin

1175-1

RegularItalic

1175-4 Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding

Excellence in typography is the result of notmore than attitude. Its appeal comes from t

1175-7Bold

SHBodoniTM No. 1 Condensed SB

1176-1Regular

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its planning; the designer mus

1176-4Medium

Italic

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its planning;

1177-2


Medium1177-3

1177-6BoldItalic


RomanItalic

Excellence in typography is the result of nothing more t attitude. Its appeal comes from the understanding used

1178-2

1178-5

SHBramleyTMSB

Regular1185-1 Excellence in typography is the result of noth

more than attitude. Its appeal comes from th

LightExcellence in typography is the result of nothing more tattitude. Its appeal comes from the understanding used

1146-2

1146-1

1146-3


Bold1146-4

SHBroadwayTM Engraved

Brush ScriptTMSB


SHCandidaTMSB


1239-1Roman

1239-2Roman

Italic


Excellence in typograph1242-1

SHCaslon GraphiqueTM

1243-1 Excellence in typogra

CaslonTMSB

1274-2Regular SC

Excellence in typography is the result of nothinmore than attitude. Its appeal comes from the unExcellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its

RegularItalic

1274-3

1274-5Bold

Excellence in typography is the result of nothing more than attitIts appeal comes from the understanding used in its planning; th

SHCaxtonTM

1244-1Light

1244-2LightItalic

Excellence in typography is thExcellence in typography is t

1245-2BookItalic

Excellence in typography is t

Excellence in typography Bold121244-3

1245-3Extra Bold Excellence in typograph

Excellence in typograph1245-4Extra Bold

Italic

SHCenturyTM Expanded

1246-1Roman Excellence in typography

Excellence in typography 1246-2Roman

Italic

CenturyTM No. 1 SB

1285-1Bold


1285-2Bold

Italic

Excellence in typography is the result of nothinmore than attitude. Its appeal comes from the u


1275-1Roman

Century NovaTMSB

Excellence in typography is the result of nothingmore than attitude. Its appeal comes from the und

Roman

1247-3Bold


SHCentury SchoolbookTMSB

1208-2Roman

Italic

Excellence in typography is the result of nothingmore than attitude. Its appeal comes from the unExcellence in typography is the result of nmore than attitude. Its appeal comes from

1208-3Bold

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding

1279-1Roman

Cheltenham Old StyleTMSB

1279-3Bold


1279-4BoldItalic


1279-5Roman


ChiselTMSB

1260-1

1281-1Light



1281-3Medium


1239-3Medium

Excellence in typography is the result of nothing more than attitude. Its appeal comes

SHCaslon BlackTM

1274-1Regular



Medium1274-4

CaslonTM Condensed SB

1245-1Book Excellence in typography is

Excellence in typography iBoldItalic

121244-4


1275-2Roman

Italic

SHCentury Old StyleTMSB

1247-1


RomanItalic

1247-2

1208-1Roman


Excellence in typography is the result of nomore than attitude. Its appeal comes from t

1208-4BoldItalic

Excellence in typography is the result of nothing more t attitude. Its appeal comes from the understanding used i

1279-2Roman

Italic

Cheltenham Old StyleTM Condensed SB

SHClarendonTMSB

1281-2Regular

Excellence in typography is the result ofnothing more than attitude. Its appeal co


nothing more than attitude. Its appeal c

BuxomTMSB


1281-4Bold


ClarendonTM Condensed SB

SHClearface GothicTMSB


1217-1Regular

1217-2Bold


1282-1Roman


Cloister Old StyleTMSB

1287-1

Excellence in typography is the result of nothing more than attitIts appeal comes from the understanding used in its planning;

SHCommercial ScriptTMSB

1233-1Light

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the undersused in its planning; the designer must care. In contemporary advertising the perfect integration of d

1234-1Regular


1234-2Regular

Italic

Excellence in typography is the result of nothing more than attitude. Its appeal cfrom the understanding used in its planning; the designer must care. In contem

SHCongressTMSB

1271-1Light


1272-1Regular


1271-2Medium


1271-3Bold

Excellence in typography is the result of nothingmore than attitude. Its appeal comes from the un Excellence in typography is

1307-1

SHData 70TM

SHCooper BlackTMSB

1283-1Regular

Excellence in typography is the result of nothing more than attitude. Its appExcellence in typography is the result of nothing more than attitude. Its appeal co

RegularItalic

SHCopperplateTMSB

1284-2Regular

Excellence in typography is the reof nothing more than attitude. Its Excellence in typography is the rof nothing more than attitude. Its

1284-3Bold

1222-1 Excellence in typography is

CourierTMSB

1278-1Medium

Excellence in typography is thresult of nothing more than at

1278-2Bold

Excellence in typography isthe result of nothing more t

SHCrilleeTMSB

1232-1LightItalic


Regular Italic


1232-3Extra Bold

Italic

Excellence in typography is the result of nothing more than attitude. Its appeal c


1217-3Extra Bold


1282-2Roman

Italic

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its planning; the de

1282-3Bold

Excellence in typography is the result of nothing more thattitude. Its appeal comes from the understanding used in

SHCloister Old Style TMSB

1282-4BoldItalic


SHCompactaTMSB

1233-2Bold

Excellence in typography is the result of nothing more than attitude. Itappeal comes from the understanding used in its planning; the designe

1233-3BoldItalic

Excellence in typography is the result of nothing more than attitude. Itappeal comes from the understanding used in its planning; the design

1234-3Black


1272-2Regular

Italic

Excellence in typography is the result of nothing mthan attitude. Its appeal comes from the understa

1271-4Black


1283-2

SHCooper BlackTM Condensed SB

1283-3Regular


1284-1Light

Excellence in typography is the reof nothing more than attitude. Its

SHCopperplateTM Condensed SB

1284-5Regular

Excellence in typography is the result onothing more than attitude. Its appeal coExcellence in typography is the resultof nothing more than attitude. Its appea

1284-6Bold

1284-4Light

Excellence in typography is the result of nothing more than attitude. Its appeal com

SHCountdownTM

1232-2

Bold Italic

Excellence in typography is the result of nothing more than attitude. Its appeal co

1232-3

SHCroissantTM

Excellence in typography is the result of nmore than attitude. Its appeal comes from t

1309-1

DavidaTM SB


DIN 17TMSB

1334-1


1306-1Regular

Excellence in typography is the result of nothing more than attitude. Its appcomes from the understanding used in its planning; the designer must care.

1306-3Bold

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its planning; the designer

1306-4BoldItalic


EgizioTM Condensed SB

1419-1


SHEgyptian 505TMSB

1420-2Regular


1420-3Medium

Excellence in typography is the result of nothing more than attitude. Its appeal comes

1403-2 Excellence in typography is the result of nothing morthan attitude. Its appeal comes from the understandin

Bold

SHEinhornTM

1414-1 Excellence in typogra

SHElefontTM

1415-1

1422-1

Excellence in typogra

Excellence in typography is the result of nothing more than attitude.Its appeal comes from the understanding used in its planning; the

EngraversTMSB

1423-1Regular

Excellence in typography ithe result of nothing more

MediumExcellence in typography ithe result of nothing more

SHEsquireTM

1461-1Regular Excellence in typograph

1461-2Regular

ItalicExcellence in typography

1461-3Medium Excellence in typograph

SHEuropa GroteskTM No. 1

1448-1Light Excellence in typography i

SHEuropa GroteskTM No. 2 SB

1452-1Ultra Light


Extra LightExcellence in typography is the result of nothimore than attitude. Its appeal comes from the

SHDom CasualTMSB

1306-2Regular

Italic

Excellence in typography is the result of nothing more than attitude. Its appeal comes from the understanding used in its planning; the designer must care. In con

1420-1Light


1420-4Bold


SHEgyptienneTM Condensed SB

SHEnglische SchreibschriftTMSB

1423-2

1448-2LightItalic

Excellence in typography 1448-3

Book Excellence in typograph1448-4

BookItalic

Excellence in typography1448-5

Medium Excellence in typograp1448-6

MediumItalic

Excellence in typograp1448-7

Bold Excellence in typogra1448-8

BoldItalic

Excellence in typogr

1452-2Ultra Light

Italic


1451-1

Extra LightItalic


1451-2

LightExcellence in typography is the result of nothinmore than attitude. Its appeal comes from the

1452-3

LightItalic


1452-4

RomanExcellence in typography is the result of nothimore than attitude. Its appeal comes from the

1451-3

RomanItalic


1451-4

MediumExcellence in typography is the result of nothmore than attitude. Its appeal comes from th

1452-5

MediumItalic


1452-6

BoldExcellence in typography is the result of nomore than attitude. Its appeal comes from t

1451-5

BoldItalic

Excellence in typography is the result of nmore than attitude. Its appeal comes from

1451-6

Extra BoldExcellence in typography is the result of nmore than attitude. Its appeal comes from

1452-7

Extra BoldItalic


1452-8

UltraExcellence in typography is the result of nothing more than attitude. Its appeal co

1451-7

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DextorTMSB

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SHEuropa GroteskTM No. 2 Condensed SB

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SHEuropa GroteskTM Condensed SB

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SHEuropa GroteskTM Extended SB

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1526-1


1540-1Light


MediumExcellence in typography is the result of nothingmore than attitude. Its appeal comes from the u

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SHFrankfurterTMSB

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Bold

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SHFutura© No. 1 Condensed SB

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1534-1


1541-1


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SHGaramondTM No. 2 SB

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SHLCDTM

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LifeTMSB


RegularItalic Excellence in typograph

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LiteraTMSB

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2123-4Bold


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SHMadameTM

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MediaevalTMSB

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2124-4Heavy


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MediaevalTM Condensed SB

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SHMinisterTM

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2221-1


2239-1Roman

SHMotter FeminaTM

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NewTelTMSB

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Old Towne No. 536TMSB


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Excellence in typography is the resof nothing more than attitude. Its

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SHPlazaTM

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2551-1Regular Excellence in typography is the 2551-2Regular

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Italic


The Scangraphic HistoryScangraphic’s success story began when Dr. Böger Duplomat, founded in 1934, took the decision in 1981 to combine long-standing repro expe-rience with a move into the typesetting world. Scangraphic was the new company that was founded to build digital composition systems that would blend expertise from both fields.

Mannesmann AG, one of the largest organizations in Germany, acquired Scangraphic in 1989 from the Dr. Böger Group, which was owned pri-marily by Knut Smeidel and Bernd Holthusen, those two had introduced phototypesetters to Dr. Böger in 1981, with the Scantext 1000 system. They then made Scangraphic one of the early companies to adopt internal-drum imagesetter technology with the Scantext 2000 in 1986.

Scangraphic imagesetters were the first to combine speed and precision via the unrivalled internal-drum imaging system, and Scangraphic were the first to make this output technology available to the PostScript market. The imaging onto stationary material guaranteed highest positioning- and repetition accuracy. Additional the imagesetter made in intervals of 1 mm a lenght-correction, to compensate tolerances. A further step in the quest to improve quality was the introduction of a continuously adjustable iris in the laser beam. This allowed a much finer adjustment of the size of the laser spot. The use of a mirror motor with air bearings, a new precision spindle and innovative electronics, enabled the highest imaging speed to be achieved in those days.

In 1980, Scangraphic began developing its own font library, which by the end of the decade was large and well respected.

Technical Specifications OpenTypeWhen licensing OpenType Fonts, you have chosen to use a modern font format that works on both Macintosh and PC platforms. The “OP” in the font name stands for “OpenType Plain”. Please note that you can use this Scangraphic OP fonts on Macintosh OS 9.2 and up, on OS X, and on Windows XP (or on Windows 98 and up with ATM 4.1 installed). To guarantee compatibility on both Mac and PC platforms, this font was manufactured as “Single Font”. The choice of the font must be made via the “Font Menu”. If you choose a style like Italic or Bold through the “Style” Menu, you will get an electronic modification instead of a true design. In existing documents composed with traditional Scangraphic PostScript or TrueType Fonts, the fonts will need to be assigned again if you wish to use the new OpenType fonts. These fonts contain the same character and keyboard layout as the classic Scangraphic PostScript and TrueType Fonts (at least where it is technically feasible).

OpenType fonts can contain up to 65,000 characters. If this font has been provided with alternative characters, you may be able to type cha-racters that formerly were available only through a font change.

Copyright © 2005 by Veronika Elsner, Günther Flake GbR, Hamburg. All rights reserved. Elsner+Flake reserves the right to revise this dokument and change the contents without any obligation to notify any person of such revision or changes.

Die Geschichte ScangraphicsScangraphics Erfolgsgeschichte begann 1981 mit Dr. Böger Duplo-mats Entscheidung, die fast 50jährige Erfahrung im Bereich Repro-technik auszunutzen, um den Schritt in die Welt des Schriftsatzes zu tun.

1989 erwarb die Mannesmann AG, eine der größten deutschen Organisationen, Scangraphic von der Dr. Böger Gruppe, deren Inhaber Kurt Smeidel und Bernd Holthusen waren. Seit der ersten Stunde, lange bevor dies zum Standard wurde, konnten sich die Anwender von Scangraphic-Systemen, die 1982 erstmals vorge-stellt wurden, auf die komplette Druckseite konzentrieren. Damals revolutionär und heute selbstverständlich, konnten in Scantext-Systemen bereits ab 1984 Ganzseiten und Schriften in Echtdarstel-lung am Monitor angezeigt und bearbeitet, Text, Bild und Grafik integriert werden.

Scangraphic-Belichter waren die ersten, die mit dem qualitativ nach wie vor unangefochtenen Indrum-Belichtungsprinzip Schnel-ligkeit und Top-Präzision verbanden. Diese Technologie stellte Scangraphic als erstes Unternehmen dem PostScript-Markt zur Verfügung. Auch das Workflow-Management machte sich Scan-graphic zum Thema. Mit Combo und PrintExpress stand eine Soft-ware zur Verfügung, die sich mit modularen Bausteinen ständig erweitern ließ.

Bernd Holthusen begann 1980 die Scangraphic Digital Type Collection aufzubauen, die innerhalb von zehn Jahren ca. 2500 Schriften umfasste.

Technische Spezifikationen OpenTypeMit der Lizenzierung eines Scangraphic OpenType-Plain-Fonts haben Sie sich zur Nutzung eines modernen plattformneutralen Font-Formates entschlossen. Bitte beachten Sie, dass folgende Systemvoraussetzungen für den Einsatz von OpenType-Fonts gelten: Macintosh ab OS 9.2 und höher, Windows XP (ab Windows 98 und höher nur mit ATM 4.1). Damit ein plattform-übergreifender Austausch von Dokumenten möglich ist, wurde der Font als »Single Font« hergestellt, der über das »Font Menü«, nicht über das Menü »Stil«, anzuwählen ist. Bei der Anwahl eines fetten oder kursiven Schriftschnittes über das Menü »Stil« erhal-ten Sie eine elektronische Modifikation. In existierenden Doku-menten, die bereits mit SG PostScript- oder SG True-Type-Fonts aktiviert wurden, müssen Sie aufgrund der unterschiedlichen Schriftnamen die Fonts neu zuweisen, wenn Sie OpenType-Fonts nutzen wollen. Der Zeichenumfang und die Tastenzuweisung ent-spricht, soweit technisch möglich oder noch sinnvoll, den von uns angebotenen SG PostScript- und TrueType-Fonts.

Da OpenType-Fonts bis zu 65.000 Zeichen enthalten können, besteht die Möglichkeit, dass darüber hinaus alternative Zeichen vorhanden sein können, die in traditionellen PostScript- und True-Type-Fonts nur über Fontwechsel zu erreichen waren.

Copyright © 2005 by Veronika Elsner, Günther Flake GbR, Hamburg. Alle Rechte vorbehalten. Elsner+Flake behält sich vor, Inhalt und Angaben in dieser Drucksache zu ändern, ohne ver-pflichtet zu sein, irgendeine Person von diesen Änderungen in Kenntnis zu setzen.

Scangraphic Digital Type Collection www.scangraphic-fonts.com

Typeface: Today SB Regular, Italic, Bold and Bold Italic

Scangraphic Digital Type CollectionTypeface Index 2005

E-Mail: [email protected], www.scangraphic-fonts.com

scangraphic digitaltype1170-9 bold osf italic excellence in typography is the result of nothing mo...

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