Grenze: The Creation Chap.J. of The World

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Page 1
of the world.
Chap.j.
The creation
* GR E N Z E ri p t w riting BY RENAT
A POL ASTRI
*
ed in th e b ro k en sc S-TYPE
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th e firmament; a Grenze Thin Italic
7A n d G o d m a d e t, fro m th e Grenze Extra Ligh
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th e th e fi rm a m en
th e b eg in n in g , God created w a te rs , w h ic h were under a m en t: a n d it w as ſo. Grenze Extra Li gh t Italic
n rm
manity, and the ve n s a n d ea rt h . 2 The earth was w a te rs , w h ic h were about the fi h ea ve n : a n d th e Grenze Light
Grenze Light Italic
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t. The teſtimony d vo id , a 8 And God ca ll ed
without form an d day. Grenze Regular
s Ch riſ
office of Jeſu
calling of Andrew
,
A n d th e g w er e th e ſe co n
of John. 39 The
a s o ve r th e fa ce of the deep. E ve n in g a n d the Mornin rs u n d er th e h ea ven Grenze Italic
Peter, & c. w
a s h o ve ri n g over the n d G o d ſa id , *Let the wate e d ry
Grenze Medium
Grenze | © Omnibus-Type 2017
Spirit of Go d w o d 9¶ A e p la ce , a n d le t th Grense Medium Ita

lic
it o f G to o n
And the Spir be gathered toget
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face of the deep. rs . d ir w as ſo .1 0 A n d G o d ca Se m ib ol d Italic
o f th e w a te nd a p p ea re : a n of th e w a te rs Gr en ze
r the face nd there was la Earth, and the gathering together ood.
was hovering ove et th er e b e li g h t, ” a
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the light and w th a t th e li g h ca ll ed h ee , b ri n g fo o rt h † graſſe Grenze Extr a
Let the Earth
Itali
light. And God sa om the darkness. God called the
† Hebr. betweene tr a Bo ld
ſa id , u it Grenze Ex
between the da
rk neſſe.
11 A n d G o d tree, ye el d in g fr k
ht fr ht. And there ed, and the fruit Grenze Bl ac
† Hebr. an d th e Ev ening was,
separated the lig rk n es s h e ca ll ed N ig e h er b e ye el d in g ſe
u po n th e ea rt h : Grenze Black It
alic
and the Morning
wa s, & c.
y, a n d th e d a d a y. th ed is in it ſe lf e,
. 12. and 51. light Da as morning, the fi
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le ſe raſſe,
brought foorth g
6, 5. ier e. 10
* Pfal. 13
in g a n d th er e w se ¹ in th e a ft e ea rt h
was even a n th
n.
† Hebr. Expanſ io
s ex p A n d
n d G o d sa id , “Let there be a n
G o d m a d e² a nd it was ſo. 12 , w h o le ſe ed w a s in it ſelfe, after
A rbe yeelding fruit
4 e waters.” 5 And
Page 2
GRENZE
DESIGNER Renata Polastri & Omnibus-Type Team STYLES & WEIGHTS Grenze Thin
Grenze Thin Italic
Grenze Extra Light
DESIGN YEAR 2016-2017 Grenze Extra Light Italic
Grenze Light
FORMAT OpenType PostScript (.otf) Grenze Light Italic
Grenze Regular
Grenze Italic
LANGUAGE COVERAGE Grenze supports 219 latin based lan- Grenze Medium
guages, which are spoken in different Grense Medium Italic
Grenze Semibold
212 countries.
Grenze Semibold Italic
Grenze Bold
ABOUT THE TYPEFACE Grenze is a roman and blackletter Grenze Bold Italic
Grenze Extra Bold
typeface family, inspired in the broken Grenze Extra Bold Italic
script writing models. It’s a family in Grenze Black
nine weights with a strong personality Grenze Black Italic
and is equipped with several features
to respond properly to different needs
of a text typeface: ligatures, ornaments,
extended language support, and vari-

ous figure sets.
↑
GRENZE
Page 3
DESIGN FEATURES
aaaaaaaaa
GRADUAL WEIGHT INCREASE
THIN EXTRALIGHT LIGHT REGULAR MEDIUM SEMIBOLD BOLD EXTRABOLD BLACK
WEIGHT
AXIS
ROMAN
Hna Hna Hna Hna Hna Hna Hna Hna Hna
ITALIC
Hna Hna Hna Hna Hna Hna Hna Hna Hna
↑
Page 4
All styles in Grenze has

been created to solve
different hierarchy levels
↑
Page 5
GRENZE
↓
DESIGN FEATURES
«Words are just w

Sharp terminals Calligraphic chapes
REGULAR High X
height
words no
close counters
Sharp serifs
Condensed structure
BOLD
without their purp

Diagonal stress Working with extreme points
ITALIC
GRENZE SHARES
WHICH IS GIVEN
8° FEATURES OF THE
BROKEN SCRIPT
WRITING MODELS
MEDIUM
the tone and that

Condensed structure
BOLD ITALIC
Latin Plus
character set
Design space
Page 6
GRENZE
↓
SYSTEM SAMPLE
BROKEN MODELS Gutenberg Bible

and the Giant
IN A MODERN AGE Bible of Mainz
The Renaissance affected
change in every sphere of life &
BLACKLETTER
GOTHIC The Caroline minuscule (accompanied by a form of
uncial majuscule) evolved into a more angular and
SCRIPT laterally compressed script.
Humanism THE FIRST ROMAN FONTS | April 18, 2016

born in Florence ilovetypography.com
Page 7
GRENZE
↓
SPECIMEN
THIN
36 PT The Canterbury Tales by Geoffrey Chaucer
REGULAR
38 PT The procession that crosses Chaucer’s
SEMIBOLD
41 PT pages is as full of life and as richly
BLACK
41 PT textured as a medieval tapestry
THIN ITALIC
34 PT Sir Gawain and the Green Knight by Unknown
ITALIC
35 PT Written by an anonymous 14th-century poet
SEMIBOLD ITALIC
43 PT this epic poem is recognized as an equal
BOLD ITALIC
45 PT of the great Old English poems
Page 8
GRENZE
↓
SPECIMEN
The Divine Comedy

Le Morte ďArthur: King Arthur and the Legends of the Round Table
The Decamerone
508 GLYPHS
GIOVANNI BOCCACCIO
PER FONT
Ecclesiastical History of the English People

The Nibelungenlied
Powerful tale of revenge reaches back to the earliest epochs of German antiquity
The Letters of Abélard and Héloïse

This is the revised edition of Betty Radice's highly regarded translation
Page 9
GRENZE
↓
SPECIMEN
The Metal Bowl

Miranda July on the Wild Contradictions of Marriage
Poésie réactive. Brouiller les pistes
Colson Whitehead traverse en train fantôme l’Amérique esclavagiste
Termietenkolonie
L A T I N P LU S
CHARACTER SET
"Sorry, maar er zit geen leider in ons brein"

Gonçalves de Magalhães
Når noget slutter

Læser i åben konsultation med litteraturlægen
Page 10
GRENZE
SPECIMEN
CHAPTER 2
ARISTOTLE
340 BC
Elements of the Dream
THIS IS THE WHOLE dream, or, at all events, all that I can
remember. It appears to me not only obscure and meaningles, but
more especially odd. Mrs. E.L. is a person with whom I am scarcely
on visiting terms, nor to my knowledge have I ever desired any more
cordial relationship. I have not seen her for a long time, and do not
think there was any mention of her recently. No emotion whatever
accompained the dream process.

Reflecting upon this dream does not make it a bit clearer to
my mind. I will now, however, present the ideas, without premedita-
tion any without criticism, which introspection yielded. i soon notice
↑ that it is an advantage to break up the dream into its elements, and to
search out the ideas which link themselves to each fragment.
LE TIERS LIVRE.
Page 11
GRENZE
I
SPECIMEN
E porrois cy honneſtment faire fin a mon. O euure mais pource que ie voy
maints eſcripuans en lere Aique y ſcauoir deumét bien fairles poits &
diſtinctions qui y font neceſſaires ſelon le diuers ſens qui y eſchet en eſcrips
uant, ien baillera y vng petit deſeing des plus requis, & les deſcripray breumét
ainfi que les bons Peres Anciens en vſoient au temps paſſe.
L Es points qui font plus requis entre Leres Aiques font le point Triangu-
laire, Le Crouch, & le Quarre. Le Triangulaire, veult eſtre deſeigne & faict
de deux tours de Compas, & dune Lingne droicteioincteau deſſoubz diceulxs
deux tours de Cópas. Le poit Crochu ſera bié faict de deux tours de Cópas auſſi
auec vne ligne trauerceant en bies quafi par la tierce partie du pluſgrant
tour, & adherent au petit tour de Compas. Le point Quarre eſtiuſtemét faict
de quatre tours de Compas equidiſtamment aſſis, & en faiſant les deux de
deſſus vng peu pluſpetits que ceulx de deſſoubz comme pouuez veoir en la
Figure qui ſenſuyt.
N Otez bien la ſituation dung chacun en

point entre les deux extremes lignes du
Type 2017 | All rights reserved
quarre, car les vngs veulét eſtre aſſis plus

Notez hault que les autres. Le point quarre, veult
icy le eſtre aſſis preciſement ſus lextreme ligne dé
Liue bas, fus la quelle toutes les leres Aiques
pour aſ- veulét eſtre affiſes pour eſtre eſcriptes &
Omnibus-Type
ſeoir les pceder lune apres lautre en ligne equilibree.

Grenze | © Omnibus
poincts. Le point Crochu veult eſtre affis vne ligne

plus hault que le point Quarre, ceſt a dire ſus
↑ la deuxieſme ligne en montant. Et Le point
Triangulaire veult eſtre eſcript & ſitue ſus la
trofieſme ligne, comme il apert cy ioignát au
deſeing ou ilz font tous trois bié faicts.
Page 12 REGULAR By JASON FARAGO | AUG. 30, 2017
GRENZE 8 PT
Weekend in Los Angeles:

TEXT SAMPLES
BLACK & BLACK ITALIC
37/41
That Touch of Brazil

MEDIUM ITALIC
17/21 PT Next month is the official kickoff of Pacific Standard Time: LA/LA,
a festival of exhibitions and events throughout Southern California.
REGULAR
12/14 PT
PST, as it’s called, meanders into more than 60 museums, from Santa Barbara to San Diego,
each of which presents an exhibition or more of art from Latin America or America’s Latino
communities. Another 65 commercial galleries here are also getting in on the act: proof, if
wearied New Yorkers like me needed it, that Los Angeles’s art scene is now second to none.
REGULAR 10/12 PT REGULAR 8/10 PT
A few shows affiliated with PST have opened early, Ms. Maiolino was born in 1942 in Calabria, the less developed south
and one exhibition downtown — by the Italian-born of Italy, and early memories of wartime privation, as well as the
burdens of immigration and leaving one’s native tongue, suffuse
Brazilian artist Anna Maria Maiolino, who is at her later art. Her family moved first to Venezuela, then to Brazil
last receiving her first American retrospective at the before she was out of her teens. The Brazil that she discovered was
Museum of Contemporary Art — should be urgent undergoing a wholesale transformation under the decisive civilian
viewing for both local audiences and for the crowds president Juscelino Kubitschek, with a brand-new capital, Brasília,
arriving this September from this country’s east and rising like magic in the country’s interior.
from this hemisphere’s south. As a young artist, living She attended art school in Rio de Janeiro, where she studied
under Brazil’s military government, she used painting, alongside the painters Antonio Dias and her future husband, Rubens
photography, video and paper collage to express her Gerchman. They, and Ms. Maiolino too, would develop a hot-colored
anxieties under the regime and her displacement in style known as Nova Figuração (“new figuration”), which rhymed in
the New World, as well as her identity as a mother places with American pop or French narrative figuration. (You may
have seen their work in “International Pop,” a major exhibition at the
and daughter. Later, in a democratic Brazil, she made Walker Art Center and other American museums last year.) A few of
equally poignant drawings and works in clay and Ms. Maiolino’s early works reflect the pugnacious orientation of Nova
plaster, which explore more elemental themes of Figuração, and directly contest the junta that took power in Brazil in
hunger and nourishment, ritual and obsession. 1964. For “O Herói” (“The Hero”), from 1966, multiple panels
↑ SEMIBOLD NEW YORK TIMES •

8 PT
Page 13
GRENZE
↓
TEXT SAMPLES
THIN 10/12 PT EXTRA LIGHT 10/12 PT LIGHT 10/12 PT
Removing a civil servant from his area of expertise Removing a civil servant from his area of expertise Removing a civil servant from his area of expertise
and putting him in a job where he’s not needed and and putting him in a job where he’s not needed and and putting him in a job where he’s not needed and
his experience is not relevant is a colossal waste of his experience is not relevant is a colossal waste of his experience is not relevant is a colossal waste of
taxpayer dollars. Much more distressing, though, is taxpayer dollars. Much more distressing, though, is taxpayer dollars. Much more distressing, though, is
what this charade means for Alaska and American what this charade means for Alaska and American what this charade means for Alaska and American
livelihoods in the north. livelihoods in the north. livelihoods in the north.
REGULAR 10/12 PT MEDIUM 10/12 PT SEMIBOLD 10/12 PT
Removing a civil servant from his area of expertise Removing a civil servant from his area of exper- Removing a civil servant from his area of
and putting him in a job where he’s not needed tise and putting him in a job where he’s not need- expertise and putting him in a job where he’s
and his experience is not relevant is a colossal ed and his experience is not relevant is a colossal not needed and his experience is not relevant
waste of taxpayer dollars. Much more distressing, waste of taxpayer dollars. Much more distressing, is a colossal waste of taxpayer dollars. Much
though, is what this charade means for Alaska and though, is what this charade means for Alaska more distressing, though, is what this charade
American livelihoods in the north. and American livelihoods in the north. means for Alaska and American livelihoods in
the north.
BOLD 10/12 PT EXTRA BOLD 10/12 PT BLACK 10/12 PT
Removing a civil servant from his area of Removing a civil servant from his area of Removing a civil servant from his area of
expertise and putting him in a job where he’s expertise and putting him in a job where he’s expertise and putting him in a job where he’s
not needed and his experience is not relevant not needed and his experience is not rele- not needed and his experience is not rele-
is a colossal waste of taxpayer dollars. Much vant is a colossal waste of taxpayer dollars. vant is a colossal waste of taxpayer dollars.
more distressing, though, is what this charade Much more distressing, though, is what this Much more distressing, though, is what this
means for Alaska and American livelihoods in charade means for Alaska and American charade means for Alaska and American
the north. livelihoods in the north. livelihoods in the north.
Page 14
GRENZE
↓
TEXT SAMPLES
THIN ITALIC 10/12 PT EXTRA LIGHT ITALIC 10/12 PT LIGHT ITALIC 10/12 PT
Removing a civil servant from his area of expertise and Removing a civil servant from his area of expertise Removing a civil servant from his area of expertise
putting him in a job where he’s not needed and his ex- and putting him in a job where he’s not needed and and putting him in a job where he’s not needed and
perience is not relevant is a colossal waste of taxpayer his experience is not relevant is a colossal waste of his experience is not relevant is a colossal waste of
dollars. Much more distressing, though, is what this taxpayer dollars. Much more distressing, though, is taxpayer dollars. Much more distressing, though, is
charade means for Alaska and American livelihoods in what this charade means for Alaska and American what this charade means for Alaska and American
the north. livelihoods in the north. livelihoods in the north.
ITALIC 10/12 PT MEDIUM ITALIC 10/12 PT SEMIBOLD ITALIC 10/12 PT
Removing a civil servant from his area of expertise Removing a civil servant from his area of expertise Removing a civil servant from his area of exper-
and putting him in a job where he’s not needed and and putting him in a job where he’s not needed and tise and putting him in a job where he’s not needed
his experience is not relevant is a colossal waste of his experience is not relevant is a colossal waste of and his experience is not relevant is a colossal
taxpayer dollars. Much more distressing, though, is taxpayer dollars. Much more distressing, though, is waste of taxpayer dollars. Much more distressing,
what this charade means for Alaska and American what this charade means for Alaska and American though, is what this charade means for Alaska
livelihoods in the north. livelihoods in the north. and American livelihoods in the north.
BOLD ITALIC 10/12 PT EXTRA BOLD ITALIC 10/12 PT BLACK ITALIC 10/12 PT
Removing a civil servant from his area of Removing a civil servant from his area of Removing a civil servant from his area of
expertise and putting him in a job where he’s expertise and putting him in a job where he’s expertise and putting him in a job where he’s
not needed and his experience is not relevant not needed and his experience is not relevant not needed and his experience is not relevant
is a colossal waste of taxpayer dollars. Much is a colossal waste of taxpayer dollars. Much is a colossal waste of taxpayer dollars. Much
more distressing, though, is what this charade more distressing, though, is what this charade more distressing, though, is what this charade
means for Alaska and American livelihoods in means for Alaska and American livelihoods in means for Alaska and American livelihoods in
the north. the north. the north.
Page 15
GRENZE
↓
CHARACTER SET
ROMAN
UPPERCASE ABCDEFGHIJKLMNOPQRSTUVWXYZÁĂÂÄẠÀĀĄÅǺÃÆǼĆČÇĈĊĎĐÉĔÊĚËĖẸÈĒĘ
ẼĞǦĜĢĠĦĤÍĬÎÏİỊÌĪĮĨĲ�ĴĶĹĽĻĿŁÐ�ŃŅŇ�ƝÑŊÓŎÔÖỌÒŐŌǪØǾÕŒŔŘŖŚŜŞŠȘŤŦ
ŢȚÚŬÛÜỤÙŰŪŲŮŨẂŴẄẀÝŶŸỲỸȲŹŽŻÞẞƏ
LOWERCASE abcdefghijklmnopqrstuvwxyzáăâäạàāąåǻãæǽćčçĉċďđéĕêěëėẹèēęẽğǧĝģġħĥḥíĭîïị
ìīįĩıĳ�ĵȷķĸĺľļŀłð�ńŉņňɲ�ñŋóŏôöọòőōǫøǿõœŕřŗśŝşšșťŧţțúŭûüụùűūųůũẃŵẅẁýŷÿỳ
ỹȳźžżþßəſ
LIGATURES
fi fl ff ffi ffl ﬆ fh ck tt
PUNCTUATION
*\·•:,…!¡#.?¿”’;//_{}[]()—–-‑« »‹›„“”‘’‚∙∕@&/¶§©®™°|¦†ℓ‡℮^
FIGURES AND 0123456789 • 0123456789 • 0123456789 • 0123456789 • ¹²³¼½¾ • ¢¤$€ƒ₲£¥

CURRENCY SYMBOLS
MATH SYMBOLS +−×÷=≠><≥≤±≈~¬∞∫Ω∆∏∑√∂µ%‰◊

ACCENTS
�`´´¯ʼˆˇˇˉ˘˙˚˛˜˝ ̛ ̣ ̦ ̧ � � � � � � � � � � � � � � � � �
Page 16
GRENZE
↓
CHARACTER SET
ITALIC
UPPERCASE ABCDEFGHIJKLMNOPQRSTUVWXYZÁĂÂÄẠÀĀĄÅǺÃÆǼĆČÇĈĊĎĐÉĔÊĚËĖẸÈĒĘẼĞ
ǦĜĢĠĦĤÍĬÎÏİỊÌĪĮĨĲ�ĴĶĹĽĻĿŁÐ�ŃŅŇ�ƝÑŊÓŎÔÖỌÒŐŌǪØǾÕŒŔŘŖŚŜŞŠȘŤŦŢȚÚŬ
ÛÜỤÙŰŪŲŮŨẂŴẄẀÝŶŸỲỸȲŹŽŻÞẞƏ
LOWERCASE abcdefghijklmnopqrstuvwxyzáăâäạàāąåǻãæǽćčçĉċďđéĕêěëėẹèēęẽğǧĝģġħĥḥíĭîïịìīį
ĩıĳ�ĵȷķĸĺľļŀłð�ńŉņňɲ�ñŋóŏôöọòőōǫøǿõœŕřŗśŝşšșťŧţțúŭûüụùűūųůũẃŵẅẁýŷÿỳỹȳź
žżþßəſ
LIGATURES
fi fl ff ffi ffl ﬆ fh ck tt
PUNCTUATION
*\·•:,…!¡#.?¿”’;//_{}[]()—–-‑« »‹›„“”‘’‚∙∕@&/¶§©®™°|¦†ℓ‡℮^
FIGURES AND 0123456789 • 0123456789 • 0123456789 • 0123456789 • ¹²³¼½¾ • ¢¤$€ƒ₲£¥

CURRENCY SYMBOLS
MATH SYMBOLS +−×÷=≠><≥≤±≈~¬∞∫Ω∆∏∑√∂µ%‰◊

ACCENTS
�`´´¯ʼˆˇˇˉ˘˙˚˛˜˝ ̛ ̣ ̦ ̧ � � � � � � � � � � � � � � � � �
Page 17
GRENZE
↓
OT FEATURES
LIGATURES fi fl ff ffi ffl st fh ck tt

fi fl ff ffi ffl st fh ck tt
LINING FIGURES TO PROPORTIONAL
FIGURES SUPERIOR
0123456789 123
0123456789� 123
FRACTIONS 1/2 1/4 3/4

1/2 1/4 3/4
ORDINALS 1a 1o 1A 1O
1a 1o 1A 1O
Page 18
& GRENZE
DESIGNER
CONTENT SOURCES
Renata Polastri & Omnibus-Type Team
www.newyorker.com
www.politiken.dk
www.nytimes.com
www.lemonde.fr
www.demorgen.be
www.omnibus-type.com

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§§§§§§§

o m a n a n d b la ckletter typeface ith a strong personality and is equ

Spirit of Go d w o d 9¶ A e p la ce , a n d le t th Grense Medium Ita

extended language support, and vari-

THIN EXTRALIGHT LIGHT REGULAR MEDIUM SEMIBOLD BOLD EXTRABOLD BLACK

All styles in Grenze has

«Words are just w

without their purp

the tone and that

BROKEN MODELS Gutenberg Bible

Humanism THE FIRST ROMAN FONTS | April 18, 2016

The Divine Comedy

Ecclesiastical History of the English People

The Letters of Abélard and Héloïse

The Metal Bowl

"Sorry, maar er zit geen leider in ons brein"

Når noget slutter

Elements of the Dream

accompained the dream process.

N Otez bien la ſituation dung chacun en

quarre, car les vngs veulét eſtre aſſis plus

ſeoir les pceder lune apres lautre en ligne equilibree.

poincts. Le point Crochu veult eſtre affis vne ligne

Weekend in Los Angeles:

That Touch of Brazil

REGULAR 10/12 PT REGULAR 8/10 PT

↑ SEMIBOLD NEW YORK TIMES •

THIN 10/12 PT EXTRA LIGHT 10/12 PT LIGHT 10/12 PT

REGULAR 10/12 PT MEDIUM 10/12 PT SEMIBOLD 10/12 PT

BOLD 10/12 PT EXTRA BOLD 10/12 PT BLACK 10/12 PT

ITALIC 10/12 PT MEDIUM ITALIC 10/12 PT SEMIBOLD ITALIC 10/12 PT

FIGURES AND 0123456789 • 0123456789 • 0123456789 • 0123456789 • ¹²³¼½¾ • ¢¤$€ƒ₲£¥

MATH SYMBOLS +−×÷=≠><≥≤±≈~¬∞∫Ω∆∏∑√∂µ%‰◊

FIGURES AND 0123456789 • 0123456789 • 0123456789 • 0123456789 • ¹²³¼½¾ • ¢¤$€ƒ₲£¥

MATH SYMBOLS +−×÷=≠><≥≤±≈~¬∞∫Ω∆∏∑√∂µ%‰◊

LIGATURES fi fl ff ffi ffl st fh ck tt

FRACTIONS 1/2 1/4 3/4

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