Binnenland

<body> <div style="width:640px"> <p>binnenland.ch - Fonts and Typography - Producers and distributors of the typefaces Blender and Blender Pro, Catalog, Relevant, T-Star and T-Star Pro, T-Star TW, Regular. </p> <p> </p> <p>      auto-forwarding to <a href="type"><u>type</u></a> - Binnenland Main Site (Javascript required!)</p> <p> </p> <script type="text/javascript"> window.location.href='type'; </script> <noscript> <p> </p> <h3>About Binnenland</h3> <h2>Binnenland</h2> <table width="95%" border="0"> <tr> <td scope="col"><div align="left">Binnenland designs, creates and sells digital fonts and takes up typographical issues. Binnenland offers font products created either for particular graphics jobs or for the pleasure of experimenting and for meeting type-related challenges. Binnenland follows structural ordering principles when designing typefaces and shaping individual characters. Binnenland is rooted in understanding typeface design visually and graphically. <br> The company was founded in 2007 by Michael Mischler and Nik Thoenen. Nik Thoenen works and lives in Vienna. Michael Mischler worked for the Berlin publishing house die gestalten for nine years and lives and works in Bern now.</p> </tr> </table> <table width="100%" border="0"> <tr> <td scope="col"><div align="left"> <h3> </h3> Binnenland<br /> Mischler & Thoenen<br /> Bahnstrasse 21<br /> 3008 Bern<br /> Switzerland<br /> <p>info(at)binnenland.ch<br /> Fax ++41 (0)31 398 22 81<br /> <h3> </h3></p> </tr> </table> <table width="95%" border="0"> <tr> <td scope="col"><div align="left"> <br> Binnenland says thanks to <a href="http://www.silverserver.at/" target="_blank">Silverserver</a> for their server support,<a href="http://m.ash.to/" target="_blank">m.ash</a> for coding, <a href="http://www.schattenbild.ch/" target="_blank">Margit Fellerer</a> for constant support, <a href="http://www.maiagusberti.net//" target="_blank">Maia Gusberti</a> for work on project content, <a href="http://www.jade-enterprises.at/" target="_blank">Michaela Schwentner</a> for all the love, <a href="http://www.norm.to/" target="_blank">Dimitri Bruni & Manuel Krebs</a> for the exchange about fonts, <a href="http://www.lineto.com/" target="_blank">Stefan Müller </a> for telephone information, <a href="http://www.lineto.com/" target="_blank">Cornel Windlin</a> for tolerating mistakes we made, <a href="http://www.optimo.ch/" target="_blank">David Rust</a> for technical support, <a href="http://www.luther-m.de/" target="_blank">Michael Luther</a> for testing our fonts on all platforms, <a href="http://www.n-n.ch/"target="_blank">André Vladimir Heiz</a> for the usability bequeathed signs, <a href="http://www.fotok.at/" target="_blank">Pascal Petignat and Martin Scholz-Jaszkus</a> for the beauties of the common tool, <a href="http://www.art-agency.ch/" target="_blank">Karin Frei Rappendecker</a> for the plea at the mistake, <a href="www.zwei-null.ch" target="_blank">Claudia Mareis</a> for the interrelationship between design and knowledge, <a href="http://www.zimoun.ch/" target="_blank">Zimoun</a> with his project <a href="http://www.leerraum.ch/" target="_blank">leerraum.ch</a> for his affinity, François Rappo for his knowledge and research on fonts, <a href="http://www.giessform.ch/" target="_blank">Tomas Sanchez</a> for spanish and Marco Mangione for italian translation, Silja Bilz for answering so many questions, Adrian Frutiger for his life's work, Hansjürg Hunziker for aspects of Arabic script reform, Wim Crouwel for his highly abstract fonts, <a href="http://www.typographischegesellschaft.at/" target="_blank">tga</a> for their fondly highlights in lectures and symposia, Peter Affolter for showing us the pen-stroke in a Carolingian minuscule, <a href="http://www.bless-service.de/" target="_blank">BLESS</a> for their statement, Tano Bojankin and urtica for the cyrillic impact, <a href="http://www.pfadfinderei.com/" target="_blank">Critzler</a> for our first introduction to a font drawing program, <a href="http://www.flag.cc/" target="_blank">Bastien Aubry</a> for access to Berlin, <a href="http://www.onlab.ch/" target="_blank">Nicolas Bourquin</a> for his uncomplicated approach, Michael Robinson for translation. <a href="http://www.sfgb-b.ch/de/1.html" target="_blank"> sfgbb</a> for their relaxed handling of typography, Autodesk Inc for Monotxt, <a href="http://www.decodeunicode.org/" target="_blank">decodeunicode.org</a> for their farshightedness. <p> © 2008/2009 binnenland.ch </p> </tr> </table> <p> </p> <h2>Binnenland Fonts:</h2> <h3>About the Font</h3> <h2>Blender</h2> <table width="95%" border="0"> <tr> <td scope="col"><div align="left">In linguistics, a blend is a word formed of parts of two other words. These parts are sometimes, but not always, morphemes. <br /> Wim Crouwel created and pursued the typeface 'Gridnik' in the late 1960s with great consistency. The font was digitalized by TheFoundry in the late 1990s. This was one of the starting points for 'Blender'. But softer formal modules were blended with its underlying strict construction grid in order to do greater justice to bulk composition-without using typographical highlighting, however. <br /> The Blender-font designed by Nik Thoenen in 2002, find its last revision and complement for the Latin Extended as also Cyrillic language sets in 2007. </div></td></tr> </table>     <a href='type/?font_id=0'><u>go to Blender Demo</u></a> <p> </p> <h3>About the Font</h3> <h2>Catalog</h2> <table width="95%" border="0"> <tr> <td scope="col"><p align="left">A catalog or catalogue is an organized, detailed, descriptive list of items arranged systematically. It may also refer to a list of items enumerated with a specific numbering scheme. The word comes from the Hesiodic Catalogue of Women or Eoiae. Catalog is a serif typeface imitating an Antiqua, but constructed geometrically and essentially following classicism fonts in its functionality. 'Catalog' was created in 2005 as part of an art catalogue conceived as a manifesto (by the Fonds régional d'art contemporain de Lorraine). </p> <p> Design by Michael Mischler and Nik Thoenen, 2005</p> </td> </tr> </table>     <a href='type/?font_id=1'><u>go to Catalog Demo</u></a> <p> </p> <h3>About the Font</h3> <h2>Relevant</h2> <table width="95%" border="0"> <tr> <td scope="col">Relevance is a measure of how strongly something influences reality or how well a piece of information or a theory can convey knowledge about reality at first regardless of whether this knowledge is true. Relevance evaluates the quality of information. Significance always depends strongly on the context in which it is interpreted. The form of 'Relevant' was loosely influenced by 'Record Gothic', created by R. Hunter Middleton for the Ludlow Typograph Company in 1927, but also by the historical textbook types used in Northern and Southern Germany, Bavaria and Switzerland. Our aim was to develop a homogeneous, rounded font, formulating a soft, legible type with constantly recurring arcs and curves. The 'a' without an upper bar, as in handwriting, is rarely found in sans-serif fonts. In 'Relevant' this form is re-drawn with a swung terminal. <p> Design by Michael Mischler and Nik Thoenen, 2007</p> </td> </tr> </table>     <a href='type/?font_id=2'><u>go to Relevant Demo</u></a> <p> </p> <h3>About the Font</h3> <h2>T-Star</h2> <table width="95%" border="0"> <tr> <td scope="col"><div align="left">A star is a massive ball of luminous plasma. The nearest star to Earth is the Sun, which is the source of most of the Earth's energy. Other stars are visible in the night sky, when they are not outshone by the Sun. T- stands for Type, Typ, Typography. 'T-Star' is a plain, technically constructed monoline font. Its pronounced x-height makes it very legible even in small point sizes. The font is cut very tightly, which delivers great economy of space. <p>Design by Michael Mischler, 2002</p> </div></td> </tr> </table>     <a href='type/?font_id=3'><u>go to T-Star Demo</u></a> <p> </p> <h3>About the Font</h3> <h2>T-Star TW </h2> <table width="95%" border="0"> <tr> <td scope="col"><div align="left">'T-Star TW' continues 'T-Star' in a triple space font. The added TW refers to Typewriter and therefore needed monospace fonts, but unlike these, T-Star TW has three different widths. <p>Design by Michael Mischler and Nik Thoenen, 2007 </p> </div></td> </tr> </table>     <a href='type/?font_id=4'><u>go to T-StarTW Demo</u></a> <p> </p> <h3>About the Font</h3> <h2>Regular</h2> <table width="95%" border="0"> <tr> <td scope="col"><div align="left">The 'Regular' font is originally created by Norm (Dimitri Bruni and Manuel Krebs) as a lucidly structured and fully formulated headline typeface font back in 1999. Later adapted and rounded out by Nik Thoenen to this current version, completed with small letters and the complete alphabet. </div></td></tr> </table>     <a href='type/?font_id=5'><u>go to Regular Demo</u></a> <p> </p> <h3>About the Font</h3> <h2>FRAC</h2> <table width="95%" border="0"> <tr> <td scope="col"> The FRAC-font was designed by Nik Thoenen in 2003 to create a new signage and thereafter also the corporate design for the 'Fonds régional d'art contemporain de Lorraine'. It is a simple font based on a 7x7 dot grid inspired by early CAD-fonts, using only capital letters. the lower case letters are layouted with arrows. </td></tr> </table>     <a href='type/?font_id=6'><u>go to FRAC Demo</u></a> <p> </p> <h3>About the Font</h3> <h2>Korpus</h2> <table width="95%" border="0"> <tr> <td scope="col"><p align="left">The term Korpus comes from the Latin and means 'body'. In the German-speaking printing world Korpus is used for a medium point size used in metal setting, size ten Didot points. But Korpus (corpus in English) can also refer to a text or extract from a collection of texts or statements that are the subject of a particular presentation or study in various academic disciplines. In developing the 'Korpus' font, mistakes in reproducing characters of a general kind were studied, especially technical printing flaws in type specimens and proofs in the early twentieth century. Inaccuracies that emerged in part even at the metal casting and subsequent proofing stage were interpreted freely and combined as a basis for the newly formulated font characters. So the above-mentioned technical inadequacies and compensation for the visual thickening create the highly individual character of 'Korpus' and give a sense of a physical act involving cut type.</p> <p>Design by Michael Mischler & Nik Thoenen, 2009</p> <br /> <p> Additional typographic functions/open-type features such as ligatures, small caps, tabular lining figures (TLF), proportional lining figures (PLF), old style figures OSF, and also superscript (SUPS), scientific inferiors (SINF), and also an extended language set for all European languages is included in Korpus.</p> <br /> <p> The Korpus font-family will be completed with light and bold type styles in spring 2010. </div></td></tr> </table>     <a href='type/?font_id=7'><u>go to Korpus Demo</u></a> <p> </p> <h3>About the Fontsets and Languages</h3> <h2>Standard (Western Latin)</h2> <table width="95%" border="0"> <tr> <td scope="col"><div align="left">This version contains the standard Adobe Western 2 set. The Standard Western Latin-Set includes English, the Western and Northern European languages such as French, German, Dutch, Spanish, Italian, Portuguese, Swedish, Norwegian, Danish, Finnish and Icelandic. </tr> </table> <p> <h2>Central European (CE)</h2> <table width="95%" border="0"> <tr> <td scope="col"><div align="left">This Central European-Set includes the latin glyphs for Bosnian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Slovak and Slovenian.<br /> On request we offer also language sets like Croatian (CR), Romanian (RO) and Turkish (TR). </tr> </table> <p> <h2>PRO</h2> <table width="95%" border="0"> <tr> <td scope="col"><div align="left">PRO-Fontsets includes the Latin Standard and Extended-A glyphs for the following languages: Western and Norther European languages such as French, German, Dutch, Spanish, Italian, Portoguese, Swedish, Norwegian, Danish, Finnish and Icelandic. Also: Afrikaans, Azerbaijani, Bosnian, Catalan, Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Maltese, Polish, Romanian, Sami, Slovak, Slovenian and Turkish. PRO-Extended (only in the BlenderPro) include also the Cyrillic alphabet for the languages as Belarusian, Bulgarian, Macedonian, Russian, Serbian and Ukrainian.</p> <p> </tr> </table> <table width="95%" border="0"> <tr> <td scope="col"><div align="left"> <p> All fonts are only available as OpenType (PostScript Type 2 font, CFF Compact Font Format, suffix .otf), or TrueType OpenType font (suffix .ttf). OpenType is supported in the applications such as Adobe InDesign, Adobe Photoshop and Adobe Illustrator, QuarkXPress 7 and Microsoft Office. Only as Standard (Western Latin or CE) on QuarkXPress 6.5 and below, CorelDRAW does not support OpenType typographic features. System requirements Mac OS X, Windows 2000, Windows XP and Windows Vista.</p> </tr> </table> <p> <p> </p> <h3>About Custom Fonts</h3> <h2>Corporate and Custom Fonts</h2> <tr> <table width="95%" border="0"> <td scope="col"><div align="left"> Binnenland is mainly interested in addressing language, communication, design and typography. Binnenland does not just sell typographic products, but also develops exclusive custom-made fonts. Binnenland offers a complete service, from conceiving via developing to realizing exclusive typefaces or fonts for clients. Projects realized so far include: <br> <p><a href="http://www.onlab.ch/projects/editorial/magazines/domus/913.htm" target="_blank" class="active">onlab</a> – Redesign from the Typeface 'Gill Sans Displax Extra Bold' (Linotype) as Headline Font. Special Version from the typeface 'Relevant' for the body text of the Domus Magazine, 2008. <p>gotv – Exclusive Typedesign 'Related', for the TV channel gotv, 2007. <p>Achtung! – Exclusive Corporate Typedesign for the agency Achtung, 2007. <p><a href="http://www.onlab.ch/projects/design/corporate/tramelan/tramelan_01.htm" target="_blank" class="active">onlab</a> – Redesign from the typeface 'Lutz Headline' (lineto) for the Commune of Tramelan, 2007. <p>Palais de Tokyo – Redesign from the Apple-System-Helvetica for the Corporate Design, 2006. <p>Fonds régional d'art contemporain de Lorraine – Corporate Typedesign 'FRAC', 2003. <br>Typedesign 'Catalog' for the Art Catalog/Manifesto, 2006. <p>New York Times, Key Magazine – Exclusive redesign from the typeface 'T-Star Mono Round' (Die Gestalten Verlag), 2006. <p>Inventar – Exclusive Typedesign for the interior Design Studio Inventar, 2005. </tr> </table> <p><p> </p> </noscript> </div> </body>