Fonts of Marco Ganz in the Linotype Library
Veto
The underlying intention in the case of Veto® was to create a new and original sans serif font. For example, the lower case Veto letters are of normal width, while the upper case letters are quite clearly much narrower in proportion. This is because Marco Ganz considers that if miniscule letters are too narrow they are difficult to read (see Rotis®) while majescules that are too wide not only have an outmoded effect but take up too much space (see Helvetica®).
Which font family contemporary designers turn their attention to is increasingly being determined by the quality of the italic typeface. Not so long ago, italic was treated as the poor cousin among typefaces, as in the case of Helvetica and its relatives, because giving the letters merely a simple lean now appears crude. Hence, a genuine cursive based on calligraphic handwriting was used for Veto, resulting in an unmistakeably dynamic but also no-nonsense italic typeface thanks to the disciplined way in which the lines have been designed.
Over ten years after its first appearance, Veto is probably now more popular than ever: its considerably simplified outlines – for the a, f,t and 4, for example – have since proved to be forerunners of subsequent typographic developments. As in the case of the iPod, Veto has been pared down to its essential elements: the font has only eight absolutely indispensable and functional typefaces. There is nothing at all ‘retro’ about the design and there are thus no medieval numerals or small caps.
Although Veto was created by a Swiss designer, it is by no means neutral as far as its format is concerned – this is something that could be said of Helvetica, and to a lesser extent, of Univers® and Frutiger®. Veto can be described as a rather unemotional, perhaps even masculine typeface; it has more in common with Frutiger than with the warmer and more feminine Univers. In direct comparison, however, the individuality of Veto becomes apparent, particularly when the larger type sizes are considered.
When it comes to legibility, Veto is in a class of its own: the legibility of all eight of its typefaces is outstanding. As a consequence, it has a wide range of potential uses: CD booklets can be printed in Veto 6.5 point, business reports in 9 point, architectural books in 11 point and advertisements in 36 point.
However, every font – assuming it is not merely a bastard pieced together from various existing styles – has its own specific character which makes it particularly suitable for certain applications and less appropriate for use in other contexts.
Veto is formal, distinctive, functional and efficient. It is thus especially suited to environments in which design, innovation and topicality play the predominant roles, such as magazines aimed at younger target groups, corporate business design, vehicles and electronics, contemporary furniture, architecture and art.
Mano
Linotype Mano® is an extraordinarily dynamic font. Its urgency is partly attributable to the conscious decision to avoid upright and thus static typefaces. Mano, as a purely italic font family, is thus a rare exception among fonts.
Momentum is the main characteristic of Mano. The impetus of a dynamic cursive typeface can be compared with that of a rapid cadenza played by a pianist. Musicians are aware that there is a limit to the speed at which they can play, and that they will lose control if they attempt to exceed that limit. The same rule applies to script. The more rapidly it is written, the more expressive it becomes, but at the expense of its legibility.
Mano has been designed to be a rapid form of producing script. It aspires to spontaneity and dynamism, and also to optimal legibility. It has many of the elements of rapid handwriting, but remains within the speed limit. There are no signs of restlessness or individuality as in the case of most calligraphic fonts, although it is characterised by a highly controlled but brisk rhythm: Mano is, after all, a text font.
Mano represents the direct implementation of a typographic concept. At its core is the principle of the most efficient and simple method of reproducing text – for that reason, the ‘E’ consists of only two lines, not four. There are no superfluous lines in Mano. Text written in Mano communicates as rapidly, spontaneously and directly as possible.
Mano is an italic font with calligraphic attributes. It can used wherever a dynamic and yet serious italic typeface is required. In contrast with genuine calligraphic fonts, it has a restrained individuality and can be used in many different contexts. In Mano, two properties that are considered incompatible are successfully fused: although there is the dynamism of handwriting, legibility is perfect.
Cursive, rapid, spontaneous fonts are often associated with everyday products like foodstuffs and cosmetics, and are frequently used on packaging. Mano can be used for products as widely diverse as toothpaste, pasta and hairspray because it does not seem to be as constrained as many sans serif italic typefaces: it has a markedly positive and lively effect.
Mano reproduces the spontaneous, informal nature of writing with a felt tip pen. Most calligraphic fonts are based on the effects achieved using a brush or pen – these may be more calligraphic and decorative than Mano, but they often seem more antiquated.
In the smaller type sizes, Mano can be surprisingly suave and elegant (if used on a visiting card, for example). But this font can also create a virtuoso effect in journals and brochures, particularly if it is used in combination with more standard fonts: Mano can provide for contrasts and variations; in interview texts, narrow columns, picture captions and so on.
Marco Ganz
Visit also the website of Marco Ganz.
The underlying intention in the case of Veto® was to create a new and original sans serif font. For example, the lower case Veto letters are of normal width, while the upper case letters are quite clearly much narrower in proportion. This is because Marco Ganz considers that if miniscule letters are too narrow they are difficult to read (see Rotis®) while majescules that are too wide not only have an outmoded effect but take up too much space (see Helvetica®).
Which font family contemporary designers turn their attention to is increasingly being determined by the quality of the italic typeface. Not so long ago, italic was treated as the poor cousin among typefaces, as in the case of Helvetica and its relatives, because giving the letters merely a simple lean now appears crude. Hence, a genuine cursive based on calligraphic handwriting was used for Veto, resulting in an unmistakeably dynamic but also no-nonsense italic typeface thanks to the disciplined way in which the lines have been designed.
Over ten years after its first appearance, Veto is probably now more popular than ever: its considerably simplified outlines – for the a, f,t and 4, for example – have since proved to be forerunners of subsequent typographic developments. As in the case of the iPod, Veto has been pared down to its essential elements: the font has only eight absolutely indispensable and functional typefaces. There is nothing at all ‘retro’ about the design and there are thus no medieval numerals or small caps.
Although Veto was created by a Swiss designer, it is by no means neutral as far as its format is concerned – this is something that could be said of Helvetica, and to a lesser extent, of Univers® and Frutiger®. Veto can be described as a rather unemotional, perhaps even masculine typeface; it has more in common with Frutiger than with the warmer and more feminine Univers. In direct comparison, however, the individuality of Veto becomes apparent, particularly when the larger type sizes are considered.
When it comes to legibility, Veto is in a class of its own: the legibility of all eight of its typefaces is outstanding. As a consequence, it has a wide range of potential uses: CD booklets can be printed in Veto 6.5 point, business reports in 9 point, architectural books in 11 point and advertisements in 36 point.
However, every font – assuming it is not merely a bastard pieced together from various existing styles – has its own specific character which makes it particularly suitable for certain applications and less appropriate for use in other contexts.
Veto is formal, distinctive, functional and efficient. It is thus especially suited to environments in which design, innovation and topicality play the predominant roles, such as magazines aimed at younger target groups, corporate business design, vehicles and electronics, contemporary furniture, architecture and art.
Mano
Linotype Mano® is an extraordinarily dynamic font. Its urgency is partly attributable to the conscious decision to avoid upright and thus static typefaces. Mano, as a purely italic font family, is thus a rare exception among fonts.
Momentum is the main characteristic of Mano. The impetus of a dynamic cursive typeface can be compared with that of a rapid cadenza played by a pianist. Musicians are aware that there is a limit to the speed at which they can play, and that they will lose control if they attempt to exceed that limit. The same rule applies to script. The more rapidly it is written, the more expressive it becomes, but at the expense of its legibility.
Mano has been designed to be a rapid form of producing script. It aspires to spontaneity and dynamism, and also to optimal legibility. It has many of the elements of rapid handwriting, but remains within the speed limit. There are no signs of restlessness or individuality as in the case of most calligraphic fonts, although it is characterised by a highly controlled but brisk rhythm: Mano is, after all, a text font.
Mano represents the direct implementation of a typographic concept. At its core is the principle of the most efficient and simple method of reproducing text – for that reason, the ‘E’ consists of only two lines, not four. There are no superfluous lines in Mano. Text written in Mano communicates as rapidly, spontaneously and directly as possible.
Mano is an italic font with calligraphic attributes. It can used wherever a dynamic and yet serious italic typeface is required. In contrast with genuine calligraphic fonts, it has a restrained individuality and can be used in many different contexts. In Mano, two properties that are considered incompatible are successfully fused: although there is the dynamism of handwriting, legibility is perfect.
Cursive, rapid, spontaneous fonts are often associated with everyday products like foodstuffs and cosmetics, and are frequently used on packaging. Mano can be used for products as widely diverse as toothpaste, pasta and hairspray because it does not seem to be as constrained as many sans serif italic typefaces: it has a markedly positive and lively effect.
Mano reproduces the spontaneous, informal nature of writing with a felt tip pen. Most calligraphic fonts are based on the effects achieved using a brush or pen – these may be more calligraphic and decorative than Mano, but they often seem more antiquated.
In the smaller type sizes, Mano can be surprisingly suave and elegant (if used on a visiting card, for example). But this font can also create a virtuoso effect in journals and brochures, particularly if it is used in combination with more standard fonts: Mano can provide for contrasts and variations; in interview texts, narrow columns, picture captions and so on.
Marco Ganz
Visit also the website of Marco Ganz.
Linotype
