Cigars
Cigars is one of Heavyweight's earliest serif typefaces, named after an admiration for old Marlboro advertising materials and their use of the Century typeface. Originally a custom design for a Prague philosophy conference, it later grew into a fuller type family in version 2.0. Its defining quality is calligraphic, visible in details: letters like "c", "f", and "r" end with a perpendicular cut rather than a classic terminal.
- Design: Jan Horčík
- Production: Heavyweight
- Spacing/Kerning: Filip Blažek
- Number of glyphs: 825
- Number of styles: 10
- Number of languages: 352
- Date of release: 2021
- Version: 3.010
Dried Corollas
Cured-Leaf
Havana Q. Q.
Virginia Bright
Burleywood Av.
Old Pipe's
Humidor
R. Latakia 248
Perique Grove
Jane Nicot
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It would be a courtesy, however, to let me know his or her qualifications for so imagining.
Are we concerned with courtesy?
Nathalie Sarraute once described literature as a relay race, the baton of innovation passing from one generation to another. The vast majority of British novelists has dropped the baton, stood still, turned back, or not even realised that there is a race. Most of what I have said has been said before, of course; none of it is new, except possibly in context and combination. What I do not understand is why British writers have not accepted it and acted upon it.
The pieces of prose (you will understand my avoidance of the term short story) which follow were written in the interstices of novels and poems and other work between 1960 and 1973; the dates given in the Contents are those of the year of completion. None of them seem to me like each other, though some have links and cross-references; neither can I really see either progression or retrogression. The order is that which seemed least bad late on one particular May evening; perhaps I shall regret it as soon as I see it fixed.
SemiBold
PAS PARIS
The elevator is not an option, so I have a small room on the first floor. It has all I need; the bed doesn’t kill my back, my feet don't stick out and I can stand on the table to climb out of the window in case there’s a fire.
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FAUX
D’HEURE
SemiBold
Twelve, I need to think of twelve.
The twelve hours of a clock
The twelve months of a year
The twelve lunar orbits
The twelve zodiac signs
The twelve tones in the twelve-tone music scale
The twelve days of Christmas
The twelve years of the Chinese calendar
The twelve prophets of Peter
The twelve tables of the Romans
The twelve inches in a foot
The twelve units of a dozen
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TESTIMONE INVISIBILE
DI UN SOGNO
Medium
I BUILD MY TIME FACSIMILE
(a collage on texts by Kurt Schwitters)
Klaus Stadtmüller introduced
by David Lillington / p.4A
THESE WOODCUTS COULD
SAFEGUARD A NATION!
(on Edward Wadsworth’s Dazzle Ships)
goodwill / p. 2E
SemiBold
Who said editorials shouldn’t have footnotes?
A bit further down the ladder, speaking to the spirit of F.R.DAVID,
Lewitt says: “If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.”
SemiBold
Maybe this is going too far. Perhaps I can discover the key to the system by simply observing the attic at different times of the day. But what is it based on? Is it some kind of Tone Clock—a system that generates tones?
In another corner of the attic are crystals of different forms: circles, semi-circles, triagonals, hexagonals, tetrahedrons, octahedrons, and many more I can't define.
Medium
[...] Architects know that the true plan determines the building. Plane, two-dimensional figures are thus paramount to our understanding of space and proportion; and the regular polygons — from-line segment to circle-constitute a definitive basic set by which order may be perceived in, and structure imposed on, our understandings.
Not the least of these virtues is the insight given into the nature of numbers themselves: expressing numbers by presenting them as vertices of regular polygons shows very clearly properties which are not always evident from mere counting [...]
One is a dimensionless point. Two is the first line number: we need two points between which to perceive length, the first dimension.
It is possible to think of two as a regular two-sided polygon which has length, but no area.
The difference between two and three is not merely one unit: it is the difference between a line segment with only one dimension and an equilateral triangle which has two dimensions.³
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Sylvia von Harden war eine Journalistin und Intellektuelle in Berlin während der Goldenen Zwanziger Jahre. Otto Dix’ Porträt zeigt sie mit selbstbewusster Körperhaltung: ein Symbol ihrer Emanzipation und ihres intellektuellen Status. Das Accessoire in ihrer Hand ist nicht bloße Requisite, sondern Statement. Sie wird dargestellt offen, provokativ; eine Geste der weiblichen Widersetzlichkeit gegen Konvention. In den Zwanzigern war diese Darstellung für Frauen transgessiv, unkonventionell: ein Zeichen der Unabhängigkeit. Doch unter dieser selbstsicheren Oberfläche offenbarte Dix eine subtile Satire: ein heruntergerutschter Strumpf, eine unbeholfene Pose, kleine Details, die ihre Menschlichkeit und Vulnerabilität enthüllen.
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Das Accessoire wird so zur Doppeldeutigkeit: Zeichen der Stärke und
gleichzeitig der Zerbrechlichkeit. Das rote Kleid kontrastiert stark mit der zartem, Rosa-getönten Umgebung: ein typisches Art-Nouveau-Merkmal. Dix’ Malweise verkörpert die kalte, kritische Verve der Neuen Sachlichkeit, einer künstlerischen Bewegung, die sich gegen idealisierende Romantik wandte. Inspiriert von frühen deutschen Meistern wie Cranach und Holbein (16. Jahrhundert), wählte Dix die Tempera-Technik auf Holztafel. Eine bewusste Entscheidung: nicht, um Schönheit zu feiern, sondern um die Realität in ihrer ungefilterten, oft unschönen Wahrheit zu zeigen.
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Was Sylvia von Harden betraf, so verschwand sie nach 1933 aus der öffentlichen Wahrnehmung. Die totalitäre Regierung verdammte die Neue Sachlichkeit als «unerwünscht». Dix’ Porträt wurde aus den Museen entfernt. Das Accessoire, einst Symbol der Unabhängigkeit, wurde zum Zeugnis einer verlorenen Welt. Das Bild bleibt. Das Accessoire bleibt. Aber die Bedeutung hat sich verwandelt. Es ist nicht mehr Widersetzlichkeit, sondern Verlust. Dix malte nicht nur ein Porträt einer Frau: er malte ein Porträt einer Zeit, die sich selbst zerstören würde. Heute schauen wir auf dieses Gemälde und sehen eine ganze Zivilisation im Moment, bevor sie zusammenbricht. Otto Dix verstand dies. Deshalb malte er nicht das Accessoire. Er malte die Zeit selbst.
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