1. THE FONT

Adam BP

Initally Adam project started as a typeface specifically for art manifestos. Over a period of 1½ years more members and cuts were added to the family. Characterset was fully expanded to the Pro set (about 700 glyphs). In the early beginning, while working at the project in KABK type and media in Netherlands it was clear that manifestos require, like any other text which is to be seen and read, readability across long distances of copy. As well, the family needed good variants at hand for the creation of hierarchies (to represent the writing of multiple authors). Curatorial and critical writings, gallery publications as well signage and magazine articles often require the construction of complex hierarchies. Therefore Adam has been made with multiple weights, a fitting true italic and four display stencil-based cuts.

Estonian typeface Adam BP italic
Adam is the first typeface made in Estonia specially for reading sizes and continuous text. Due to the fact that there haven’t been any text typefaces to look at, Adam’s influences come from many different sources. Capitals are influensed by early 20th century Grotesques, lowercase redraws the rhytm of broad-nib writing practice. Italic is in many ways contrasting member in the whole family, fitted in colour and rhythm into the Adam.?Text sizes have proved to work well in magazines. For display purposes Cutted version with contextual alternates gives livelyness to headlines.

Cutted typeface Adam BP
Adam’s cutted versions were kept in mind while creating the solid base fonts. In a way sans-serif letter shapes were fitted for cutting them later. Cuts refer to the vernacular stencil typography. The most difficult challenge was to create cutted typeface that still has lively image while set on a page. A lot of stripes and “faulty inkjet” effect were tending to happen while printing regular stencil fonts at 10pt. For that end many double combinations of letters have contextual alternates, for example oo, aa, nn, ee, etc.? Cutted Adam is at its best on posters and in newspapers. For example political newspaper “Argument” in Norway has used Adam cutted black for its strong display abilities.

2. THE DESIGNER

Anton Koovit
Born in Estonia 1981, typographic designer, lettering artist, docent of typography.
Anton Koovit Studied graphic design in Estonian Academy of Arts, ESAG Paris and in Gerrit Rietveld Academy in Amsterdam, Holland.
After completing graphic design studies in 2005 he followed Postgraduate programme Type and Media in Holland, Royal Academy of Arts which he graduated in the year 2006. Since then Anton is working on independent projects from exhibition design to type and is teaching typography/type design in Estonian academy of arts.

3. weights

Adam BP text comes in four weights, thin, regular, bold, black

Adam BP cutted commes in two weight, thin, black

4. Adam BP Specifications

Adam BP comes in OpenType 'BP Pro'. The 'BP Pro' contains in a single file the standard set as well as the additional features described below. The BP pro set supports many other additional languages based on the latin alphabet:

Afaan Oromo - Afrikaans - Albanian - Alsatian - Akan languages - Aragonese - Arapaho (Arrapahoe) - Aromanian - Arrerente - Asturian (Bable) - Aymara - Azerbaijani (latin) - Bambara - Basque - Belarusian (latin) - Bislama - Bosnian - Breton - Catalan - Cebuano - Chamorro - Cheyenne - Chichewa - Chickasaw - Cimbrian (Tzimbrisch) - Cornish - Corsian - Croatian (Serbian, Bosnian) - Czech - Delaware - Danish - Dutch (Flemish) - English - Esperanto - Estonian - Faroese - Fijian - Filipino - Finnish - Folkspraak - French - Frisian (all dialects of North, West and Sater Frisian) - Ga - Gaelic (Irish) - Gaelic (Scottish) - Gagauz - Galician - Genoese - German - Greenlandic - Guaraní - Hän (Han) - Hawaiian - Hiligaynon (Ilonggo) - Hopi - Hungarian - Icelandic - Ibo (Igbo) - Ido - Indonesian - Interglossa (Glosa) - Interlingua - Italian - Japanese (transliterated) - Jèrriais - Kashubian - Kiribati - Korean (transliterated) - Kurdish (Yekgirtú and Kurmanjî) - Latin - Latvian - Lithuanian - Lingua Franca Nova - Lojban - Lombard - Luxembourgian (modern) - Maasai (ol-Maa) - Malagasy - Malay - Maltese - Manx (Gaelg/Gailck) - Maori - Mi'kmaq - Mohawk - Nahuatl - Navajo - Naxi (latinized) - Norwegian - Novial - Occitan - Ossetian - Piedmontese (Piemonteis) - Polish - Portuguese - Potawatomi - Quechua (Runasimi) - Romanian - Romansh (rumantsch) - Romany - S´mi (Inari, Nothern, Lule and South) - Samoan - Sardinian - Scots - Sesotho (Southern Sotho) - Slovak - Slovenian - Sorbian (Upper and Lower) - Spanish - Swahili - Swedish - Tagalog (Pilipino) - Tahitian - Tatar (modernized) - Tongan - Tswana - Turkish - Turkmen - Ulithian - Uyghur (latin) - Venetian - Volapük - Vöro - Walloon - Warlpiri - Welsh - Wolof - Xhosa - Yapese - Zhuang (modernized) - Zulu - Old English - Old Norse (Dansk tunga)

5. OT Features

All Weights
- Extended (BP Pro) character set, includes more than 100 additional languages over the normal PostScript character set. Access: Any OpenType/Unicode-savvy application these character sets.
- Short lining/Text figures and Tall lining/Cap figures for best text image in mixed case and all-caps setting. Access: In OpenType-savvy applications, select 'Proportional Oldstyle Figures' or 'Proportional Lining figures'. Cap figures are also automatically inserted when using the OpenType All Caps mode.
- All Caps optimized typography auto-matically converts the text to uppercase and inserts cap figures, raised punctuation, brackets and mathematical symbols. Access: In OpenType-savvy applications, select the OpenType All Caps feature.