| Font family: | Air Compressed |
| Font style: | |
| Font version: | Version 1.00 |
| Typeface type: | |
| Characters: | 499 |
| Number of glyphs: | 955 |
| Font weight: | |
| Font width: | |
| Languages: | |
| Unicode blocks: |
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| Source: | |
| File format: | |
| License type: | |
| Font embedding license: | |
| Foundry: | |
| Designer: |
| Copyright notice: | Copyright © 2011 Neil Summerour. Published by Positype. All rights reserved. (wfr) |
| Font family: | Air Compressed |
| Font Subfamily name: | SemiBold |
| Unique font identifier: | Positype: Air Compressed SemiBold: 2011 |
| Full font name: | AirCompressed-SemiBold |
| Version string: | Version 1.00 |
| Postscript name: | AirCompressed-SemiBold |
| Trademark: | Air is a trademark of Positype |
| Manufacturer Name: | Positype |
| Designer: | Neil Summerour |
| Description: | Air began as Grotesk vs. Grotesque. I was trying to unify the prevailing traits of German and English Grotes(que/k)s in order to make something different but familiar. From the onset, I intended this typeface to be a true workhorse that offers infinite options and flexibility for the user. At its core, it is the maturation of the Aaux Next skeleton I developed years ago. I worked out Aaux Next to settle my issues and love for Akzidenz. With Aaux Next, I strove to be mechanical, cold and unforgiving with it. I was single, young, cocky and it fit. Now I'm married, kids, dog and have found that I've turned into a big softy. When I look at Aaux Next (and have for the past few years) I see another typeface trying to eek out. I wanted it to avoid the trappings of robotic sans, quick tricks and compromises. The typeface's DNA needed to be drawn and not just generated on a screen. I love type. I love working with type. I hate when my options for a slanted complement is only oblique or italic. I set out to produce both to balance usage - there are more than enough reasons to prepare both and I want the user to feel free to consciously choose (and have the option to choose) the appropriate typeface for print, web, etc. That flexibility was central to my decision-making process. The Oblique is immediate and aggressive. The Italic was redrawn at a less severe angle with far more movement and, as a result, is far more congenial when paired with the uprights. |
| URL Vendor: | www.positype.com |
| URL Designer: | www.positype.com |
| License Info URL: | http://positype.com/licensing/ |
| Pixel unit: | 1000 |
| Vertical minimum: | -305 |
| Vertical maximum: | 936 |
| Horizontal minimum: | -37 |
| Horizontal maximum: | 1142 |
| Mac Style: | 0 |
| Minimum readable pixel size: | 3 |
| Font direction: | 2 |
| Ascending part: | 698 |
| Descending part: | -225 |
| Line spacing: | 200 |
| Maximum step width: | 1192 |
| Minimum left side beraring: | -37 |
| Minimum right side beraring: | -93 |
| Non component maximum points | 0 |
| Non component maximum contours | 0 |
| Word weight type: | 600 |
| Word width type: | 5 |
| Size of superscript horizontal font : | 700 |
| Size of superscript vertical font | 650 |
| Superscript horizontal deviation | 0 |
| Superscript vertical deviation | 140 |
| Size of subscript level font: | 700 |
| Size of subscript vertical | 650 |
| Subscript horizontal offset: | 0 |
| Subscript vertical offset: | 477 |
| Delete line size: | 50 |
| Delete line position: | 250 |
| Font selection identifier: | 0 |
| Typography ascending: | 698 |
| Typography descending | -225 |
| Typography spacing: | 200 |
| Ascending part: | 1076 |
| Descending part: | 360 |
| Bevel: | 0 |
| Underline position: | -125 |
| Underline thickness: | 20 |