FrereJonesType Exchange

Exchange
Originally designed for newspaper text, Exchange strives for clarity and efficient
copyfit across multiple environments. Its strategy relies on an unorthodox collec-
tion of historical references, from nineteenth-century Britain to Depression-era DESIGNED BY
America. TOBIAS FRERE-JONE S
CONTRIBUTIONS BY
The strategy for word shape coherence comes from the early Ionic style of slab NINA STSSINGER
serifs, while Bell Gothic offers a lesson in reinforcing the individual identities of FRED SHALLCRASS
TIM RIPPER
letters, while Victorian text faces lend a sure-footed sobriety. The deep notches
GRAHAM BRADLEY
and amplified details make Exchange a kind of cousin to Retina, bringing the same SARA SOSKOLNE
defensive strategy to more traditional text settings. K SENYA SAMAR SKAYA

ERIN MCLAUGHLIN
AOIFE MOONEY
Exchanges compact proportion, prompted by narrow newspaper columns, is COLIN FORD
also well-suited to mobile screens. The newly added MicroPlus styles expand
Exchanges capability into digital media websites, video, and a host of new
applications. We have also revisited the family for this retail release, expanding EXCHANGE AND MICROPLUS
ARE TRADEMARK S OF
the range of weights and bringing its character sets up to our newest standards. FRERE-JONE S TYPE LLC .
2017 FRERE-JONE S TYPE LLC .
F
ALL FRERE-JONE S TYPE FONTS
ARE AVAILABLE ONLINE FOR
THIS PDF IS FORMATTED FOR PRINTING ON
PRINT, WEB , AND MOBILE
US LETTER AND A4 PAPER SIZE S WITHOUT SCALING.
APP S; OTHER LICENSE S ARE
SPECIMEN VER SION 1 .0 AVAILABLE UP ON REQUE ST.
EXCHANGE F
FAM I LY OVE RVIE W
STANDARD
EXTRA LIGHT EXTRA LIGHT I TALIC
Exchange Exchange MICROPLUS
LIGHT LIGHT ITALIC MP LIGHT MP LIGHT ITALIC
Exchange Exchange Exchange Exchange

BOOK BOOK ITALIC MP BOOK MP BOOK ITALIC

MEDIUM MEDIUM ITALIC MP MEDIUM MP MEDIUM ITALIC

BOLD BOLD ITALIC MP BOLD MP BOLD ITALIC
The complete Exchange family includes 18 fonts10 standard

styles and 8 MicroPlus styles.
With loosened spacing, lowered contrast, enlarged x-heights,

widened capitals and simplified details, the Exchange MicroPlus
fonts address the challenges of small text and screen text simul-
taneously. From the spacing of every letter and number to the
dot of the i, every shape has been reconsidered and reinforced to
anticipate screens as well as the smallest sizes in print.
PAGE 2 LARGE SHOWINGSTEXT SHOWINGSSPEC S FREREJONE S.COM

EXCHANGE F
Resolving
EXTRA LIGHT
Cognitive
LIGHT
Antiphon
BOOK
Kumquat
Fountain
MEDIUM
BOLD

EXCHANGE F
SCRAPER
EXTRA LIGHT
UPRIGHT
LIGHT
PARKING
BOOK
CALIBRE
GROUND
MEDIUM
BOLD

EXCHANGE F
Gazpacho
EXTRA LIGHT ITALIC
Organism
LIGHT ITALIC
Canopied
BOOK ITALIC
Outreach
Washout
MEDIUM ITALIC
BOLD ITALIC

EXCHANGE F
VOLTAGE
EXTRA LIGHT ITALIC
WRENCHLIGHT ITALIC
U
PTOWN
BOOK ITALIC
TEQUILA
CAMPER
MEDIUM ITALIC
BOLD ITALIC

EXCHANGE F
Underwater Archeology
EXTRA LIGHT
Western Roman Empire

LIGHT
31 Whole Pumpkin Pies

BOOK
Mediterranean Quinoa
MEDIUM
Japanese Archipelago
BOLD
148 CORRESPONDENTS
EXTRA LIGHT
NEWSPAPER CLIPPING
LIGHT
ELECTRONEGATIVITY
BOOK
COUNTERARGUMENT
MEDIUM
LEBANESE REPUBLIC
BOLD

EXCHANGE F
Wild Mushroom Stuffing

EXTRA LIGHT ITALIC
Greater Butterfly Orchid

LIGHT ITALIC
2 Pineapple Dumplings
BOOK ITALIC
Cultural Anthropology
MEDIUM ITALIC
57 Toasted Lox Bagels

BOLD ITALIC
QUARTERCENTENNIAL
EXTRA LIGHT ITALIC
METAMORPHIC ROCKS
LIGHT ITALIC
ELECTRIC POTENTIAL
BOOK ITALIC
691 TREASURY SHARE

MEDIUM ITALIC
WINDWARD ISLANDS
BOLD ITALIC

EXCHANGE F
O
utgives
Aphonia
EXTRA LIGHT ( TRACKING: 40)
Reading
LIGHT ( TRACKING: 40)
Keyhole
BOOK ( TRACKING: 30)
Slashed
MEDIUM ( TRACKING: 25)
BOLD ( TRACKING: 25)

EXCHANGE F
O
lfactive
C
ranium
EXTRA LIGHT ITALIC ( TRACKING: 40)
S
hading
LIGHT ITALIC ( TRACKING: 40)
O
ckham
BOOK ITALIC ( TRACKING: 30)
Conflict
MEDIUM ITALIC ( TRACKING: 30)
BOLD ITALIC ( TRACKING: 30)

EXCHANGE F
PERPENDICULAR
I M P E R S O N AT I ON
EXTRA LIGHT ( TRACKING: +190)
ETHNOGRAPHIES
LIGHT ( TRACKING: +170)
R E C O N C I L I AT I O N
BOOK ( TRACKING: +150)
T H E R M O P L AS T I C
MEDIUM ( TRACKING: +130)
BOLD ( TRACKING: +110)
COUNTERSIGNED
GASTRONOMICAL
EXTRA LIGHT ITALIC ( TRACKING: +175)
W I L H E L M S H AV E N
LIGHT ITALIC ( TRACKING: +155)
O C E A N O G RA P H E R
BOOK ITALIC ( TRACKING: +135)
Quadrumvirate
MEDIUM ITALIC ( TRACKING: +115)
BOLD ITALIC ( TRACKING: +95)

EXCHANGE F
1769
Dark Chocolate Pumpkin Spice Muffins
Slow Cooker Pork Chops and Rice
Holiday Refrigerator Cake
Breakfast in Bangkok
RIND Sugarplum
Marcel Duchamp
Cryptography
FIFTH Objective
SQUIRE Magnet
CLARITY
TWILIGHT
Intake
581 RACKETS
CONDENSATION Child
Knit
POLITICAL SCIENCE
INTERNAL COMBUSTION
347 MILK CHOCOLATE COOKIES
IT WOULD BE A PROUD DISTINCTION
EXTRA LIGHT EXTRA LIGHT

EXCHANGE F
Civil
MORE THAN THIS NEED NOT BE SAID
THE HURTLING EXPRESS TRAIN
SCARLET MUSK FLOWER
WITHOUT CONCERN
Work
BAROMETRICAL
GENTLEMAN
BOUTIQUE
VACUUM Rising
OBLIGE Upmost
GRAM Symbolism Mesquite
S
PEC Camphorated
Semitransparent
6
531
Organic Phenomenon
Valentine Fortune Cookies
Its Somewhat Hard to Determine
Trout with Haricots Verts and Almonds
EXTRA LIGHT ITALIC EXTRA LIGHT ITALIC

EXCHANGE F
IRIS
I need not specially recommend to you
Skillet Rosemary Chicken Thighs
Purple Strawberry Guava
English Runner Bean
11215 Anchorage
Sound Spectrum
Midafternoon
MESA Critiques
SMART Pirogue
FORTIFY
BRUSSELS
Kebab
CARD SHARK
HOUSEKEEPING Guile
Raft
JORGE LUIS BORGES
NAVIGATIONAL SYSTEM
A DECISIVE DEFEAT IN A GAME
IT IS A MOST PERTINENT QUESTION
LIGHT LIGHT

EXCHANGE F
Grip
WHAT COMMONLY HAPPENS IS THIS
MASTER OF ARTS IN TEACHING
NEWSPAPER PUBLISHER
FORGOTTEN KISSES
Quay
CONVERSATION
MEGAHERTZ
WORKDAY
KLAVIER Living
CAPSID Enigma
TIGER Delinquent Samoyed
691.2 Carbohydrate
Hotel Occupancy
C
OB
Echoencephalograph
Vietnamese Summer Rolls
Happy and excited and energetic
Caramelised Pear and Cardamom Tart
LIGHT ITALIC LIGHT ITALIC

EXCHANGE F
LEX
Thank you for calling our attention to
Italian Hot Sausage Sandwiches
Halloween Rainbow Cake
Pachycephalosaurus
PING Handsome
Sequoiadendron
Cliff Dwelling
COMB Snowcap
SELMA Briquet
KOREAN
MEASURE
Punks
UNDERWING
PRECONCEIVED Edge
Pint
ASTRONAVIGATION
CLASSICAL MECHANICS
IT IS IN THIS CHARACTERISTIC
THE PROPRIETOR OF A NEWSPAPER
BOOK BOOK

EXCHANGE F
U
nit
LINKS IN THE CHAIN OF REASONING
VIBRATING IN A SINGLE PLANE
EGYPTIAN LENTIL SOUP
TEMPORARY STATE
Calid
UNDECIPHERED
INTERLOPER
MARIMBA
CAPITAL String
SLICER Officers
TAXIS Toponymy Defusing
6842 Swedish Nuts

Ottoman Empire
U
SE
Greenhouse Whitefly
Stream of Consciousness
You have been wrongly informed
Chocolate Frosted Marble Cheesecake
BOOK ITALIC BOOK ITALIC

EXCHANGE F
59.2
He told a fib about eating his spinach
Providing personal satisfaction
Freshly Shucked Oysters
Medical Community
DELI Snowflake
Query Language
Tragicomedy
ROCK Triumph
TRUTH Cycling
CARTON
IRONMAN
Edger
AQUA VITAE
MUSCULATURE Cash
Rife
COLLEGE STUDENT
ELECTROCARDIOGRAM
LAYERED GREEN ENCHILADAS
SUDDENLY A THOUGHT SHOOK HIM
MEDIUM MEDIUM

EXCHANGE F
V
ita
THE EXTINCTION OF THE VOLCANO
PARLIAMENTARY PROCEDURE
TELEVISION REPORTER
WOLVERINE STATE
Sage
SERICULTURAL
TIMELINESS
COMPOSE
SOMBER Proxy
CHORD Fighter
IDYLL Demiglace Crawfish
BIER Replacement
Thematic Vowel
7.48
Corpuscular Theory
Orange Brussels Sprouts
After very carefully considering
Oatmeal with Blueberries and Cream
MEDIUM ITALIC MEDIUM ITALIC

EXCHANGE F
ION
The color of freshly broken cast iron
Easy Cream of Asparagus Soup
Population Commission
Nonflowering Plant
2965 Organiser
Municipal Bond
Cyberphobia
MIND Security
EQUUS Unique
RUBBER
NIHILISM
Bingo
IRRIGATION
Heat
Coil
APPOINTMENT
PROPELLER PLANE
MODEST MUSSORGSKY
HAVING CURIOSITY AROUSED
WE SUGGEST THAT YOU CONSIDER
BOLD BOLD

EXCHANGE F
B
ay
DISTRACT AND BEGUILE THE SOUL
WEST VIRGINIA TO ALABAMA
TRAVELING SALESMAN
CAMBRIAN PERIOD
Ring
TICKET OFFICE
QUADRUPLE
OPERAND
CORRAL Chart
VAPOR Lightly
GAND Catalogue Eyedrop
6819 Waterpower
GEL
Climate Change
Tyrannosaurus Rex
Correspondence Course
Pumpkin Wheat Honey Muffins
Taiwanese Sesame Oil Chicken Stew
BOLD ITALIC BOLD ITALIC

EXCHANGE F
EXTRA LIGHT, EXTRA LIGHT ITALIC & BOOK 14 P T / 19 P T
Experimentation with emerging electronics around the turn of

the twentieth century led to the development of the first electronic
musical instruments. These initial inventions were not sold, but used
in demonstrations and public performances. Some of these early
devices were considered novelties and only produced simple tones,
though the Telharmonium synthesized the sounds of orchestral
instruments. It achieved viable public interest and made commercial
progress into streaming music through telephone networks.
11 P T / 15 P T
8.5 P T / 11.5 P T
Experimentation with emerging electronics Experimentation with emerging electronics

around the turn of the twentieth century led around the turn of the twentieth century led
to the first electronic musical instruments.
to the invention of the first electronic musical These inventions were used in performances;
instruments. These initial inventions were not audiences were presented with reproductions
sold, but used in demonstrations and public of existing music. Some instruments were con-
sidered novelties and produced simple tones;
performances. Audiences were presented with the Telharmonium accurately synthesized the
reproductions of existing music; while some sound of orchestral instruments. It achieved
devices, considered novelties, only produced viable public interest and made commercial
progress into streaming music over telephone
simple tones, the Telharmonium, which syn-
networks. Critics of musical conventions at
thesized the sound of orchestral instruments, the time saw promise in these developments.
achieved viable public interest and even made Ferruccio Busoni encouraged the composition
of microtonal music allowed for by electronic
commercial progress into streaming music
instruments. He predicted the use of machines
through telephone networks. in future music, writing the influential Sketch
Critics of musical conventions at the time of a New Esthetic of Music. Futurists such as
saw promise in these developments. Ferruccio Francesco Balilla Pratella and Luigi Russolo
composed music with acoustic noise to evoke
Busoni for instance argued for the composition the sound of machinery. In the manifesto The
of microtonal music allowed for by electronic Art of Noises they predicted expansions in
instruments. He predicted the use of machines timbre allowed for by electronics.
Developments of the vacuum tube led to
in future music, writing the influential Sketch electronic instruments that succeeded in being
of a New Esthetic of Music. Futurists such as smaller and more practical for performance.
Pratella and Russolo composed music featuring The theremin, ondes Martenot and trautonium
were commercially produced by the 1930s. The
acoustic noise to evoke the sounds of machinery.
increased practicality influenced composers
In their influential manifesto The Art of Noises such as Joseph Schillinger to adopt electronic
they predicted expansions in timbre allowed for instruments, which were often used within
orchestras; composers wrote parts for the ther-
by electronics. Development of the vacuum tube
emin that would otherwise be performed by
led to new electronic instruments that were string instruments. Some composers criticized
amplified and more practical for performance. the increased use of electronic instruments for
PAGE 22 LARGE SHOWINGSTEXT SHOWINGS SPEC S FREREJONE S.COM

EXCHANGE F
LIGHT, LIGHT ITALIC & MEDIUM 14 P T / 19 P T
Experimentation with electronics at the turn of the twentieth

century led to the development of the first electronic musical instru-
ments. Most of these early devices were considered novelties and
only produced simple tones, though the Telharmonium synthesized
the sounds of orchestral instruments.
11 P T / 15 P T 8.5 P T / 11 P T

around the turn of the twentieth century led
around the turn of the twentieth century led to the first electronic musical instruments.
audiences were presented with reproductions
instruments. These initial inventions were
of existing music. While some devices were
not sold, but rather used in demonstrations considered novelties and produced simple
and public performances. Audiences were at tones, the Telharmonium accurately synthe-
sized the sound of orchestral instruments.
first presented with reproductions of existing It achieved viable public interest and made
music; while some devices were considered commercial progress into streaming music
novelties and only produced simple tones, the over telephone networks. Critics of musical
conventions at the time saw promise in these
Telharmonium accurately synthesized the developments. Ferruccio Busoni encouraged
sound of orchestral instruments. It achieved the composition of microtonal music allowed
viable public interest and made commercial for by electronic instruments. He predicted
progress into streaming music through tele-

MICROPLUS 6 P T / 9 P T
phone networks. Experimentation with emerging electronics around the
Critics of musical conventions at the time turn of the twentieth century led to the first electronic
musical instruments. These inventions were not sold, but
saw promise in these developments. Ferruccio rather used in demonstrations and public performances.
Audiences were presented with reproductions of existing
Busoni for instance argued for the composition music; while some devices were considered novelties and
of microtonal music allowed for by electronic produced simple tones, the Telharmonium synthesized
the sound of orchestral instruments. It achieved public
instruments. He predicted the use of machines interest and made commercial progress into streaming
music through telephone networks. Critics of musical
in future music, writing the influential Sketch conventions at the time saw some promise in these devel-
of a New Esthetic of Music. Futurists such as opments. For instance, Ferruccio Busoni encouraged the
composition of microtonal music allowed for by electronic
Francesco Balilla Pratella and Luigi Russolo
composed music featuring acoustic noise to MICROPLUS 5 P T / 7.5 P T
evoke the sounds of machinery. In their influen- Experimentation with emerging electronics around the turn of the
twentieth century led to the first electronic musical instruments.
tial manifesto The Art of Noises they predicted These inventions were not sold, but rather used in demonstrations
and public performances. While some devices were just considered
expansions in timbre enabled by electronics. novelties and produced simple tones, the Telharmonium accurately
synthesized the sound of orchestral instruments. It achieved viable
Developments of the vacuum tube led to new

public interest and even made commercial progress into streaming
music through telephone networks.
electronic instruments that were amplified and

Critics of musical conventions at the time saw promise in these
developments. Ferruccio Busoni encouraged the composition of
microtonal music allowed for by electronic instruments. He predicted
more practical for performance. In particular, the use of machines in future music, writing the influential Sketch of
a New Esthetic of Music. Futurists like Pratella and Russolo composed
the theremin, ondes Martenot and trautonium music with acoustic noise to evoke the sound of machinery. In the
influential manifesto The Art of Noises they predicted expansions
were commercially produced by the 1930s. in timbre allowed for by electronics. Developments of the vacuum

EXCHANGE F
BOOK , BOOK ITALIC & BOLD 14 P T / 19 P T
Experimentation with electronics around the turn of the last

century also led to the development of the first electronic musical
instruments. Most of these early devices were considered novelties
and only produced simple tones, but the Telharmonium synthesized
11 P T / 15 P T 8.5 P T / 11 P T

around the turn of the twentieth century led
around the turn of the twentieth century led to the first electronic musical instruments.
audiences were presented with reproductions
instruments. These initial inventions were not
sold, but used in demonstrations and public considered novelties and produced simple
performances. Audiences were presented with tones, the Telharmonium accurately synthe-
reproductions of existing music; while some It achieved viable public interest and made
devices were considered novelties and only commercial progress into streaming music
produced relatively simple tones, the Telhar- over telephone networks. Critics of musical
monium synthesized the sound of orchestral developments. Ferruccio Busoni encouraged
instruments. It achieved viable public interest the composition of microtonal music allowed
and made commercial progress into streaming for by electronic instruments. He predicted
music through telephone networks.

Critics of musical conventions at the time Experimentation with emerging electronics around the
saw promise in these developments. Ferruccio turn of the twentieth century led to the first electronic
musical instruments. These inventions were not sold, but
Busoni for instance argued for the composition rather used in demonstrations and public performances.
Audiences were presented with reproductions of existing
of microtonal music allowed for by electronic music; while some devices were considered novelties and
instruments. He predicted the use of machines produced simple tones, the Telharmonium synthesized
the sound of orchestral instruments. It achieved public
in future music, writing the influential Sketch interest and made commercial progress into streaming
music through telephone networks. Critics of musical
of a New Esthetic of Music. Futurists such as conventions saw promise in these developments. For
instance, Ferruccio Busoni encouraged the composition
Francesco Balilla Pratella and Luigi Russolo of new microtonal music as allowed for by the electronic
composed music featuring acoustic noise to
evoke the sounds of machinery. In their mani- MICROPLUS 5 P T / 7.5 P T
festo The Art of Noises they predicted various Experimentation with emerging electronics around the turn of
the twentieth century led to the first electronic musical instruments.
expansions in timbre enabled by electronics. These inventions were not sold, but rather used in demonstrations
Developments of the vacuum tube led to new novelties and produced simple tones, the Telharmonium apparently
accurately synthesized the sound of orchestral instruments. It even
electronic instruments that were amplified,

achieved viable public interest and made commercial progress into
streaming music through telephone networks.
smaller, and more practical for performance.

Critics of musical conventions at the time saw promise in these
developments. Ferruccio Busoni encouraged the composition of new
microtonal music allowed for by electronic instruments. He predicted
In particular, the theremin, ondes Martenot the use of machines in future music, writing the influential Sketch
of a New Esthetic of Music. Futurists like Pratella and Russolo also
and trautonium were commercially produced composed music with acoustic noise to evoke sounds of machinery.
In their manifesto The Art of Noises they predicted expansions in
by the early 1930s. This new practicality of timbre allowed for by electronics. Developments of the vacuum tube
PAG E 24 LARGE SHOWINGSTEXT SHOWINGS SPEC S FREREJONE S.COM

EXCHANGE F
MEDIUM & MEDIUM ITALIC 14 P T / 19 P T
Experimentation with electronics at the turn of the twentieth

instruments. Most of these devices were considered novelties and
produced simple tones, though the Telharmonium synthesized the
sounds of orchestral instruments.
11 P T / 15 P T 8.5 P T / 11 P T
Experimentation with emerging electronics Experimentation with early electronics at

the turn of the twentieth century led to the
around the turn of the twentieth century led first electronic musical instruments. These
to the invention of the first electronic musical inventions were used in performances; audi-
ences were presented with reproductions
instruments. These initial inventions were
mainly used in public performances, where considered novelties and produced simple
audiences were presented with reproductions tones, the Telharmonium accurately synthe-
of existing music. While some devices were It achieved viable public interest and made
considered novelties producing simple tones, commercial progress into streaming music
the Telharmonium synthesized the sounds over telephone networks. Critics of musical
of orchestral instruments. It achieved public developments. Ferruccio Busoni encouraged
interest and made progress into streaming the composition of microtonal music allowed
music through telephone networks. for by electronic instruments. He predicted
Critics of musical conventions at the time

saw promise in these developments. Busoni Experimentation with emerging electronics at the
for instance argued for the microtonal music turn of the twentieth century led to the first electronic
musical instruments. These inventions were not sold,
allowed for by electronic instruments. He but rather used in demonstrations and public perfor-
mances. Audiences were presented with reproductions
predicted the use of machines in music in his of existing music; while some devices were considered
influential Sketch of a New Esthetic of Music. novelties and produced simple tones, the Telharmonium
synthesized the sound of orchestral instruments. It
Futurists such as Francesco Balilla Pratella then achieved public interest and made commercial
progress even into streaming music through telephone
and Luigi Russolo composed music featuring networks. Critics of musical conventions at the time saw
acoustic noise to evoke the sounds of machin- promise in these developments. For instance, Ferruccio
Busoni encouraged the composition of new microtonal
ery. In their manifesto The Art of Noises they
predicted expansions in timbre enabled by MICROPLUS 5 P T / 7.5 P T
electronics. Developments of the vacuum Experimentation with emerging electronics around the turn of
the twentieth century led to early electronic musical instruments.
tube led to new electronic instruments that These inventions were not sold, but rather used in demonstrations
were amplified and more practical for per- novelties and produced simple tones, the Telharmonium apparently
accurately synthesized the sound of orchestral instruments. It then
formance. In particular, the theremin, ondes

achieved viable public interest and made commercial progress into
Martenot and trautonium were commercially

Critics of musical conventions at the time saw promise in
these developments. Ferruccio Busoni encouraged the composition
of microtonal music allowed for by electronic instruments. He also
produced by the early 1930s. This practicality predicted the use of machines in music in his influential Sketch of a
New Esthetic of Music. Futurists like Pratella and Russolo composed
of electronic instruments led composers such music with acoustic noise to evoke the sound of machinery. In their
manifesto The Art of Noises they predicted expansions in timbre
as Joseph Schillinger to adopt them. They allowed for by electronics. Developments of the vacuum tube led to

EXCHANGE F
BOLD & BOLD ITALIC 14 P T / 19 P T
Experimentation with electronics around the turn of the last

instruments. Most of these devices were considered novelties
and produced simple tones, but the Telharmonium synthesized
11 P T / 15 P T 8.5 P T / 11 P T
Experimentation with electronics around Experimentation with electronics around

the turn of the twentieth century led to the
the turn of the twentieth century led to the first electronic musical instruments. These
first electronic musical instruments. These inventions were used in performances;
audiences were shown reproductions of
initial inventions were not sold, but rather
existing music. While some devices were
used in demonstrations. Audiences were considered novelties and produced only
presented with reproductions of existing simple tones, the Telharmonium accurately
synthesized the sound of orchestral instru-
music; while some devices were considered ments. It achieved viable public interest
novelties and only produced simple tones, and even made commercial progress into
the Telharmonium synthesized the sound of streaming music over telephone networks.
Critics of musical conventions saw promise
orchestral instruments. It achieved public in these developments. Busoni encouraged
interest and made progress into streaming the composition of microtonal music as
music through telephone networks. allowed for by electronic instruments. He
Critics of musical conventions at the time

saw promise in these developments. Busoni Experimentation with emerging electronics at the
argued for the composition of microtonal turn of the twentieth century led to the first electronic
musical instruments. These inventions were not sold,
music allowed for by electronic instruments. but rather used in demonstrations and public perfor-
mances. Audiences were presented with reproductions
He predicted the use of machines in music, of existing music; while some devices were considered
writing a Sketch of a New Esthetic of Music. novelties producing simple tones, the Telharmonium
synthesized the sound of orchestral instruments. It
Futurists such as Francesco Balilla Pratella achieved public interest and even made progress into
streaming music through telephone networks. Critics
and Luigi Russolo composed music with of musical conventions at the time saw promise in these
acoustic noise to evoke sounds of machinery. developments. For instance, Ferruccio Busoni encour-
aged the composition of microtonal music as allowed
In their influential manifesto The Art of
Noises, they predicted expansions in timbre MICROPLUS 5 P T / 7.5 P T
enabled by electronics. Developments of the Experimentation with emerging electronics around the turn of
the twentieth century led to the first electronic instruments. These
vacuum tube led to instruments that were inventions were not sold, but rather used in demonstrations and
public performances. While most of these devices were considered
amplified and practical for performance. In novelties and only produced simple tones, the Telharmonium
synthesized the sounds of orchestral instruments. It achieved
particular, the theremin, ondes Martenot

viable public interest and even made commercial progress into
and the trautonium were commercially

Critics of musical conventions at the time saw promise in
these developments. Ferruccio Busoni encouraged compositions
of microtonal music allowed for by electronics. He predicted the
produced by the 1930s. This practicality of use of machines in music, writing his influential Sketch of a New
Esthetic of Music. Futurists like Pratella and Russolo composed
electronic instruments led composers such music with acoustic noise to evoke the sound of machinery. In the
influential manifesto The Art of Noises they predicted expansions
as Joseph Schillinger to adopt them. They in timbre allowed for by electronics. Developments of the vacuum

EXCHANGE F
MICROPLUS LIGHT 6 P T / 9 P T MICROPLUS LIGHT ITALIC 6 P T / 9 P T
Birds fly in one of three ways. The most familiar bird flight is by a Birds fly in one of three ways. The most familiar bird flight is by a
rapid wing movement which has been called oar-like, but which is rapid wing movement which has been called oar-like, but which is
precisely equivalent to the usual movement of the arms of a man precisely equivalent to the usual movement of the arms of a man in
in swimming. The edge of the wing moves forward, cutting the air; swimming. The edge of the wing moves forward, cutting the air; in the
on the return stroke the leading edge is depressed so as to present return stroke the leading edge is depressed so as to present a nearly
a nearly flat surface to the air and thus propel the bird forward. A flat surface to the air and thus propel the bird forward. A slight down-
slight downward direction of this stroke serves to impel the flight ward direction of this stroke impels the flight sufficiently upward to
sufficiently upward to offset the effect of gravity. Any man can learn offset the effect of gravity. Any man can learn to swim, but no man
to swim, but no man can fly, because neither in his muscular frame can fly; neither in his muscular frame nor by any device which they
nor by any device which he can attach thereto can he exert sufficient can attach thereto can they exert a sufficient pressure to overcome
pressure to overcome his own weight against as imponderable a fluid their own weight against as imponderable a fluid as air. If air were
as air. If air were as heavy as water, instead of 700 times lighter, it as heavy as water, instead of 700 times lighter, it would be as easy to
would be as easy to fly as to swim. Birds can fly because of the great fly as to swim. The bird can fly because of the great surface, powerful
surface, powerful construction, and rapid movement of its wings, in construction, and rapid movement of its wings, in proportion to the
MICROPLUS BOOK 6 P T / 9 P T MICROPLUS BOOK ITALIC 6 P T / 9 P T
Birds fly in one of three ways. The most familiar bird flight is by a Birds fly in one of three ways. The most familiar bird flight is by a
rapid wing movement which has been called oar-like, but which is rapid wing movement which has been called oar-like, but which is
precisely equivalent to the usual movement of the arms of a man in precisely equivalent to the usual movement of the arms of a man
swimming. The edge of the wing moves forward, cutting the air; in swimming. The edge of the wing moves forward, cutting the air;
n the return stroke the leading edge is depressed so as to present on the return stroke the leading edge is depressed so as to present
a nearly flat surface to the air and thus propel the bird forward. A a nearly flat surface to the air and thus propel the bird forward. A
slight downward direction of this stroke impels the flight sufficiently slight downward direction of this stroke impels the flight sufficiently
upward to offset the effect of gravity. Anyone man can learn to swim, upward to offset the effect of gravity. Anyone can learn to swim, but
but no man can fly, because neither in his muscular frame nor by any not to fly; neither in our muscular frame nor by any device which we
device which he can attach thereto can he exert a sufficient pressure can attach thereto can we exert a sufficient pressure to overcome
to overcome his own weight against as imponderable a fluid as air. our own weight against as imponderable a fluid as air. If air were as
If air were as heavy as water, instead of 700 times lighter, it would heavy as water, instead of 700 times lighter, it would be as easy to
be as easy to fly as to swim. Birds can fly because of the big surface, fly as to swim. The bird can fly because of the great surface, powerful
construction, and rapid movement of its wings, in proportion to its construction, and rapid movement of its wings, in proportion to the
MICROPLUS MEDIUM 6 P T / 9 P T MICROPLUS MEDIUM ITALIC 6 P T / 9 P T
Birds fly in one of three ways. The most familiar bird flight is by a Birds fly in one of three ways. The most familiar bird flight is by
rapid wing movement which has been called oar-like, but which is a rapid wing movement which has been called oar-like, but is really
precisely equivalent to the usual movement of the arms of a man precisely equivalent to the usual movement of the arms of a man
in swimming. The edge of the wing moves forward, cutting the air; in swimming. The edge of the wing moves forward, cutting the air;
on the return stroke the leading edge is depressed so as to present on the return stroke the leading edge is depressed so as to present
a nearly flat surface to the air and thus propel the bird forward. A a nearly flat surface to the air and thus propel the bird forward.
slight downward direction of this stroke serves to impel the flight A slight downward direction of this stroke serves to impel the flight
sufficiently upward to offset the effect of gravity. Any man can upward to offset the effect of gravity. Any man can learn to swim,
learn to swim, but no man can fly, because neither in his muscular but no man can fly, because neither in his muscular frame nor by
frame nor by any device which he can attach thereto can he exert any device which he can attach thereto can he exert a sufficient
a sufficient pressure to overcome his own weight against a fluid pressure to overcome his own weight against as imponderable
like air. If air were as heavy as water, instead of 700 times lighter, a fluid as air. If air were as heavy as water, instead of 700 times
it would be as easy to fly as to swim. The bird can fly because of the lighter, it would be as easy to fly as to swim. Birds can fly because
great surface, powerful construction, and rapid movement of its of the great surface, powerful construction, and rapid movement
MICROPLUS BOLD 6 P T / 9 P T MICROPLUS BOLD ITALIC 6 P T / 9 P T
Birds fly in one of three ways. The most familiar bird flight is by Birds fly in one of three ways. The most familiar flight functions
a rapid wing movement which has been called oar-like, but which by a rapid wing movement which has been called oar-like, but is
is precisely equivalent to the usual movement of the arms of a precisely equivalent to the usual movement of the arms of a man
man in swimming. The edge of the wing moves forward, cutting in swimming. The edge of the wing moves forward, cutting the air;
the air; on the return stroke the leading edge is depressed so as on the return stroke the leading edge is depressed so as to present
to present a nearly flat surface to the air and thus propel the bird a nearly flat surface to the air and thus propel the bird forward.
forward. A slight downward direction of this stroke serves to A downward direction of this stroke impels the flight sufficiently
impel the flight sufficiently upward to offset the effect of gravity. upward to offset the effect of gravity. Any man can learn to swim,
Any man can learn to swim, but no man can fly, because neither but no man can fly, because neither in his muscular frame nor by
in his muscular frame nor by any device attached thereto can he any device attached thereto can he exert sufficient pressure to lift
exert a sufficient pressure to overcome his own weight against as his own weight over as imponderable a fluid as air. If air were as
imponderable a fluid as air. If air were as heavy as water, instead heavy as water, instead of 700 times lighter, it would be as easy to
of 700 times lighter, it would be as easy to fly as to swim. The bird fly as to swim. Birds can fly because of the great surface, powerful
can fly because of the great surface, powerful construction, and construction, and rapid movement of its wings, in proportion to

EXCHANGE F
STANDARD MICROPLU S CO MPA R I S O N
EXCHANGE STANDARD EXCHANGE MICROPLUS

6 PT A N D U P IN PR INT & 12 PX AND UP ON SCR EEN 4 PT TO 8 PT IN PRIN T & 9 PX TO 14 PX ON SCREEN
Paper of a hard, smooth finish prints

11 P T Paper of a hard or smooth finish
11 P T
just from the surface of metal type, while will print only the surfaces of metal
a softer, antique finish will reproduce not type, while a softer or antique finish
only the face of the type, but small bits of reproduces small portions of these
Paper with a hard, smooth finish prints

10 P T Paper with a hard, smooth finish will
10 P T
only the surface of the metal type, while an print only the surfaces of the type, while
antique finish reproduces not just the face of this softer finish reproduces not only the
the type but also a small portion of the sides face of the type, but a small portion of
9 PT Paper with a hard, smooth finish prints just the 9 PTPaper of a hard, smooth finish prints only
surfaces of the type, while a soft or antique finish the surface of the type, while a softer finish
reproduces not only the faces, but a small portion reproduces not just the face of the type, but
of these supporting sides of the type, giving to the small portions of the supporting sides as well
8 PT Paper with a hard, smooth finish prints only these 8 PTPaper with a hard or smooth finish prints only
surfaces of the type, while a soft or antique finish can the surfaces of the type, while a soft antique finish
reproduce not only the faces of the type, but also a small reproduces not just the faces of the type, but a very
portion of these supporting sides, giving to the prints an small portion of the supporting sides too, giving to
7 PT Paper with a hard, smooth finish prints only the surfaces 7 PT Paper with a smooth finish prints just the surface of
of the type, while a soft or antique finish reproduces not only the this type, while a softer, more antique finish reproduces
faces of metal type, but a small portion of the supporting sides, not only the face of the letters, but a small portion of these
giving to the print, especially the hairlines, a heavier appearance supporting sides as well, giving to the prints a blacker or
6.5 P T Paper of a hard, smooth finish prints just the surface of the type 6.5 P T Paper of a smooth finish prints just the surface of the
while a soft or antique finish will also reproduce a small portion of the type, while a soft or more antique paper reproduces not only
supporting sides, giving to the print, especially the hairlines, a slightly the face of the letters, but a small portion of these supporting
heavier or blacker appearance. This effect is also easily observed in the sides, giving to the print a much heavier effect. Ordinary type
6 PT Paper of a hard, smooth finish prints only the surface of the metal type, 6 PT Paper of a harder, smooth finish prints only the surfaces of the
while a soft or antique finish reproduces not only the face of these letters, but letters, while a softer, antique finish reproduces not only the faces
a small portion of these supporting sides, giving to the print, especially these of letters, but a small portion of the supporting sides, giving to the
hairlines, a slightly heavier or blacker effect. Ordinary Roman type printed print, especially in the hairlines, a heavier and blacker appearance.
5.5 P T Paper of a hard, smooth finish prints only the surface of the type, while a 5.5 P T Paper with a hard, smooth finish prints just the surface of the type,
soft or antique finish reproduces not only the face of metal letters, but also a small while a soft or antique finish reproduces not only the face of the letter, but
portion of these supporting sides, giving to the print, especially hairlines, a heavier a small portion of the supporting sides, giving to the prints, especially the
or blacker effect. Ordinary roman type printed on machine-finish paper will appear hairlines, a heavier, blacker appearance. Roman type will show this effect
5 P T Paper with a hard, smooth finish prints only the surface of the type, while a soft or 5 P T Paper with a hard, smooth finish prints only the surface of the type, while
antique finish reproduces not only the face of the type, but a small portion of its supporting a soft or antique finish reproduces not only the face of metal type, but a small part
sides, giving to these prints, especially these hairlines, a heavier or blacker effect. Ordinary of the supporting sides, giving to the print, especially the hairlines, a heavier or
italic type printed on machine-finished paper does become lighter in effect when printed on blacker effect. Ordinary Roman type printed with this procedure will show clearly
4 .5 P T Paper with a hard, smooth finish prints only the surface of the metal type, while a soft or 4 .5 P T Paper with a harder, smooth finish prints only this surface of the type, while a
antique finish reproduces not only the face of the type, but a small portion of the supporting sides, softer or antique finish reproduces not only the face of the type, but a small portion of the
giving to the print, especially the hairlines, a slightly heavier or blacker effect. Ordinary italic type supporting sides, giving to the print, especially the hairlines, a much heavier or blacker
printed on machine-finish paper becomes lighter in effect when printed on antique. Heavy faced type effect. Ordinary roman type printed on machine-finished paper is affected quite strongly
4 PT Paper of a hard, smooth finish prints only the surface of the metal type, while a soft or more antique finish 4 PT Paper with that harder, smoother finish will print only this surface of metal type, but a softer
reproduces not only the face of the type, but a small portion of these supporting sides, giving the print, especially or more antique finish reproduces not only the face of the type, but a small portion of the supporting
the hairlines, a heavier or blacker effect. Ordinary roman type printed on machine-finish paper will become lighter sides, giving to the print, especially the hairlines, a heavier or blacker look. Ordinary Roman type
in effect when printed on antique. Heavy faced type is not changed so much in its appearance, though it can also be printed on machine-finish paper becomes lighter in effect when printed on newer stock, an effect that

EXCHANGE F
L A N GUAGE SUPP ORT

EXCHANGE SUPP ORTS OVER 200 LANGUAGE S.
MORE INFORMATION AT FREREJONE S.COM/FAQ
BOOK 8 P T / 12 P T
AFRIKAANS Daar is geen ho berge nie, want hoog is daar CATALAN Hom comprn que un jard de senyor rector
die wreld self; en luggies waai daar dun en fris, of dit sigui una imatge, baldament pllida, del parads terrenal.
stroom uit die blou gewelf. Die baie dale en klowe wat die En Quiquet, per cortesia, agafa una pera. s d'aquelles
hoogland kruis en dwars deursny, bied winterskuiling vir peres verdes per fora, granelludes per dins, per que sn
die vee wat anders al te koud sal kry. una mel. Aquell gust de mel s'acaba aviat. Tot just quan
ALBANIAN do grup prmban elementet t cilt kan CHEYENNE Hke ttseha tshemmto ehe
t njjtin konfigurim elektronik t jashtm. Brenda do hmhnstse mhnehkeehhtahaovhevhe
grupi gjenden atome me veti t ngjashme. N nder t tshekvooo. Oekese vhovhahtsesstse.
kimistit rus sistemi periodik quhet ndryshe dhe tabela Tothosta hketheevhtsmho, heva
e Mendelejevit. Sistemi periodik ndahet n grupe dhe htavhhotseoestse heamneannstse naa mto
APACHE Kadi niikee iango bindayeedaaigha a CORNISH Pub den oll yw genys rydh hag kehaval yn dynita
dkeh naajiistseena. Kadi nd gojilna. Goshtish ha gwiryow. Yth yns i kemynnys gans reson ha kowses
nd khtgo naaki jlaana. Haodzgo jlaana hag y tal dhedha gul dhe unn orth y gila yn spyrys a
dkeh. koo knijdlna. Tbjishchin ndne vrederedh. Moaz aman Brea Cambern, toaz trea. E lodrow
yndiigo, Naaghneesghn indaa yndiigo; o gwidn, wos aith thur an jyn. E vuzaz an tane gen an
ASTURIAN La enerxa xenerada emtese al espaciu en CROATIAN Suneva energija ili solarna energija je energija
forma de radiacin elleutromagntica, neutrinos y vientu Sunca, njegova svjetlost i toplina koju ljudi koriste od
solar. Les estrelles obsrvense nel cielu nocherniegu davnina uz pomo raznih tehnologija. Djelomini popis
como puntos rellumantes, titilantes por mor de les sunevih sustava ukljuuje prostor za grijanje i hlaenje
distorsiones ptiques que produz la turbulencia y les kroz pasivnu solarnu arhitekturu, pitku vodu kroz
AZERBAIJANI n qdim dvrlrdn zmanmizdk davam CZECH Vte, pomoc tch vodiek mohl dlat, co chtl.
edn bu snt nv xalqn geyimindn tutmu mxtlif Mohl teba dostat medzu se sokratovskm mozkem nebo
tsrrfat mmulat v bzyin qdr byk bir sahni alu padest metr dlouhou. Ale protoe neml kousku
hat edir. Tbiidir ki, xalqmzn mit xsusiyytlri, humoru, vzal si do hlavy, e udl normlnho obratlovce
estetik zvg, bir szl milli simas, mnliyi bu snt nebo snad lovka. A tak se do toho pustil.
BASQUE Gizon-emakume guztiak aske jaiotzen dira, DANISH En fjord er et havomrde med land p tre sider.
duintasun eta eskubide berberak dituztela; eta ezaguera bningen ud mod det vrige hav kaldes for fjordens
eta kontzientzia dutenez gero, elkarren artean senide munding. En fjord er kendetegnet ved at den indeholder
legez jokatu beharra dute. Gizaki orori dagozkio brakvand. Er omrdet kun afgrnset til to sider, er der
Aldarrikapen honetan adierazitako eskubide eta tale om en bugt eller et strde. P andre sprog har
BOSNIAN Najlaki hemijski elementi, meu kojima su DUTCH Geen bepaling in deze Verklaring zal zodanig
vodik, helij i manje koliine litija, berilija i bora, nastali su mogen worden uitgelegd, dat welke Staat, groep of
razliitim kosmikim procesima tokom Velikog praska i persoon dan ook, daaraan enig recht kan ontlenen om
djelovanjem kosmikih zraka. Nastanak teih elemenata, iets te ondernemen of handelingen van welke aard ook te
poev od ugljika do najteih elemenata, desio se putem verrichten, die vernietiging van een van de rechten
BRETON Pep hini en deus gwir da gaout digoll gwirion ENGLISH It seems to me very important that the statute
dirak lezio-barn broadel kenveliek evit obero o laws should be made as plain and intelligible as possible,
dije torret ar gwirio diazez anavezet dezha gant ar and be reduced to as small a compass as may consist
Vonreizh pa al lezenn. Ur gwir par da hini ar re all a with the precision of the will of the Legislature and the
zo gant pep hini da veza klevet dirak an holl ha gant perspicuity of its language. This well done would, I think,

EXCHANGE F
E SPERANTO iuj liaj vivbezonaoj portis la nomon drako GUARAN Maypa tapicha iderecho oguerekvo ijidea ha
kaj estis ornamitaj per diversaj drakofiguroj. Nun ie en ieandu tee, ha upva oikuaaukvo ojejuru mbotyyre
inio videblas drako ornamentaoj kaj cirkulas legendoj ichupe; ko derchope oike avavpe nonnemolestivo
pri drakoj. Kvankam neniu tato akceptis Esperanton kiel marandu ha opinin kura, ha avei oemosarambivo
oficialan lingvon, i estas uzata de internacia komuno, kova opaite hendrupi, mayma tembiporu upevar
E STONIAN Must ja ngine rehetare. Ahjus hgub tuli ja HAWAIIAN Ua noa i n knaka apau loa n pono kvila i
punetab slt seinte ple. Ahju ees sawik, kolde kohal helu ia ma kia Hike, me ka hookae ole i ka lhui, i ka
ahela otsas pada. Ahju krwal pink, kartsas ja wanaema wai hooluu o ka ili, i ke kne a i ole ka wahine ka lelo,
woodi. Teisel pool wastu nurgas uhmripakk, leiwalabidas, ka hoomana, ka manao politika a me n manao ae,
ahjuluud ja muud koli, seinas soone pl kinni ja lahti ka ina a pilina paha i hnau ia ai, ka waiwai, ke klana
FAROE SE Somuleiis skal eingin mismunur vera orsaka HUNGARIAN Budt s a budai polgrokat egy darab id
av politiskari, rttarligari ella millumtja stu hj ta valsgos divat kignyolni. Pedig ht ez nagy lhasg,
t landi, sum ein persnur hoyrir til, sama um landi er mert igaz, hogy a pesti rsz a gazdag, pomps, de a budai
sjlvstugt, undir tilsjnarvaldi, ella fullveldi tess rsz a kedves. Pestnek jvje van, Budnak multja. S
annan htt er skert. Ein og hvr hevur rtt til lv, frlsi minthogy a jv is mindenesetre mult lesz
FINNISH Pyh paistoi pyrstthti, taivas kummasti helotti, ICELANDIC Stlbiki bori me suunni og sje vel
kupu taivahan kumotti, loimotti sininen shk, hirnuivat urrt undir. a er tlazt til, a eir steinveggir, sem
hevot tulijan niinkuin Turjan pyrretuuli, orhit oivat stlbikair eru, sjeu lagir sement ea allar holur fylltar
korskahteli niinkuin paisuva Imatra, naukuivat navat me gu sementi. Gert er r fyrir, a allur viur sje
ratasten niinkuin yss jitten jyske, tuop on vankui snskur og gur sjer. Strompar sjeu hafir r slenzku
FRENCH Loin de sennuyer au couvent les premiers temps, IGBO O dighi onye a ga-akwagide na nnyonye anya ezighi
elle se plut dans la socit des bonnes surs, qui, pour ezi nihe o-coghi ka oha mara, ezinulo ya, ulo ya ma o bu
l'amuser, la conduisaient dans la chapelle, o l'on nzikorita ozi ya, ma o bukwa na mbuso agha megide ugwu
pntrait du rfectoire par un long corridor. Elle jouait na ezi aha ya. Onye o bula newere ikike icho nchedo iwu
fort peu durant les rcrations, comprenait bien le megide nnyonye anya ma o bu mbuso agha ndi a.
GALICIAN Toda persoa ten os dereitos e liberdades INDONE SIAN Air hutan ini tidak sepanjang tahun mengalir
proclamados nesta Declaracin, sen distincin ningunha deras, ada kalanya berkurang di musim kemarau. Jika
de raza, cor, sexo, idioma, relixin, opinin poltica ou de datang musim penghujan hutan ini dialiri air yang
calquera outra ndole, orixe nacional ou social, posicin nampak indah menyegarkan. Kondisi hutan yang masih
econmica, nacemento ou calquera outra condicin. rapat merupakan daya tarik lain yang disuguhkan di
GERMAN Eine wunderbare Heiterkeit hat meine ganze IRISH Fairis sin, n danfar aon idirdheal ar fhoras no
Seele eingenommen, gleich den sen Frhlingsmorgen, cimochta poiliticila, dlnsila n eadarnisinta at ag
die ich mit ganzem Herzen geniee. Ich bin allein und an tr n an chroch len mbaineann duine, p acu croch
freue mich meines Lebens in dieser Gegend, die fr solche neamhsplech, croch iontaobhais, n croch gan rialtas
Seelen geschaffen ist wie die meine. Ich bin so glcklich, dchais , n croch a bhfuil aon teoranta eile ar
GIKUYU Ndingr na thim nonghrre. Nako kagui ITALIAN La nostra linea retta sar viva e palpitante; si
gakambrria gthambra. Kora nako gakga ma-in prester a tutte le necessit delle infinite espressioni
gagcoka ma-in. Gakmarthrria. Irima nrrenjirwo. della materia, e la sua nuda severit fondamentale
ngenda, nokene. Ru mthenya mwe r ngwokire sar il simbolo dalla severit di acciaio delle linee del
and ta acio. N raikria mbira? kra nagwetha macchinario moderno. Nessuna paura pi stupida di
GREENLANDIC Kinaluunniit akornuteqanngitsumik JAVANE SE Isi gamelan iku saprangkat piranti musik sing
angalaarsinnaatitaavoq aammalu naalagaaffiit dienggo ngiringi tembang, utawa ditabuh tanpa tembang
ataasiakkaat killeqarfiisa iluanni najugaqarfissamik minangka klenngan. Pagelaran gamelan uga ana kang
nammineerluni toqqaasinnaatitaalluni. Inuiannut ngarani orkestra gamelan Jawa. Ing Jawa gamelan
solernut atasuunermut tunngasut, naalagaaffimmi biyasan kanggo musik pangiring pagelaran wayang kulit

EXCHANGE F
KURDISH Kurd, zimanek wisa ye ku ji p, pa nav MORI Khore an ng kmara me r atu kai pr kia
ve qertafan digire. Ev qertafn kirin j di nav xwe de kohia noatia. I te w o Matariki, he huhua ng moki me
dibin du bir. Yek j ew qertaf in ku ten bi wan ji lkeran, ng korokoro. He w pai m te kohi pikopiko me ng
lkern kir tn bidestxistin. Qertafn din j, ten bi wan kkano hoki. Engari, ko tahi kai katoa atu, kua oti k te
navdr rengdr tn kirin. Her wiha carinan di bastra ktutu, k puru ana ng ptaka. He hoatu takoha te mahi
LATIN Et accedentes locuti sunt regi super edicto: NAVA JO Naada a kdshdlehgo shi yth. Shidah
Rex numquid non constituisti, ut omnis homo, qui rogaret naata kwii nighan shin nahalingo sh t'. Shdi
quemquam de diis, et hominibus usque ad shii naanish t bi ythg yhwiidoo. Shi dah
dies triginta, nisi te, rex, mitteretur in lacum leonum? naata nshi . Shikyah biih t bee sh haza a shii
Ad quos respondens rex, ait: verus est sermo iuxta baa nitsskees. Sh tsdii baa nitsskees eh. Sha a g
LATVIAN Balt cielava ir Latvijas nacionlais putns. NORWEGIAN Enhver har rett til en levestandard som er
Latvij sastopama oti biei no apra ldz oktobrim, biei tilstrekkelig for hans og hans families helse og velvre,
uzturas apdzvots viets un lauku viensts, tau ligzdo og som omfatter mat, klr, bolig og helseomsorg og
ar dados citos biotopos. Kaut ar cielavas ir gjputni, ndvendige sosiale ytelser, og rett til trygghet i tilfelle
atsevii pati reizm prziemo. Balt cielava tika atzta av arbeidslshet, sykdom, arbeidsufrhet, enkestand,
LITHUANIAN Jokia ios Deklaracijos nuostata negali bti OCCITAN Tan mabels vstra cortesa demanda, que ieu
aikinama kaip suteikianti kuriai nors valstybei, grupei non pdi ni vli mamagar de vos. Ieu soi Arnaut, que plori
ar asmeniui teis vykdyti koki nors veikl ar atlikti e vau cantant; consirs vesi la foli passada, e vesi jois
veiksmus, skirtus joje idstytoms teisms ir laisvms lo jorn quespri, davant. Ara vos prgui, per aquela valor
panaikinti. Kiekvienas mogus turi pareigas visuomenei, que vos guida al som de lescalir, sovenhatz-vos tot cp
MAASAI r d ap naa enyylo na r ta, r ta P OLISHJeeli panowie przyjrzycie mu si dokadnie,

naj, r d naa enapkt eary, na kytrrshk to zmiarkujecie, e piszcy mia kopot z pirem i
naj n wwj am r ap, nety ap, nety ap atramentem. Piro pryskao dwa razy w jednem sowie,
oltun oj ap Inkims. kr kt tnt sprua i wyscho trzy razy przy wypisywaniu tak krtkiego
sagrrm tll owuar syan ker tr mr sr adresu, co dowodzi, e byo bardzo mao atramentu
MADURE SE Sadajana oreng e lahiragi sareng hak-hak P ORTUGUE SE Se o milagre prova a divindade, ento
se dha-padha, mutlak klaban kabebasan fundamental. divino o peixe Oannes, que tem barbatanas de nacar
Parsarekatan Bangsa-Bangsa agaduwi janji badhi e prga nas margens do Euphrates, em noites de lua
ajungjung tenggi, mamaju sareng anaonge hak-hak asasi cheia! Gad sorria com altivez e doura. A sua indignao
sabban oreng. Janji gapaneka asalepon dhari piagam expirra sob a immensido do seu desdem. De novo a
MALAGASY Ny tondronny abidini Radama dia mitovy QUECHUA Lliwmanta aswan pisqukunaqa phawayta
endrika aminny abidy ampiasaina aminizao fotoana atiptin, hukkunataq manam atinchu, ahinataq surim.
izao: ny isanny litera ampiasaina dia mbola iraika Uachakunaqa, malqukuna nisqa, chaymanta, uqllay
ambinny roapolo, fa tsindraindray itarina ho enina pacha nisqamanta runtuta tuqyachispa paqarinku.
amin'ny roapolo ny isanny litera ampiasaina noho Malqunkunataqa qisapim mikhupayachispa uywanku.
MALTE SE Fl-istess in, uud mill-isba poeiji tiegu ROMANIAN Asta deoarece unitile fundamentale trebuie
juru vja interjuri fl-esperjenzi u s-sentimenti tal- s poat permite msurarea tuturor mrimilor fizice fr
poeta. Bhekk irnexxielu jgaqqad kemm li joss hu u definiii redundante, ns alegerea propriu-zis a acestor
l-esperjenzi tiegu flimkien ma dawk ta pajjiu u niesu. uniti este arbitrar. Unitile derivate sunt date de
Dun Karm iares kemm lejn in-naa personali kif ukoll expresii algebrice formate prin nmulirea i mprirea
MANDINKA Bii, a luntaolu le soto. I bota mintoo le? I ROMANSH Bain svelt la gnda confruntada in butia
bota Basse le. Ja ni Basse mu kilometer mu wa ne ti. cul rumantsch. Per ella esa stat cler chella prouva da
Lunta jelu le mu? Lunta saba le mu. Doo mu n teerimaa dir almain ils pleds da sald per racoglier la simpatia
le ti. Ate naata ja siaa naani. Doolu du? Woolu nene dals cliaints indigens. Quai es grati bain e cun agd
ma naa ja. i ne mu ila sila foloo ti ja. Wulaaroo n be da cuors da rumantsch cha Simi Jakob ha frequent

EXCHANGE F
SAMI Ii oktage galgga dubmejuvvot rggtussii TSWANA Kgotla e kaiwa mo setsong sa Setswana jaaka
dakkr dagu dahje libmahusa ovddas, mii dahkoiggi lefelo la botlhokwatlhokwa. Ke felo kwa melao ya morafe
ii lean rggtusvulo nuvnnala lga mielde dahje e dirwang gone le ditsheko di tsenelang gone. Kgotla
lbmotrievtti mielde. Iige galgga garraset duomu shttit ngwe le ngwe, go ya ka Setswana, e biletswa boreaitse go
cealkit go dan mii lgas leai mearriduvvon dalle go thaya kgotla gore go sireletswe kgosi le morafe. Go epelwa
SAMOAN Ua o latou sailiili pea i auala ma mea e TURKISH mambayld, ana malzemesi patlcan olan, soan
faaalualu ai ma faafaigfie ai le olaga o le tagata ola. ve sarmsak kullanlarak hazrlanan zeytinyal bir yemek
O saienisi poo saienitisi, e tua a latou suesuega au trdr. Onnc gnde yemek masasnda patlcan
e iloa ai le tali o lea mea ma lea mea. Talu ai nei faiga, bulunmamaktadr. Buna aran imam artk zeytinyann
o le mea lea ua mafua ai ona saosaoa le alu o le olaga, kalmadn renince zntsnden baylr. Patlcanlar
SERBIAN Dalje, nee se praviti nikakva razlika na osnovu UMBUNDU Olukolela okuti vukanda owigi wofokeka
politikog, pravnog ili medjunarodnog statusa zemlje vyalikongela, wasapula onjanja yokaliye etavo lyawo
ili teritorije kojoj neko lice pripada, bilo da je ona komoko yavelapo yomunu, kekalo kwenda esilivilo
nezavisna, pod starateljstvom, nesamoupravna, ili da lyomwenyo womunu, okulisoka komoko yalume kwenda
joj je suverenost na ma koji drugi nain ograniena. Svi su yakayi kwenda yilombolola utoyi wokweca okwamako
SLOVAK Pri nedostatku vitamnov sa mu objavova VIETNAME SE Thnh phn chnh ca ph l bnh ph v
poruchy funkci organizmu, alebo aj vemi vne nc dng cng vi tht b hoc g ct lt mng. Ph lun
ochorenia. Niektorch prebytonch vitamnov sa c thng thc khi cn nng hi. c c nhng bt
organizmus doke zbavi a pokia prestane vitamn ph ngon ty thuc rt nhiu vo kinh nghim v b quyt
prijma, organizmus z tela nadbyton mnostvo truyn thng ca ngi ch bin, trong quan trng c
SLOVENIAN Pri objektivih s slabo popravo sferne aberacije WELSH Un ystryd hir y tybiwn ei bod, o bobtu ir ffordd
bo za toke zunaj goria pred gorino ravnino ena vrsta syn rhedeg hyd y bryniau, yn gyfochrog a glan y mr. Y
diskov, za ravnino pa druga vrsta. To je dejansko lahko maen ln, er nad oes adeiladau mawrion yn ei rhan hynaf.
zaeleno, saj zabrisani krogi, ki so ob robu temneji, Hawdd gweled ei bod yn hen dref oddiwrth ei chastell
tvorijo manj doloene oblike, ki se gladko zlijejo z okoliko ac amlder ei thafarnau. Trois ar y chwith, hyd ffordd
SPANISH Inclinse el padre y bes a la nia dormida, WOLOF u jpp te nangu ne sagu doomi aadama ak sa-
que sonri al sentirse besada en sueos. Cuando acab saam ypp-dau yam te kenn mnuko jalgati, te lu lpp
Joaqun de hablar medi un silencio espeso, hasta que nekk na cs laay ci taxufeex ci mbirum tte ak jmm ci biir
estall una salva de aplausos. Levantse entonces Abel y, dduna. u jpp ne akk xam ak soofantal sa-sai doomi
plido, convulso, tartamudeante, con lgrimas en los ojos, aadama indi na aymusiba yu tar tax kpp kuy dund fippu.
SWAHILI Kuna wakati, Abunuwasi aliamua kuwa mfuga XHOSA Akukho namnye oya kuphazanyiswa kubomi
mbuzi. Alinunua mbuzi wa kufuga huku akiwa na lengo obubobakhe, kusapho lwakhe, kwikhaya lakhe okanye
la kujiongezea kipato chake pindi mbuzi huyo atapoanza ngokwembalelwano, nokuba kukuhlaselwa okuhlisa
kuzaa, ili awafuge ndama wawe wengi na kumuwezesha isidima nodumo lomntu. Wonke umntu kufanelekile
kuwa tajiri kuliko wote waliokuwepo katika mji ule. ukuba akhuselwe ngumthetho ekuphazanyisweni okanye
SWEDISH ter igen ville han tala. Men det han ville sga YORUBA En kookan l n fn s gbogbo eto ti mnira
var alltfr mycket, alltfr lngt. P nytt blev det endast t a ti gb kale nn kde y lfi ti oro yto ey kankan
till stamningar. Stellan strtade ut. Dr lg den. Benen se; yto b i ti ey nyn, wo, ako-n-bbo, d, esn, t
voro borta, men svansen var hel. Edgar lg som ett vrak sl tb yto npa r eni, orle-d eni, orrun eni, ohun
p ena sidan, fr den lnga svansens skull. Stellan sg n eni, b eni tb yto mrn yw k je. Swj s i, a
TAGALOG Lumak si Mara Clarang pinacaiirog ng laht, ZULU Omama nabantwana kumele banakekelwe futhi
sa guitn ng mga ngiti at pagsinta. Ang mga fraile may balekelelwe ngokunqala impela. Bonke abantwana
linalar siya pagc isinasama sa mga procesing puti noma bezalwe ngaphandle komshado bayothola
ang pananamit, nalalala sa canyang malag at cult na ukuvikelwa okufanayo emphakathini. Ekusebenziseni
buhc ang mga sampaga at mga azucena, may dalawang amalungelo nenkululeko yakhe, umuntu uyokwenza

EXCHANGE F
C H ARACT E R SET
CAPITAL LETTER S ABCDEFG H IJK L MN OP QR ST UVWXYZ

LOWERCASE LETTER S abcd efgh ij k l m nopqrstuvw x yz

LIGATURE S ffkffl
SMALL CAPITALS


EXCHANGE F
LINING FIGURES 0 123 45678 9

TABULAR FORMS 012345678 9
SUPER SCRIP T & SUBSCRIP T A0123456789B0123456789C
NUMERATOR S & DENOMINATOR S 01234567890123456789
PRECOMP OSED FRACTIONS
PUNCTUATION & SYMBOLS .,:;?! "'()[ ] {}/ | \ - :_& @ % #

LEGAL & REFERENCE *
MATH +=~ < > ^
CURRENCY $
CASE-SPECIFIC FORMS A ( ) [ ]{}/ | \ - Aa
TABULAR FORMS .,:"'/$
ACCENT & MODIF YING MARK S

CASE-SPECIFIC FORMS

EXCHANGE F
OP E NT Y PE FE AT U RE S
LIGATURE S LOCALIZATIONS
fluffiest fluffiest C ATAL AN PERIOD CEN TERED TO PUN T VOL AT
STYLISTIC SETS constellaci constellaci

1 F I GUR E COLON ( FIGUR E S ONLY )
TU RKIS H & AZERB AIJAN I PRE S ERVIN G DOTLE S S AN D DOTTED I
START: 9:30 START: 9:30 Krklareli KIRKLARELI

2 F I GUR E COLON (G LOB AL )
MARK P OSITIONING
START: 9:30 START: 9:30 Naasho ii Naasho ii

3 C A P ITA L PUNCT UAT ION
A {CAT/DOG} A {CAT/DOG}
STYLISTIC ALTERNATE S: FIGURE COLON (GLOBAL )
START: 9:30 AM START: 9:30 AM

SMALL CAPITALS
Brooklyn Brooklyn
ALL SMALL CAPITALS
a NASA pilot a NASA pilot

TABULAR FIGURE S
$206,230.59 $206,230.59
171,510.21 171,510.21
850,046.03 850,046.03
FRACTIONS
6 15/32 inches 6 15/32 inches

SUPERIOR /SUPER SCRIP T FIGURE S
Lincoln8 and Lincoln8 and

INFERIOR /SUBSCRIP T FIGURE S
C2H5OH C2H5OH

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America. TOBIAS FRERE-JONE S

defensive strategy to more traditional text settings. K SENYA SAMAR SKAYA

FAM I LY OVE RVIE W

EXTRA LIGHT EXTRA LIGHT I TALIC

Exchange Exchange MICROPLUS

LIGHT LIGHT ITALIC MP LIGHT MP LIGHT ITALIC

Exchange Exchange Exchange Exchange

Exchange Exchange Exchange Exchange

Exchange Exchange Exchange Exchange

Exchange Exchange Exchange Exchange

The complete Exchange family includes 18 fonts10 standard

With loosened spacing, lowered contrast, enlarged x-heights,

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Western Roman Empire

31 Whole Pumpkin Pies

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Wild Mushroom Stuffing

Greater Butterfly Orchid

57 Toasted Lox Bagels

691 TREASURY SHARE

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BOLD ( TRACKING: 25)

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BOLD ITALIC ( TRACKING: 30)

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BOLD ( TRACKING: +110)

BOLD ITALIC ( TRACKING: +95)

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6842 Swedish Nuts

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EXTRA LIGHT, EXTRA LIGHT ITALIC & BOOK 14 P T / 19 P T

Experimentation with emerging electronics around the turn of

Experimentation with emerging electronics Experimentation with emerging electronics

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LIGHT, LIGHT ITALIC & MEDIUM 14 P T / 19 P T

Experimentation with electronics at the turn of the twentieth

Experimentation with emerging electronics Experimentation with emerging electronics

progress into streaming music through tele-

Developments of the vacuum tube led to new

electronic instruments that were amplified and

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BOOK , BOOK ITALIC & BOLD 14 P T / 19 P T

Experimentation with electronics around the turn of the last

Experimentation with emerging electronics Experimentation with emerging electronics

music through telephone networks.

electronic instruments that were amplified,

smaller, and more practical for performance.

PAG E 24 LARGE SHOWINGSTEXT SHOWINGS SPEC S FREREJONE S.COM

MEDIUM & MEDIUM ITALIC 14 P T / 19 P T

Experimentation with electronics at the turn of the twentieth