Heneczek Pro

RegularItalic

Regular TextItalic Text

SemiboldSemibold Italic

BoldBold Italic

BlackBlack Italic

Heneczek Pro 1 [17] D. „Nika” Langosz

➼

↟c

k8ct

7y

2↺

➳µ

� ‰№§

⟵łz❀

ʹ

.j

?

2∑b Q

R3ß

it∞

°

'

ę£ *

†

❦

❤

˜

˘y~☟ģ ”

₺

)$—

ffb

fhu

‡

m

a

ft

ý‒

+ ffk

ß

t ¬

Tkà

sp

G

ø

�

x

ỹ l

ßsist

4›

} ↟➸

v ☚

@

r

➻ √

&«¶Ð

e

s

‽Δ

⤛

⬶��#

it

➽sp¡

Heneczek Pro 2 [17] D. „Nika” Langosz

Opis projektu

Heneczek Pro to krój pisma na-zwany na cześć Teodora Henecz-ka, śląskiego drukarza i wydaw-cy, który w XIX wieku założył pierwszą polską drukarnię na Górnym Śląsku. Krój Heneczek został zamówiony przez Miejską Bibliotekę Publiczną w Piekarach Śląskich z okazji 200-lecia uro-dzin Teodora Heneczka i 170-le-cia drukarni. Krój został oparty na podstawie czcionki używanej w drukarni Teodora Heneczka (1). Używana czcionka odznaczała się charakterystycznymi elementami,

Obsługiwane języki

Heneczek Pro nadaje się do ponad 200 języków we-dług zestawu przygotowane-go w Underware Latin Plus.

Wybrane obsługiwane języki: afrikaans, albański, azerbejdżań-ski, kataloński, tatarski krymski (łaciński), chorwacki, czeski, duński, holenderski, angielski, estoński, fiński, francuski, nie-miecki, grenlandzki, węgierski, islandzki, włoski, łotewski, litew-ski, maltański, norweski, polski, portugalski, rumuński, słowacki, słoweński, hiszpański, szwedzki,

które współcześnie można było by określić jako nieprawidłowe, błędne, np. minuskuła jest nie-zwykle skondensowane w po-równaniu z majuskułą i liczbami a polskie znaki diakrytyczne nie posiadają jeszcze współczesne-go wyglądu. Wynikało to z tego, że w tamtym czasie nie istniały jeszcze żadne ustalone zasady projektowania znaków diakrytycz-nych dla języka polskiego (2).Rozszerzona i ulepszona wersja Heneczka o nazwie Heneczek Pro została zaprojektowana głównie do składania tytułów, krótkich tek-stów i dwie odmiany służą

do składu tekstu ciągłego. W porównaniu z poprzednią wer-sją Heneczka szeryfy mają ostre połączenie, współczesne znaki diakrytyczne (stare znaki diakry-tyczne zostały umieszczone w ze-stawie stylistycznym) a niektóre znaki są bardziej dekoracyjne (3). Również wersja tekstowa stała się ciemniejsza i „uspokojona” dla lepszego czytania tekstu.Obecnie Heneczek Pro jest używany w magazynie ro-werowym Szosa (4).

(1)

A ➽ A c ➽ c

t ➽ t y ➽ y

ĄąĘꣳ(2)

(3)

(4)

Opis

turecki, turkmeński (łaciński), wietnamski, zarma, zulu.

Linki

• Threedotstype [EN]• Type specimen• Historia Heneczeka Pro [EN]• Magazyn Szosa [PL]

Heneczek Pro 3 [17] D. „Nika” Langosz

The Shadow Out of Time

L’AdorationGreat Sandy Desert 22°3′14″S 125°0′39″E

Consistency beats luckThe Municipal Public Library in Piekary Śląskie

change of style?7. nóvember 1867 / 4. júlí 1934❝freiheit genießen”Die »schönsten« Karnevalskostüme

Sugu izcelšanāsÉdition originale de L'Origine des espèces de 1859

A domesticação do pombo

BAROQUE

»INTERTEXTUAL REFERENCES«L'Europe du xviiie siècle (de 1715 à 1789)

AufklärungElection CommissionLangform der schriftlichen Erzählung

„Spell My Name with an S.”

Genre fictionBảo tàng Dân tộc học Việt Nam

(m. 1942; div. 1973)Jeg så en strålende form stige op mellem træerne

☞The Way the Future WasAußereuropäische

Przykłady

Heneczek Pro 4 [17] D. „Nika” Langosz

Przykłady

Jan Willem Pieneman (1779-1853)

”POPMODERNA“Van 27 januari t/m 10 juni

Holbeinstraße♡ 17 February 2016VitsmunavísindiEx-président d’Act-Up Paris

Øvelse gør mesterSHARING er titlen på vores første udendørs udstilling

Our closest relativeNOWÆ OPEN☚Pawilon Czterech KopułA TALE OF TWO WORLDS

Udstilling på museumspladsen“In the future everyone will be world-famous for 15 minutes”

Sacrifice and HarmonyDas Museum für DruckkunstFra møbler til sølv, keramik, mode, tekstil og digitalt design

*6.10.1887 —†27.08.1965

Le CorbusierScience and nature toys„Cudo-Twórcy”Présentation du projet documentaire

Barok na Śląskudu 27 mai 2015 au 31 décembre 2019☙ CREME DE LA CREME ❧

Heneczek Pro 5 [17] D. „Nika” Langosz

„The Kraków Group 1932–1937”

MODERNETicket online €19, aan de kassa €20

»Schriftgießerei«Muzeum Etnograficzne9/lutego/2019Besøk Friluftsmuseet„Biografie odtajnione”RijksmuseumQueen & paintingsLa Cité des sciences et de l'industrieATT FÅNGA ÖGONBLICKET

CINÉMA ET VIDÉOVårt fokus är vardagsliv i Sverige och Norden sedan år 1500

DELTAG & STØT“Røde Kors Skolen – Skolen På Bakken”

Od Pałacu do Rotundy24 × 30 cm 496 seiten

Cool Stuff27. Oktober ↦ 31. März 2019CINÉMATHÈQUE DU DOCUMENTAIRE

Central-European Želimir Žilnik porträtiert die Bewohner_innen

« L'envers d'une histoire »

Przykłady

Heneczek Pro 6 [17] D. „Nika” Langosz

THE END IS NEAR BUT CHILL OUT—The Evolution of Flowering Plants

QuestionsGravitational waves360° Aufnahmen und Datenvisualisierungen

Relativity ruins quantum world17 / February / 2018Einstein kills Schrödinger’s catJournalismus heißt, etwas zu drucken

DARK MATTER!So Long, and Thanks for All the Fish

SOMETIMES IT PAYS OF

TROCHĘ FAKTÓWPlanetariumPisarze w matni PRL – dyskusja o książce Joanny Siedleckiej

GeschichtenerzählerThe Long Way To A Small Angry Planet

Forced to Love the GrindEvery Sherlock needs a Watston

↠ 12 / 2014 ↞Cité des Sciences et de l'IndustrieWir sind das dienstälteste Planetarium der Welt

Cosmic Microwave BackgroundThe Quantum Side of Light

Przykłady

Heneczek Pro 7 [17] D. „Nika” Langosz

24 November 1859The funniest jokeONE PIECE 933Howard Phillips Lovecraft, 1890–1937

Agatha ChristieThe Promised NeverlandBBC RADIO ②The Mysterious Affair at Styles

Claire North The First Fifteen Lives of Harry August

21 January 1921

Science Fiction / Fantasy

BibliographyWaywalkersA God in RuinsLife After Life (novel)GROUNDHOG DAY The bottom line is that it's fictionA Madness of AngelsThe End of the Day

Przykłady

Heneczek Pro 8 [17] D. „Nika” Langosz

Przykłady

❦under

my skin

↠ per

aspera ad

astra ↞

Heneczek Pro Black 136 pt Heneczek Pro Black 127 pt

Heneczek Pro 9 [17] D. „Nika” Langosz

Causes of Variability—Effects of Habit—Correlation of Growth—Inheritance—Character of Domestic Varieties—Difficulty of distinguishing between Varieties and Species—Origin of Domestic Varieties from one or more Species—Domestic Pigeons, their Differences and Origin—Principle of Selection anciently followed, its Effects—Methodical and Unconscious Selection—Unknown Origin of our Domestic Productions—Circumstances favourable to Man's power of Selection.

When we look to the individuals of the same variety or sub-variety of our older cultivated plants and animals, one of the first points which strikes us, is, that they generally differ much more from each other, than do the individuals of any one species or variety in a state of nature. When we reflect on the vast diversity of the plants and animals which have been cultivated, and which have varied during all ages under the most differ-ent climates and treatment, I think we are driven to conclude that this greater variability is simply due to our domestic productions having been raised under conditions of life not so uniform as, and somewhat different from, those to which the parent-species have been exposed under na-ture. There is, also, I think, some probability in the view propounded by Andrew Knight, that this variability may be partly connected with excess of food. It seems pretty clear that organic beings must be exposed during several generations to the new conditions of life to cause any appreciable amount of variation; and that when the organisation has once begun to vary, it generally continues to vary for many generations. No case is on record of a variable being ceasing to be variable under cultivation. Our oldest cultivated plants, such as wheat, still often yield new varieties: our oldest domesticated animals are still capable of rapid improvement or modification.

Chapter 1

Variation under Domestication

Przykłady

Charles Darwin

On the Origi

n of Speci

es

Heneczek Pro Black 136 pt / Heneczek Pro Bold 20 pt Heneczek Pro Regular Tex 12 pt / Heneczek Pro Italic Text 20 pt / Heneczek Pro Regular Tex 9 pt / Heneczek Pro Bold 12 pt

15 / 1 / Variation under Domestication

Heneczek Pro 10 [17] D. „Nika” Langosz

I am forced into speech because men of science have refused to follow my advice without knowing why. It is altogether against my will that I tell my reasons for opposing this contemplated invasion of the antarc-tic—with its vast fossil hunt and its wholesale boring and melting of the ancient ice caps. And I am the more reluctant because my warning may be in vain.

Doubt of the real facts, as I must reveal them, is inevitable; yet, if I suppressed what will seem extravagant and incredible, there would be nothing left. The hitherto withheld photographs, both ordinary and aerial, will count in my favor, for they are damnably vivid and graphic. Still, they will be doubted because of the great lengths to which clever fakery can be carried. The ink drawings, of course, will be jeered at as obvious impostures, notwithstanding a strangeness of technique which art experts ought to remark and puzzle over.

In the end I must rely on the judgment and standing of the few scientific leaders who have, on the one hand, sufficient independence of thought to weigh my data on its own hideously convincing merits or in the light of certain primordial and highly baffling myth-cycles; and on the other hand, sufficient influence to deter the exploring world in general from any rash and over-ambitious program in the region of those mountains of madness. It is an unfortunate fact that relatively obscure men like myself and my associates, connected only with a small university, have little chance of making an impression where matters of a wildly bizarre or highly controversial nature are concerned.

It is further against us that we are not, in the strictest sense, specialists in the fields which came primarily to be concerned. As a geologist, my ob-ject in leading the Miskatonic University Expedition was wholly that of securing deep-level specimens of rock and soil from various parts of the

At the Mountains of Madness

Chapter 1

→ 3 ←

Przykłady

Howard Phillips

Loveacraft

At the Mountains of

Madness

Heneczek Pro Black 52 pt / Heneczek Pro Bold Italic 27 pt Heneczek Pro Bold 12 pt / Heneczek Pro Bold Italic 12 pt / Heneczek Pro Regular Text 9 pt / Heneczek Pro Bold Italic 12 pt

Heneczek Pro 11 [17] D. „Nika” Langosz

Skin care is the range of practices that support skin integrity, en-hance its appearance and relieve skin conditions. They can include nutrition, avoidance of excessive sun exposure and appropriate use of emollients. Practices that enhance appearance include the use of cosmetics, botulinum, exfoliation, fillers, laser resurfacing, micro-dermabrasion, peels, retinol therapy.[1] Skin care is a routine daily procedure in many settings, such as skin that is either too dry or too moist, and prevention of dermatitis and prevention of skin injuries.[2]

Skin care is a part of the treatment of wound healing, radiation ther-apy and some medications.

Przykłady

Skin care

Heneczek Pro Italic Text 9 pt Heneczek Pro Black Italic 69 pt / Heneczek Pro Bold 11 pt / Heneczek Pro Regular Text 11 pt

Heneczek Pro Bold Italic 28 pt / Heneczek Pro Regular Text 11 pt

Background

Skin care is at the interface of cosmetics,[3] and dermatology, a tradi-tional medical discipline;[4] there is some overlap with each of these topics.[citation needed]

The Federal Food, Drug, and Cosmetic Act defines cosmetics as products intended to cleanse or beautify (for instance, shampoos and lipstick). A separate category exists for medications, which are intend-ed to diagnose, cure, mitigate, treat, or prevent disease, or to affect the structure or function of the body (for instance, sunscreens and acne creams), although some products, such as moisturizing sunscreens and anti-dandruff shampoos, are regulated within both categories.[3][5]

Skin care differs from dermatology, as traditionally practiced, by its additional but less medical scope and by its inclusion of non-physician professionals, such as estheticians and wound care nursing staff.[1][6] Skin care includes modifications of individual behavior and of envi-ronmental and working conditions.[6] Nevertheless, dermatology has co-opted some aspects of skin care, particularly in the U.S., and to a significantly lesser extent elsewhere, such as the U.K.[1] Add from[1][2][7][8] [9]

Neonate

Guidelines for neonatal skin care have been developed. Nevertheless, the pediatric and dermatologic communities have not reached consen-sus on best cleansing practices, as good quality scientific evidence is scarce.[10] Immersion in water seems superior to washing alone, and use of synthetic detergents or mild liquid baby cleansers seems compa-rable or superior to water alone.[10] Add from [11][12]

SunscreenSun protection is an important aspect of skin care. Though the sun is beneficial in order for the human body to get its daily dose of vitamin D, unprotected excessive sunlight can cause extreme damage to the skin. Ultraviolet (UVA and UVB) radiation in the sun's rays can cause sunburn in varying degrees, early ageing and increased risk of skin cancer.[13] UV exposure can cause patches of uneven skin tone and dry out the skin.

This can reduce the skin's elasticity and encourage sagging and wrinkle formation. Sunscreen can protect the skin from sun damage; sunscreen should be applied at least 20 minutes before exposure, and should be re-applied every four hours. Sunscreen should be applied to all areas of the skin that will be exposed to sunlight, and at least a tablespoon (25 ml) should be applied to each limb, the face, chest, and back, to ensure thorough coverage. Many tinted moisturizers, founda-tions and primers now contain some form of SPF.

Sunscreens may come in the form of creams, gels or lotions; their SPF number indicates their effectiveness in protecting the skin from the sun's radiation. There are sunscreens available to suit every skin

Linki Tekst z: https://en.wikipedia.org/wiki/Skin_care

Heneczek Pro 12 [17] D. „Nika” Langosz

Funkcje opentypowe

locl featurelenguage: Dutch

íj ⇢ íjÍJ ⇢ ÍJíj ⇢ íj

lenguage: Catalan

l·l ⇢ l·lL·L ⇢ L·Ll·l ⇢ l·l

lenguage: Romanian

ş ⇢ șŞ ⇢ Șş ⇢ șţ ⇢ țŢ ⇢ Țţ ⇢ ț

lenguage: Moldavian

ş ⇢ șŞ ⇢ Șş ⇢ șţ ⇢ țŢ ⇢ Țţ ⇢ ț

lenguage: Kazakh

I ⇢ İi ⇢ i

lenguage: Tatar

I ⇢ İi ⇢ i

lenguage: Turkish

I ⇢ İi ⇢ i

lenguage: Crimean Tatar

I ⇢ İi ⇢ i

lenguage: Azeri

I ⇢ İi ⇢ i

subscript/subs feature

ab12 ⇢ ab12

scientific inferiors/sinf feature

ab12 ⇢ ab12

superscript/sups feature

ab12 ⇢ ab12

numerator/numr feature

12 ⇢ 12

denominator/dnom feature

12 ⇢ 12

fraction/frac feature

35/12 ⇢ 35/12

ordinal/ordn feature

2A 2O ⇢ 2A 2ONo. ⇢ No.

lining figures/lnum feature

1245 ⇢ 1245

tabular oldstyle figures/pnum feature

1245 ⇢ 1245

tabular lining figures/pnum feature

1245 ⇢ 1245

oldstyle figures/onum feature

1245 ⇢ 1245

uppercase to smallcaps/c2sc feature

–A34/) ⇢ –A34/)

lowercase to smallcaps/smcp feature

–a34/) ⇢ –A34/)

uppercase/case feature

–↞a4/) ⇢ –↞A4/)

discretionary ligature/dlig feature

ffb ⇢ ffbffh ⇢ ffhffi ⇢ ffiffj ⇢ ffjffk ⇢ ffkfft ⇢ fftTT ⇢ TTTh ⇢ ThTk ⇢ TkŦh ⇢ ŦhŤh ⇢ ŤhŢh ⇢ ŢhŢh ⇢ Țhfb ⇢ fbfh ⇢ fhfi ⇢ fi

fį ⇢ fįfj ⇢ fjfk ⇢ fkft ⇢ fttt ⇢ ttfľ ⇢ fľfĺ ⇢ fĺſt ⇢ ſtſb ⇢ ſbſh ⇢ ſhſi ⇢ ſiſj ⇢ ſjſk ⇢ ſkſl ⇢ ſlſſ ⇢ ſſſſi ⇢ ſſiſſk ⇢ ſſkſſl ⇢ ſſlsh ⇢ shsi ⇢ sisk ⇢ sksl ⇢ slsp ⇢ spst ⇢ stşi ⇢ �şl ⇢ �şt ⇢ � și ⇢ �șt ⇢ �gi ⇢ �

it ⇢ �ch ⇢ chci ⇢ cick ⇢ ckcl ⇢ clct ⇢ ctcț ⇢ �çi ⇢ �çl ⇢ �çt ⇢ �

ligature/liga feature

ffl ⇢ fflffi ⇢ ffiff ⇢ fffi ⇢ fifl ⇢ flfj ⇢ fjfl ⇢ flft ⇢ fttt ⇢ ttgj ⇢ gjjj ⇢ jjfl ⇢ flųj ⇢ ųjqj ⇢ qj

Heneczek Pro 13 [17] D. „Nika” Langosz

Funkcje opentypowe

historical lgature/hlig feature

ſt ⇢ ſtſb ⇢ ſbſh ⇢ ſhſi ⇢ ſiſj ⇢ ſjſk ⇢ ſkſl ⇢ ſlſſ ⇢ ſſſſi ⇢ ſſiſſk ⇢ ſſkſſl ⇢ ſſl

contectual alternate /calt feature

HHß ⇢ HHß

ss01 feature / ss01 : Alternate ogonek, slash, caron, ring

Å ⇢ Åå ⇢ åĄ ⇢ Ąą ⇢ ąČ ⇢ Čč ⇢ čĎ ⇢ ĎĘ ⇢ Ęę ⇢ ęĚ ⇢ Ě

ě ⇢ ěĮ ⇢ Įį ⇢ įĽ ⇢ ĽŁ ⇢ Łł ⇢ łŇ ⇢ Ňň ⇢ ňŘ ⇢ Řř ⇢ řŠ ⇢ Šš ⇢ šŤ ⇢ ŤŮ ⇢ Ůů ⇢ ůŲ ⇢ Ųų ⇢ ųŽ ⇢ Žž ⇢ žǪ ⇢ Ǫǫ ⇢ ǫǺ ⇢ Ǻǻ ⇢ ǻ

ss02 feature / ss02 : Alternate number two

222 ⇢ 222

ss03 feature / ss03 : Alternate y

y ⇢ yý ⇢ ýÿ ⇢ ÿŷ ⇢ ŷȳ ⇢ ȳỳ ⇢ ỳ ỵ ⇢ ỵỷ ⇢ ỷ ỹ ⇢ ỹ

ss04 feature / ss04 : Zero with slash

0 ⇢ 00 ⇢ 0

ss05 feature / ss05 : Zero with dot

0 ⇢ 00 ⇢ 0

ss06 feature / ss06 : Decora-tive ligature

sh ⇢ shsi ⇢ sisk ⇢ sksl ⇢ slsp ⇢ spst ⇢ st

şi ⇢ �şl ⇢ �şt ⇢ � și ⇢ �șt ⇢ �gi ⇢ �it ⇢ �ch ⇢ chci ⇢ cick ⇢ ckcl ⇢ clct ⇢ ctcț ⇢ �çi ⇢ �çl ⇢ �çt ⇢ �

ss07 feature / ss07 : Thicker elements

# ⇢ #/ ⇢ / \ ⇢ \ - ⇢ - – ⇢ – — ⇢ —

ss08 feature / ss08 : Alternate G

G ⇢ GĜ ⇢ Ĝ

Ğ ⇢ Ğ Ġ ⇢ Ġ Ģ ⇢ Ģ Ǧ ⇢ Ǧ Ǵ ⇢ Ǵ

ss09 feature / ss09 : Alternate K

K ⇢ Kk ⇢ k Tk ⇢ Tk K ⇢ � Ķ ⇢ Ķķ ⇢ ķffk ⇢ ffkfk ⇢ fk sk ⇢ sk ck ⇢ ckſk ⇢ ſk ſſk ⇢ ſſk

ss10 feature / ss10 : Alternate quotes

‘ ⇢ ‘‘ ⇢ ‘ ’ ⇢ ❜ ’ ⇢ ’ ‚ ⇢ ❜‚ ⇢ ’“ ⇢ ❝

“ ⇢ ❝ ” ⇢ ❞ ” ⇢ ❞ „ ⇢ ❞„ ⇢ ❞

stylistic alternate /salt feature (ilustrator)

222 ⇢ 222

Heneczek Pro 14 [17] D. „Nika” Langosz

Zestaw znaków

A � � � � � � � � � � � � � � � � � � Ą Å Ǻ � � � B C � Č � � � � � Ď � E � � Ě � � � � � � � � � � � � Ę � F G Ǵ Ğ Ǧ Ĝ Ģ Ġ H � � I � Í � � � İ � � � � Į � J � � K Ķ � L � Ľ � � Ł � N � Ň � � � � O � � � � � � � � Ö � � � � � � � � � � � Ǫ � � � � � � � � � Ř � S � Š Ş � Ș � � T Ŧ Ť Ţ Ț � � � � � � � � � � � � � � � � Ų Ů � � � � � � � � � � � � � � � � � � � Ž � ÍJ � � � � � � � � � � � � � � � � � � � � � � � � � � � Ą Å Ǻ Č Ď Ě Ę Į Ľ Ł Ň Ǫ Ř Š Ť Ų Ů Ž G Ǵ Ğ Ǧ Ĝ Ģ Ġ K Ķ � � � � � � � � � � � � � � � � � � � � � � � � � � a � � � � � � � � � � � � � � � � � � ą å ǻ � � � b c � č ç � � d � � � e � � ě � � � � � � � � � � � � ę � � f g � � � � � � h � � i � í � � � � � � � � � į � j � � � k ķ � l ĺ ľ � � ł m � � � ň � � � � o � � � � � � � � � � � � � � � � � � � � ǫ � � � � p � q � � ř � s � š ş � ș ß ſ t � � ţ ț � � � � �

Heneczek Pro 15 [17] D. „Nika” Langosz

Zestaw znaków

� � � � � � � � � � � ų ů � � � � � � � � y ý ŷ ÿ ỵ ỳ ỷ ȳ ỹ � � ž � � ß íj j � � � � � � � � � � � � � � � � � � � � � � � � � � ą å ǻ č ě ę į ł ň ǫ ř š ų ů ž y ý ŷ ÿ ỵ ỳ ỷ ȳ ỹ k ķ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � TT Th Tk Ŧh Ťh Ţh Țh ch ci ck cl ct � � � � fb ff ffb ffh ffi � ffk ffl fft fh � � fį fk fĺ fľ ft fi fl � � ſt sh si sk sl sp st � � � � � ſb ſh ſi ſj ſk ſl ſſ ſſi ſſk ſſl tt ffj fj � Tk ck ffk fk sk ſk ſſk A � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � i i í íj � � � � � � � � � � � j � � � � � l � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ş � ș � � � � � ţ ț � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � A O � � � � � � � � � � � �

Heneczek Pro 16 [17] D. „Nika” Langosz

Zestaw znaków

� � � � � � � � � � � � � � a b � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � a b � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 0 1 2 3 4 5 � � � � 0 � 2 � � � � � � � � � � � 0 1 2 3 4 5 � � � � 0 0 2 � � 1 2 � 4 5 � � � � � � � � 1 2 � 4 5 � � � � � � � � 1 2 � � � � � � � � � � � � � � � � � � � � � � � � � � � � 1 2 � � � � � � � � 1 2 3 � 5 � � � � � 1 2 � � � � � � � / � � � � � � � � � � � � � � � � 0 � � 2 3 4 � � � � � 2 . � � � � � � � � · � � � � # � / \ � � � � / � � � � � � # / \ � � � ) � � � � � ) � � � � � � � � - � – — � � � – � - – — � � � ‚ „ “ ” ‘ ’ � � � � � � � � � � � � � � � � � � � � � � � � – � � ) � � � � � � � � � � � � � � � � � � �

Heneczek Pro 17 [17] D. „Nika” Langosz

Zestaw znaków

� � / � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ↞ � � � � � � � � � � � � � � � � � � � � � � � � � � � � ⇢ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ↞ � � � � � � � � � � � � � � � � � � � � � � � � � � � � ⇢ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ‘ ❜ ❝ ❞ � � � � � � � � � � � � � � � � � � � � � � No. � � � � � � � � � � � ‘ ’ � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

Kolofon

Damian „Nika” Langosz

langoszetdi@gmail.com+49 (152) 27 256 765+48 (889) 72 78 84

Behance / D LangoszLinkedln / Damian LangoszInstagram / nika.langosz

© Damian Langosch 2019

Dodatkowo użyty font: IBM Plex Sans