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PROGRAM

A TYPEFACE PRODUCED AND LICENSED BY EMIGRE

RPRO
 HAi
min k
1850.
Aa Aa

NARROW
PROGRAM
XX
Book Regular

(REGULAR)
Aa Aa
Medium

Aa
Bold

Aa
Black
ROGRA Medium

Aa
Black
PROGRAM PROGRAM PROGRAM & PROGRAM NARROW
NARROW
Book The quick brown fox jumps over the lazy dog.
Book Italic The quick brown fox jumps over the lazy dog.
Regular The quick brown fox jumps over the lazy dog.
Regular Italic The quick brown fox jumps over the lazy dog.
Medium The quick brown fox jumps over the lazy dog.
Medium Italic The quick brown fox jumps over the lazy dog.
Medium The quick brown fox jumps over the lazy dog.
Medium Italic The quick brown fox jumps over the lazy dog.
Bold The quick brown fox jumps over the lazy dog.
Bold Italic The quick brown fox jumps over the lazy dog.
Black The quick brown fox jumps over the lazy dog.
Black Italic The quick brown fox jumps over the lazy dog.
Black The quick brown fox jumps over the lazy dog.
Black Italic The quick brown fox jumps over the lazy dog.

The quick brown fox jumps over the lazy dog.

The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
PROGRAM has four weights, while Program Narrow has three. Instead of matching the overall
The quick brown fox jumps over the lazy dog.
“color” in text settings between the Program and Program Narrow versions, as is often done, we
matched the stem weights. This allows for a more comfortable matching of stem weights when The quick brown fox jumps over the lazy dog.
combining the two versions at larger sizes on posters or in headlines. The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
Program is available in both OpenType and Web Font formats.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
The quick brown fox jumps over the lazy dog.
 mMo
LN
45TIN
 PROGRAM PROGRAM ITALIC
XYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVW
BL ACK B L AC K

yz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwx
0 12345 678 9 ( ! @ #$ %* &) 0 123 456789( ! @#$%*&)
XYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUV
BOLD B OL D

yz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwx
0 12 345 678 9 ( ! @ # $%* &) 0 1 2 3 456789(!@#$%*& )
YZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVW
MEDIUM M ED I U M

abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxy
0 12 345 6789 ( ! @ # $ %* & ) 012 345 6789(!@#$%*&)
YZ ABCDEFGHIJKLMNOPQRSTUVWXYZ
BO OK
ABCDEFGHIJKLMNOPQRSTUVWX
B O OK

abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz
0 1 2 3 45 678 9 ( ! @ # $% * &) 0 1 23 45 6789(!@#$ %*&)
Each Program font includes both lining and old style numerals,
as well as tabular lining and tabular old style numerals.

Program is available in both OpenType and Web Font formats.

 PROGRAM NARROW PROGRAM NARROW ITALIC
VWXYZ ABCDEFGHIJKLMNOPQRSTUV WX YZ ABCDEFGHIJKLMNOPQRSTUVWX
BL ACK B L ACK

wxyz abcdefghijklmnopqrstuvwxyz abcdghijklmnopqrstuvwxy

0123456789(!@#$%*&) 0123456789(!@#$%*&)
XYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ
MEDIUM MEDIUM

xyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

0123456789(!@#$%*&) 0123456789(!@#$%*&)
Z ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ
REG U L A R R EGUL AR

abcdefghijklmnopqrstuvwxzvwxyz abcdefghijklmnopqrstuvwxyz
0123456789(!@#$%*&) 0123456789(!@#$%*&)

Each Program font includes both lining and old style numerals,
as well as tabular lining and tabular old style numerals.

Program is available in both OpenType and Web Font formats.

ef
ITH STRONG INDIVIDUALISTIC FEATURES, CHALLENGING THE CONSTRAI

t is usually imposed on a family of fonts, while still relating to each other in terms of ov
e effects of reproduction, and ink traps, the technique used to counteract that effect.
ate a series of fonts with strong individualistic features, challenging the constraints o
any
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PROGRAM is a type designer’s typeface. It’s about the craft of typeface design and the particular
details and effects that type designers fret over when they design type. It mixes different
structures, stem endings, and weight distributions not usually employed in a single family of fonts.
It features both rounded edges evoking the effects of reproduction, and ink traps, the technique
used to counteract that effect. The idea was to create a series of fonts with strong individualistic
features, challenging the constraints of a central theme that is usually imposed on a family of
fonts, while still relating to each other in terms of overall look and feel.

Program was designed and produced by Zuzana Licko.

t distributions not usually employed in a single family of fonts. It features both rou
ts that type designers fret over when they design type. It mixes different structures, st
QM
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PROGRAM PROGRAM PROGRAM PROGRAM
NARROW NARROW
dnk w aces
Book

dnkw Book

aces
dnk w Regular

aces Regular

Medium

dnkw Medium

aces
dnk w Medium

aces Medium

Bold

dnkw Bold

aces
dnkw
Black
Black

ac es
Black
Black

STRUCTURALLY, the Program type family would be difficult to classify as it mixes different PROGRAM AND PROGRAM NARROW diverge most notably in the design of the a, c, e and s in
structural models. Program Book, for instance, with its low contrast, has the features of a Neo- both lowercase and capitals. In Program, the terminals of these curved characters are vertical.
Grotesque with slight Humanist tendencies that are most visible in the calligraphic, brush-like This opens up the counter spaces and increases legibility, contributing to its fitness as a text font.
tail endings of the lowercase a, d, b, k, u, and capital R and K. Program Narrow is decidedly more In Program Narrow the terminals are horizontal. Bending the curves into themselves like this
Modern in structure, with pronounced vertical stress carried throughout all characters. accentuates the verticality of Program Narrow. The effect also creates more compact letter shapes
making it a suitable headline font.
 A CENTRAL THEME THAT IS USUALLY IMPOSED
ABOUT THE CRAFT OF TYPEFACE DESIGN AND

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particular details and effects that type designers
when they design type. It mixes different structures, stem endings, and
distributions not usually employed in a si
family of fonts. It features both rounded edges e
the effects of reproduction, and ink traps, the te

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NTS WITH STRONG INDIVIDUALISTIC FEATURES,
ALLENGING THE CONSTRAINTS OF A CENTR
ticular details and effects that type designers fret over when
EN THEY DESIGN TYPE. IT MIXES DIFFERENT STRUCTU
ures, stem endings, and weight dis-
ibutions not usually employed
gner’s typeface. It’s about the craft of typeface design and the particular details and effects that
er when they design type. It mixes different structures, stem endings, and weight distributions not
single family of fonts. It features both rounded edges evoking the effects of reproduction, and ink
sed to counteract that effect. The idea was to create a series of fonts with strong individualistic
he constraints of a central theme that is usually imposed on a family of fonts, while still relating to

dividualistic features
er’s typeface. It’s about the craft of typeface design and the particular details and effects that type
n they design type. It mixes different structures, stem endings, and weight distributions not usually
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It mixes different structures, stem endings, and weight distributions not usually employed in a si
counteract that effect. The idea was to create a series of f
central theme that is usually imposed on a family of fonts, while stil
The idea was to create a series of fonts with strong individualistic features, challenging the constr

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 It’s about the craft of typeface design and the particular details and effects that type designers fret o
design type. It mixes different structures, stem endings, and weight distributions not usually employe
family of fonts. It features both rounded edges evoking the effects of reproduction, and ink traps, the
to counteract that effect. The idea was to create a series of fonts with strong individualistic features,

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constraints of a central theme that is usually imposed on a family of fonts, while still relating to each

FONTS WITH STRONG INDIVIDUALISTIC FEATURES, CHALLE

design and the particular details and effects that type designers fret over whe

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mixes different structures, stem endings, and weight distributions not usually
family of fonts. It features both rounded edges evoking the effects of reproduc
the technique used to counteract that effect. The idea was to create a series o
individualistic features, challenging the constraints of a central theme that is
family of fonts, while still relating to each other in terms of overall look and fe
mixes different structures, stem endings, and weight distributions not usually
ployed in a single family of fonts. It features both rounded edges evoking the
ects of reproduction, and ink traps, the technique used to counteract that
ect. The idea was to create a series of fonts with strong individualistic features,
allenging the constraints of a central theme that is usually imposed on a family o

in terms of overall look and feel. It’s about the craft of

ace design and the particular details and
s that type designers fret over when they design type. It
s different structures, stem endings, and
ht distributions not usually employed in a single family of
It features both rounded edges evoking the effects of
Program
CULAR DETAILS AND EF
’s typeface. It’s about the craft of typeface design and the particular details and effects that type designers fret
e. It mixes different structures, stem endings, and weight distributions not usually employed in a single family
unded edges evoking the effects of reproduction, and ink traps, the technique used to counteract that effect.
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It’s about the craft of typeface design and the partic
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when they design type. It mixes different structures
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ORDER ON-LINE
For more info and pricing go to:
www.emigre.com

WEB FONTS
The Emigre Font Library is available in Web Font format. Emigre Web Fonts are
provided in WOFF and EOT formats for use with the CSS @ font-face rule. Our Web

R
Fonts are licensed for self hosting. For more info and pricing go to:
www.emigre.com/WebFonts

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[email protected] FONTS

COPYRIGHT © 2013 EMIGRE, INC. ALL RIGHTS RESERVED.

NO PART OF THIS PUBLICATION MAY BE REPRODUCED WITHOUT WRITTEN PERMISSION FROM EMIGRE, INC.
EMIGRE AND PROGRAM ARE TRADEMARKS OF EMIGRE, INC.
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