Book Italic + small caps
Hi! Constellation This is Apex New
Design Chester Jenkins Publication date 2006
About
Available Formats
Apex New supersedes Apex Sans, which was originally released in early 2003. Once the design was released, Chester started work on Apex Serif, Thirstype’s first OpenType font family; he returned to Apex Sans in early 2004, with a view to extending the glyphset and combining the Small Caps and numeral sets into OpenType fonts. As he worked, he started seeing the type’s flaws, and set about fixing them. Two years later, Apex New was finished.
Macintosh Cross platform OpenType PS (OTF) PC Cross platform OpenType PS (OTF)
Pricing & Sets
Single weight $50.00 US Weight Pairs Roman + Italic $75.00 US Family Includes all weights & styles $250.00 US
central Book & Book Italic, Medium & Medium Italic, Bold & Bold Italic $150.00 US
Superset Apex New Apex Rounded $500.00 US
Extremes Book & Book Italic, Heavy & Heavy Italic, Ultra & Ultra Italic $150.00 US
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Constellation This is Apex New
Apex New family Weights Small caps are built into each weight & style
Book + small caps Book Italic + small caps Medium + small caps Medium Italic + small caps Bold + small caps Bold Italic + small caps Heavy + small caps Heavy Italic + small caps Ultra + small caps Ultra Italic + small caps ++1 718 852 1005 /// [email protected] /// www.vllg.com /// © 2011 Constellation /// All rights reserved
Constellation This is Apex New
Ultra 57 point
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Constellation This is Apex New
Ultra Italic 57 point
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Constellation This is Apex New
Heavy 57 point
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Constellation This is Apex New
Heavy Italic 57 point
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Constellation This is Apex New
Bold 57 point
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Constellation This is Apex New
Bold italic 57 point
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Constellation This is Apex New
Medium 57 point
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Constellation This is Apex New
Medium Italic 57 point
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Constellation This is Apex New
Book 57 point
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Constellation This is Apex New
Book Italic 57 point
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Constellation This is Apex New
ultra, Small caps & All caps, 166 point
ultra, Small caps & All caps, 88 point
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Constellation This is Apex New
ultra Italic, Small caps & All caps, 166 point
ultra Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
heavy, Small caps & All caps, 166 point
heavy, Small caps & All caps, 88 point
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Constellation This is Apex New
heavy, Small caps & All caps, 166 point
heavy, Small caps & All caps, 88 point
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Constellation This is Apex New
heavy, Small caps & All caps, 166 point
heavy, Small caps & All caps, 88 point
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Constellation This is Apex New
heavy Italic, Small caps & All caps, 166 point
heavy Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Bold, Small caps & All caps, 166 point
Bold, Small caps & All caps, 88 point
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Constellation This is Apex New
Bold italic, Small caps & All caps, 166 point
Bold italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Medium, Small caps & All caps, 166 point
Medium, Small caps & All caps, 88 point
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Constellation This is Apex New
Medium Italic, Small caps & All caps, 166 point
Medium Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Book, Small caps & All caps, 166 point
Medium, Small caps & All caps, 88 point
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Constellation This is Apex New
Book, Small caps & All caps, 166 point
Medium, Small caps & All caps, 88 point
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Constellation This is Apex New
Book, Small caps & All caps, 166 point
Book, Small caps & All caps, 88 point
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Constellation This is Apex New
Book Italic, Small caps & All caps, 166 point
Book Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Light, Small caps & All caps, 166 point
Light, Small caps & All caps, 88 point
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Constellation This is Apex New
Light Italic, Small caps & All caps, 166 point
Light Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Thin, Small caps & All caps, 166 point
Thin, Small caps & All caps, 88 point
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Constellation This is Apex New
Thin Italic, Small caps & All caps, 166 point
Thin Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Ultra, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. heavy, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. bold, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Medium, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Book, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet.
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Constellation This is Apex New
Ultra Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Heavy Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Bold Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Medium Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Book Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet.
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Constellation This is Apex New
Ultra, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punc-
tilious transcriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or
Heavy, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious tran-
scriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Bold, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious transcriptions of the
material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Medium, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious transcriptions of the
material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Book, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. How-
ever, otherwise punctilious transcriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as
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Constellation This is Apex New
Ultra Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punc-
tilious transcriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or
Heavy Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious tran-
scriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Bold Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious tran-
scriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Medium Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious transcriptions of the
material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Book Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. How-
ever, otherwise punctilious transcriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a
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Constellation This is Apex New
24 / 28 Light & Bold
Mount Everest is the highest mountain on Earth, as measured by the height of its summit above sea level. In 1892 it was found to be exactly 29,000 feet (8,839 m) high, but was publicly declared to be 29,002 feet (8,840 m). The arbitrary addition of two feet (0.6 m) was to avoid the impression that an exact height of 29,000 feet was nothing more than a rounded estimate. 14 / 19 Medium
Most climbing attempts are made during April and May before the summer monsoon season. A change in the jet stream at this time of year reduces the average wind speeds high on the mountain. While attempts are sometimes made after the monsoons in September and October, the additional snow deposited by the monsoons and the less stable weather patterns makes climbing more difficult. 8 / 12 Book, Book Italic & Bold
In 1865, the mountain was given its English name by Andrew Waugh, the British surveyor-general of India. With both Nepal and Tibet closed to foreign travel, he wrote: “I was taught by my respected chief and predecessor, Colonel Sir George Everest to assign to every geographical object its true local or native appellation. But here is a mountain, most probably the highest in the world, without any local name that we can discover, whose native appellation, if it has any, will not very likely be ascertained before we are allowed to penetrate into Nepal. In the meantime the privilege as well as the duty devolves on me to assign…a name whereby it may be known among citizens and geographers and become a household word among civilized nations.” Waugh chose to name the mountain after George Everest, first using the spelling Mont Everest, and then Mount Everest. However, the modern pronunciation of Everest is in fact different from Sir George’s own pronunciation of his surname. In the early 1960s, the Nepalese government realized that Mount Everest had no Nepalese name. This was because the mountain was not known
and named in ethnic Nepal (that is, the Kathmandu valley and surrounding areas). The government set out to find a name for the mountain (the Sherpa/ Tibetan name Chomolangma was not acceptable, as it would have been against the idea of unification (Nepalization) of the country. The name Sagarmatha was thus invented by Baburam Acharya. In 2002, the Chinese People’s Daily newspaper published an article making a case against the continued use of the English name for the mountain in the Western world, insisting that it should be referred to by its Tibetan name. The newspaper argued that the Chinese (in nature a Tibetan) name preceded the English one, as Mount Qomolangma was marked on a Chinese map more than 280 years ago. Measurement Radhanath Sikdar, an Indian mathematician and surveyor from Bengal, was the first to identify Everest as the world’s highest peak in 1852, using trigonometric calculations based on measurements of “Peak XV” (as it was then known) made with theodolites from 240 km (150 miles) away in India. Measurement could not be made
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Constellation This is Apex New
Supported languages All weights & styles
Latin-1 Support Albanian Danish Dutch English Faroese Finnish Flemish German Icelandic Indonesian Irish Italian Malay Norwegian Portuguese Scottish Gaelic Spanish Swahili Swedish Tagalog Latin Extended-A Support Afrikaans Basque Breton Bosnian Catalan Croatia Czech Esperanto Estonian Fijian French Frisian Greenlandic Hawaiian Hungarian Latin
Latvian Lithuanian Maltese Māori Polish Provençal Rhaeto-Romanic Romanian Moldavian Romany Sámi (Inari) Sámi (Luli) Sámi (Northern) Sámi (Southern) Samoan Slovak Slovenian Sorbian Turkish Welsh Supported ISO codepages 8859-1 Latin 1 (West European) 8859-2 Latin 2 (Central European) 8859-3 Latin 3 (South European) 8859-4 Latin 4 (Baltic) 8859-9 Latin 5 (Turkish) 8859-10 Latin 6 (Scandinavian) 8859-13 Latin 7 (Baltic 2) 8859-15 Latin 9 8859-16 Latin 10
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Constellation This is Apex New
Supported language Cesky
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Constellation This is Apex New
Supported language Dansk
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Constellation This is Apex New
Supported language Deutsch
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Constellation This is Apex New
Supported language Français
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Constellation This is Apex New
Supported language Íslenska
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Constellation This is Apex New
Supported language Nyorsk
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Constellation This is Apex New
Supported language Polski
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Constellation This is Apex New
Supported language Portuguese
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Constellation This is Apex New
Supported language Türkçe
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Constellation This is Apex New
End user license agreement (eula) Version 1.0, July 2011
This is an agreement between you, the purchaser, and Constellation. In accepting the terms of this agreement, you acknowledge understanding and promise to comply with its terms. If you do not accept the terms, please do not complete the purchase transaction. What you are purchasing from Constellation is the license to use digital typeface software — hereafter “fonts” — on a certain number of computers within your organization; you are not purchasing the copyright to the design of the fonts, but the rights to use the fonts. The fonts are provided in CFF-flavored OpenType (OTF) format. Additional formats may be available upon demand, and may require the purchase of supplemental licensing. When purchasing licensing for fonts, you may use the fonts on the maximum number of computers within your organization as specified in the license table. You can purchase additional licenses at any time, which grant you the rights to use the fonts on additional computers. The fonts may not be used with any webfont replacement technologies without the purchase of supplemental licensing. Webfonts are provided in WOFF, EOT and SVG formats. Please see the license table. The fonts may not be embedded in other documents, such as Portable Document Format (PDF), Flash files (including sIFR), Word or PowerPoint without the purchase of supplemental licensing. Please see the license table. You may make archival copies of the fonts for your own purposes. You may not distribute the fonts to people outside of your organization. A copy of the fonts may be sent as part of a file release to a prepress bureau, if absolutely necessary. You may not modify, convert, adapt, decompile, or otherwise reverse engineer or create derivative works of the fonts. We have done everything we can to produce our fonts to the highest and most up-to-date technical standards, and we test the fonts extensively in the latest versions of technically-compliant applications. If you do experience any difficulties with our fonts, we will work with you to resolve any technical issues in the fonts. If, after we have worked to resolve any technical issues, you are still not satisfied with our software, we will be pleased to refund your money, which shall be the limit of our liability in this transaction. We grant the rights of use of our fonts to you in good faith, and request that you adhere to the terms of this agreement to the best of your ability, and in good faith. Constellation is a copyright of Village Type & Design LLC.
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Design Chester Jenkins Publication date 2006
About
Available Formats
Apex New supersedes Apex Sans, which was originally released in early 2003. Once the design was released, Chester started work on Apex Serif, Thirstype’s first OpenType font family; he returned to Apex Sans in early 2004, with a view to extending the glyphset and combining the Small Caps and numeral sets into OpenType fonts. As he worked, he started seeing the type’s flaws, and set about fixing them. Two years later, Apex New was finished.
Macintosh Cross platform OpenType PS (OTF) PC Cross platform OpenType PS (OTF)
Pricing & Sets
Single weight $50.00 US Weight Pairs Roman + Italic $75.00 US Family Includes all weights & styles $250.00 US
central Book & Book Italic, Medium & Medium Italic, Bold & Bold Italic $150.00 US
Superset Apex New Apex Rounded $500.00 US
Extremes Book & Book Italic, Heavy & Heavy Italic, Ultra & Ultra Italic $150.00 US
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Constellation This is Apex New
Apex New family Weights Small caps are built into each weight & style
Book + small caps Book Italic + small caps Medium + small caps Medium Italic + small caps Bold + small caps Bold Italic + small caps Heavy + small caps Heavy Italic + small caps Ultra + small caps Ultra Italic + small caps ++1 718 852 1005 /// [email protected] /// www.vllg.com /// © 2011 Constellation /// All rights reserved
Constellation This is Apex New
Ultra 57 point
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Constellation This is Apex New
Ultra Italic 57 point
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Constellation This is Apex New
Heavy 57 point
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Constellation This is Apex New
Heavy Italic 57 point
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Constellation This is Apex New
Bold 57 point
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Constellation This is Apex New
Bold italic 57 point
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Constellation This is Apex New
Medium 57 point
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Constellation This is Apex New
Medium Italic 57 point
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Constellation This is Apex New
Book 57 point
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Constellation This is Apex New
Book Italic 57 point
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Constellation This is Apex New
ultra, Small caps & All caps, 166 point
ultra, Small caps & All caps, 88 point
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Constellation This is Apex New
ultra Italic, Small caps & All caps, 166 point
ultra Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
heavy, Small caps & All caps, 166 point
heavy, Small caps & All caps, 88 point
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Constellation This is Apex New
heavy, Small caps & All caps, 166 point
heavy, Small caps & All caps, 88 point
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Constellation This is Apex New
heavy, Small caps & All caps, 166 point
heavy, Small caps & All caps, 88 point
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Constellation This is Apex New
heavy Italic, Small caps & All caps, 166 point
heavy Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Bold, Small caps & All caps, 166 point
Bold, Small caps & All caps, 88 point
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Constellation This is Apex New
Bold italic, Small caps & All caps, 166 point
Bold italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Medium, Small caps & All caps, 166 point
Medium, Small caps & All caps, 88 point
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Constellation This is Apex New
Medium Italic, Small caps & All caps, 166 point
Medium Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Book, Small caps & All caps, 166 point
Medium, Small caps & All caps, 88 point
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Constellation This is Apex New
Book, Small caps & All caps, 166 point
Medium, Small caps & All caps, 88 point
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Constellation This is Apex New
Book, Small caps & All caps, 166 point
Book, Small caps & All caps, 88 point
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Constellation This is Apex New
Book Italic, Small caps & All caps, 166 point
Book Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Light, Small caps & All caps, 166 point
Light, Small caps & All caps, 88 point
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Constellation This is Apex New
Light Italic, Small caps & All caps, 166 point
Light Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Thin, Small caps & All caps, 166 point
Thin, Small caps & All caps, 88 point
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Constellation This is Apex New
Thin Italic, Small caps & All caps, 166 point
Thin Italic, Small caps & All caps, 88 point
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Constellation This is Apex New
Ultra, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. heavy, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. bold, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Medium, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Book, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet.
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Constellation This is Apex New
Ultra Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Heavy Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Bold Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Medium Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet. Book Italic, 16 / 19 point
In geometry, an apex is a descriptive label for a visual singular highest or most distant point or vertex in an isosceles triangle, pyramid or cone, usually contrasting with the opposite side called the base. For an isosceles triangle the apex is the vertex where the two sides of equal length meet.
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Constellation This is Apex New
Ultra, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punc-
tilious transcriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or
Heavy, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious tran-
scriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Bold, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious transcriptions of the
material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Medium, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious transcriptions of the
material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Book, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. How-
ever, otherwise punctilious transcriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as
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Constellation This is Apex New
Ultra Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punc-
tilious transcriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or
Heavy Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious tran-
scriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Bold Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious tran-
scriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Medium Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. However, otherwise punctilious transcriptions of the
material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a word, as in malus and málus or liber and líber or rosa and rosá.
Book Italic, 9 / 12 point
Although hardly known by most contemporary Latinists, the use of the sign was actually quite widespread during classical and postclassical times. The reason why it so often passes unnoticed lies probably in its smallish size and usually thinner nature in comparison with the lines that compose the letter on which it stands. Yet the more careful observer will soon start to notice apices in the exhibits of any museum, not only in many of the more formal epigraphic inscriptions, but also in handwritten palaeographic documents. How-
ever, otherwise punctilious transcriptions of the material customarily overlook this diacritic. Other expedients, like a reduplication of the vowels, are attested in archaic epigraphy; but the apex is the standard vowel-length indication that was used in classical times and throughout the most flourishing period of the Roman education system. Its use is recommended by the best grammarians, like Quintilian, who says that writing the apex is necessary when a difference of quantity in a vowel can produce a different meaning in a
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Constellation This is Apex New
24 / 28 Light & Bold
Mount Everest is the highest mountain on Earth, as measured by the height of its summit above sea level. In 1892 it was found to be exactly 29,000 feet (8,839 m) high, but was publicly declared to be 29,002 feet (8,840 m). The arbitrary addition of two feet (0.6 m) was to avoid the impression that an exact height of 29,000 feet was nothing more than a rounded estimate. 14 / 19 Medium
Most climbing attempts are made during April and May before the summer monsoon season. A change in the jet stream at this time of year reduces the average wind speeds high on the mountain. While attempts are sometimes made after the monsoons in September and October, the additional snow deposited by the monsoons and the less stable weather patterns makes climbing more difficult. 8 / 12 Book, Book Italic & Bold
In 1865, the mountain was given its English name by Andrew Waugh, the British surveyor-general of India. With both Nepal and Tibet closed to foreign travel, he wrote: “I was taught by my respected chief and predecessor, Colonel Sir George Everest to assign to every geographical object its true local or native appellation. But here is a mountain, most probably the highest in the world, without any local name that we can discover, whose native appellation, if it has any, will not very likely be ascertained before we are allowed to penetrate into Nepal. In the meantime the privilege as well as the duty devolves on me to assign…a name whereby it may be known among citizens and geographers and become a household word among civilized nations.” Waugh chose to name the mountain after George Everest, first using the spelling Mont Everest, and then Mount Everest. However, the modern pronunciation of Everest is in fact different from Sir George’s own pronunciation of his surname. In the early 1960s, the Nepalese government realized that Mount Everest had no Nepalese name. This was because the mountain was not known
and named in ethnic Nepal (that is, the Kathmandu valley and surrounding areas). The government set out to find a name for the mountain (the Sherpa/ Tibetan name Chomolangma was not acceptable, as it would have been against the idea of unification (Nepalization) of the country. The name Sagarmatha was thus invented by Baburam Acharya. In 2002, the Chinese People’s Daily newspaper published an article making a case against the continued use of the English name for the mountain in the Western world, insisting that it should be referred to by its Tibetan name. The newspaper argued that the Chinese (in nature a Tibetan) name preceded the English one, as Mount Qomolangma was marked on a Chinese map more than 280 years ago. Measurement Radhanath Sikdar, an Indian mathematician and surveyor from Bengal, was the first to identify Everest as the world’s highest peak in 1852, using trigonometric calculations based on measurements of “Peak XV” (as it was then known) made with theodolites from 240 km (150 miles) away in India. Measurement could not be made
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Constellation This is Apex New
Supported languages All weights & styles
Latin-1 Support Albanian Danish Dutch English Faroese Finnish Flemish German Icelandic Indonesian Irish Italian Malay Norwegian Portuguese Scottish Gaelic Spanish Swahili Swedish Tagalog Latin Extended-A Support Afrikaans Basque Breton Bosnian Catalan Croatia Czech Esperanto Estonian Fijian French Frisian Greenlandic Hawaiian Hungarian Latin
Latvian Lithuanian Maltese Māori Polish Provençal Rhaeto-Romanic Romanian Moldavian Romany Sámi (Inari) Sámi (Luli) Sámi (Northern) Sámi (Southern) Samoan Slovak Slovenian Sorbian Turkish Welsh Supported ISO codepages 8859-1 Latin 1 (West European) 8859-2 Latin 2 (Central European) 8859-3 Latin 3 (South European) 8859-4 Latin 4 (Baltic) 8859-9 Latin 5 (Turkish) 8859-10 Latin 6 (Scandinavian) 8859-13 Latin 7 (Baltic 2) 8859-15 Latin 9 8859-16 Latin 10
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Constellation This is Apex New
Supported language Cesky
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Constellation This is Apex New
Supported language Dansk
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Constellation This is Apex New
Supported language Deutsch
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Constellation This is Apex New
Supported language Français
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Constellation This is Apex New
Supported language Íslenska
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Constellation This is Apex New
Supported language Nyorsk
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Constellation This is Apex New
Supported language Polski
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Constellation This is Apex New
Supported language Portuguese
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Constellation This is Apex New
Supported language Türkçe
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Constellation This is Apex New
End user license agreement (eula) Version 1.0, July 2011
This is an agreement between you, the purchaser, and Constellation. In accepting the terms of this agreement, you acknowledge understanding and promise to comply with its terms. If you do not accept the terms, please do not complete the purchase transaction. What you are purchasing from Constellation is the license to use digital typeface software — hereafter “fonts” — on a certain number of computers within your organization; you are not purchasing the copyright to the design of the fonts, but the rights to use the fonts. The fonts are provided in CFF-flavored OpenType (OTF) format. Additional formats may be available upon demand, and may require the purchase of supplemental licensing. When purchasing licensing for fonts, you may use the fonts on the maximum number of computers within your organization as specified in the license table. You can purchase additional licenses at any time, which grant you the rights to use the fonts on additional computers. The fonts may not be used with any webfont replacement technologies without the purchase of supplemental licensing. Webfonts are provided in WOFF, EOT and SVG formats. Please see the license table. The fonts may not be embedded in other documents, such as Portable Document Format (PDF), Flash files (including sIFR), Word or PowerPoint without the purchase of supplemental licensing. Please see the license table. You may make archival copies of the fonts for your own purposes. You may not distribute the fonts to people outside of your organization. A copy of the fonts may be sent as part of a file release to a prepress bureau, if absolutely necessary. You may not modify, convert, adapt, decompile, or otherwise reverse engineer or create derivative works of the fonts. We have done everything we can to produce our fonts to the highest and most up-to-date technical standards, and we test the fonts extensively in the latest versions of technically-compliant applications. If you do experience any difficulties with our fonts, we will work with you to resolve any technical issues in the fonts. If, after we have worked to resolve any technical issues, you are still not satisfied with our software, we will be pleased to refund your money, which shall be the limit of our liability in this transaction. We grant the rights of use of our fonts to you in good faith, and request that you adhere to the terms of this agreement to the best of your ability, and in good faith. Constellation is a copyright of Village Type & Design LLC.
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