Aether plays with light, callenging the uniform grey tone within letters. Derived from 19th Century modern faces, and grounded in a geometric framework, Aether incorporates a set of predefined curves on a rhythmic system. This ensures an identical stem interval within and between letters for a consistent and rational appearance.

The family contains two stylistic variations emphasizing the parametric construction: Aether A, without optical adjustments, results in dark brackets and joints for a bold and distinctive look. Aether B incorporates optical adjustments to enhance legibility and refine the overall design.

A set of alternative letters allows for further enhancement of the geometric appearance. Additionally, a vast array of ligatures is available to harmonize gaps in the monospaced column. Circled and boxed numbers, along with fractions, add a touch of versatility for various applications.

Aether Mono A

Aether Mono B

*U&M*

*1920sTheory.#Number*Photon⅜dynamikONDA

^{−1}or in any other way of writing the product of a and b−1. These procedures can be extended to cases where one of the quantities or both are themselves products, quotients, sums or differences of other quantities. If brackets are necessary, they should be used in accordance with the rules of mathematics. When a solidus is used to separate the numerator from the denominator, brackets should be inserted if there is any doubt where the numerator starts or where the denominator ends. EXAMPLES: Expressions with a solidus: a/bcd or a/(bcd), (⅜)sin

_{kx}, a/b+c, a/(b−c), (a+b)/(c−d), a/b+c/d or (a/b)+(c/d). The argument of a mathematical function is placed in parentheses, brackets or braces, if necessary, in order to define its extent unambiguously. Examples: sin {2π(x−x

_{0})/∂} ->exp {(r−r

_{0})/µ} ->exp [−V(r)/kT] √(G/π) Parentheses may be omitted when the argument is a single quantity or a simple product: e.g., sin0, tan

*kx*. A horizontal overbar may be used with the square root sign to define the outermost level of aggregation, e.g., √G(t)/H(t). Since the rules of algebra may be applied to units and to physical quantities as well as to pure numbers, it is possible to divide a physical quantity by its unit. The result is the numerical value of the physical quantity in the specified unit system: {a}=a/[a]. The form “quantity/unit” should therefore be used in the headings of tables and as the labels on graphs for an unambiguous indication of the meaning of the numbers to which it pertains. EXAMPLES : Given

*p*=0.1013MPa, then p/MPa =0.1013 Given

*s*=2200m/s, then v/(m/s) =2200 Given

*T*=295K, then T/K =295, 1000K/T ≈3.3898

*Tycam Engineering Manufacturing*in Houston at $128.89 apiece: $4,382.50 in total. When these sums became public and caused an outcry, NASA scrambled to find a cheaper alternative. Pencils may not have been the best choice anyway. The tips could flake or break off, drifting in microgravity where they might harm an astronaut or equipment. And pencils are flammable—a characteristic NASA wanted to avoid in onboard objects after the

*Apollo 1*fire. Meanwhile

*Paul C. Fisher*and his business,

*Fisher Pen Company,*had invested a reported $1 million (none of it from NASA) to create what is now commonly known as the space pen. The device, patented in 1965, could write upside down, in frigid or roasting conditions (down to –50 degrees Fahrenheit or up to 400 °F), and even underwater or submersed in other liquids. If too hot, though, the ink turned green instead of its normal blue.

*isher*offered the implement to NASA. Because of the earlier mechanical pencil fiasco, the agency hesitated. But after testing the tool—named the AG-7 “Anti-Gravity” Space Pen—the U.S. decided in 1967 to use it on future spaceflights. Fisher's pen makes up for a lack of gravity by storing ink in a cartridge pressurized with nitrogen at 35 pounds per square inch—more than twice as much force as sea-level atmospheric pressure on Earth. This pressure pushes the ink toward the tungsten carbide ball at the pen's tip. The ink, too, differs from that of other pens. It stays a gel-like solid until the movement of the ballpoint turns it into a fluid. The pressurized nitrogen also prevents air from mixing with the ink, so it cannot evaporate or oxidize. An Associated Press dispatch from February 1968 reported that NASA ordered 400 of Fisher's antigravity ballpoint pens for the Apollo moon mission program. A year later the

*Soviet Union*ordered 100 pens and 1,000 ink cartridges to use on their

*Soyuz space missions*, the United Press International said. The AP later noted that both NASA and the Soviet space agency received the same 40 percent discount for buying their pens in bulk. They both paid $2.39 per pen instead of $3.98—nowhere near millions. The space pen's mark on the Apollo program was not limited to facilitating writing in microgravity. According to its maker, the

*Apollo 11*astronauts, who were the first to walk on the moon, also wielded the pen to fix a broken engine-activating switch on the lunar module—a repair that enabled them to lift off from the moon for their rendezvous with the mother ship and their return to Earth. Since the late 1960s American astronauts and Russian cosmonauts have used Fisher's pens.

The cube and the sphere are the fundamental tools of creation.

A set of predefined curves defines the letterform.

Find the perfect formula with a vast set of design alternates.

Two stylistic variations: Aether A, without optical adjustments, results in dark brackets and joints. Aether B has a refined design.

The cadence-unit system ensures an identical stem interval within and between letters.

A set of ligatures for harmonizing gaps within the monospaced column.

## Characterset (1074)

Uppercase

Lowercase

Uppercase Accents

Lowercase Accents

Punctuation

Mathematical Signs

Currency

Symbols

Figures

Fractions

Arrows

Shapes

## OpenType Features (28)

Case-Sensitive Forms

Contextual Alternates

Standard Ligatures

Discretionary Ligatures

Ordinals

Numerators

Denominators

Subscript

Superscript

Oldstyle Figures

Slashed Zero

Swash

Stylistic Set 1

Stylistic Set 2

Stylistic Set 3

Stylistic Set 4

Stylistic Set 5

Stylistic Set 6

Stylistic Set 7

Stylistic Set 8

Stylistic Set 9

Stylistic Set 10

Stylistic Set 11

Stylistic Set 12

Stylistic Set 13

Stylistic Set 14

Stylistic Set 15

Stylistic Set 16

Stylistic Set 17

Stylistic Set 18

Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Breton, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hawaiian, Hungarian, Icelandic, Inari Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Koyraboro Senni, Koyra Chiini, Latvian, Lithuanian, Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malagasy, Maltese, Manx, Meru, Morisyen, Northern Sami, North Ndebele, Norwegian Bokmål, Norwegian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Quechua, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Tasawaq, Teso, Tongan, Turkish, Upper Sorbian, Uzbek, Volapük, Vunjo, Walser, Welsh, Western Frisian, Yoruba, Zarma, Zulu

Language Coverage

Basic Latin

Latin-1 Supplement

Latin Extended-A

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