Try to answer to the master or the MC rap God is no joke

On the lyric, its hard to be modest I knew I was the man with the master plan

To make you wiggle and jiggle, like gelatin Just think while I sink, into the brain structure (don't sleep on the e) you see, something might rupture I don't take time for me to blow your mind Take a second to wreck it because you're dumb and blind

So just lounge, cause you're a MC clown Go join the circus, EPMD in town Total chaos, no mass confusion Rhymes so hypnotizing known to cause an illusion Like a magician, who pulls a rabbit out a hat, son I pull them all like a .44 magnum MC freeze stop look and listen, and try to imagine Its traveling the speed of light, but everything's motion Is frightening, plus the thought you alone You now enter dimension, called the twilight zone You're terrified, plus you cant bear the thought You and I one-on-one, in the land of the lost You start to shiver, but then you scream, my friend Yo wake up muttley, because you're dreaming again But next time I'm on the scene, do not try to diss us Keep your mouth shut sucker duck, because I'm strictly business This is the rap season, where the e starts pleasing Girls around the world no need to be skeezing When I roll I stroll, cool always pack a tool Just in case, a brother acts a fool Ive got the energy, to put the girls in the frenzy Put it in shock when I rock, give it up I'm not stingy Make sure I don't bore when I'm on the dance floor (get busy, boy) like you never saw before Rhyme flow, good to go, after the show, Ill pull your hoe, boy

The typeface that shifts gears

Since its origins, typography has been closely related to the handwriting from which it originates. The quicker we write, the more the writing is done without raising our hand; typographic shapes derived from this action are known as “cursive”. So, why not imagine the opposite: that the shapes decomposed into several strokes represent a slower execution speed? This is the path Jérôme Knebusch took in the creation of Instant.

Naturally, speed produces light marks on the paper, while a slower pace results in a heavier mark. This is the spirit behind Instant, a family in which each member is defined by a speed, which in return lends it both shape and weight: Instant Vivid, Instant Quick, Instant Regular, Instant Slow, Instant Heavy. Instant Vivid encapsulates handwriting, animated by a vivacious motion, while Instant Heavy is a sans serif, with robust and reassuring forms. Each weight is an intermediate step which allows the passage from one extreme to another.

Instant calls into question some established practices of typography. The semantic purpose traditionally assigned to italic – usually emphasizing a language element – is only possible by juxtaposing contrasting weights. On the other hand, Instant lets modern typographers rediscover italic’s first purpose, which was conceived as a design in itself, chosen for its own qualities. A wealth of expressiveness is at the heart of this family, allowing the user to stage a variety of connotations within a single text.

Typographic research project par excellence, Jérôme Knebusch designed Instant at Atelier national de recherche typographique, starting in 2005. It received the careful support of Hans-Jürg Hunziker.

Design: Jérôme Knebusch. Team: Matthieu Cortat, Jean-Baptiste Levée.

Instant specimen

Character set