![]() AKZIDENZ-GROTESKĪkzidenz-Grotesk is one of the the most influential of the early sans-serif typefaces. Serif typefaces have small flourishes or lines at the tops and bottoms of each letter and are most commonly used in books, mastheads, and headlines, while sans-serif typefaces lack those flourishes and are most commonly used for logos, signage, and online. A typeface is the letters, numbers, and symbols that make up a design of type, while a font is one particular weight and style of a typeface-Garamond is the typeface, Garamond 12 italic is the font. But many of them have histories richer than their designs convey, including the ten below.īefore we start, some terms you should know. Our analytical transcription enhances rather the artistic and visual qualities of his typeface.Typefaces are everywhere-in books, advertisements, signage, magazines, and logos-yet we rarely pay them any heed. A detailed evaluation of Baskerville’s heritage, however, remains a task for historians. Baskerville perhaps anticipated certain elements known from Bodoni and Didot, which is why nowadays everybody calls it a “transitory” phenomenon. His punchcutter John Handy was given the task to make the typeface different from the then fashionable Caslon, which was a surprise for a certain part of typophiles of the period. He proceeded along these lines also when designing his new typeface. He strove to remove everything which obstructs legibility, working without ornaments and rules, neatly, and with large margins. When composing the pages, Baskerville emphasized the importance of the blank space, just as the effect of the majestic austerity of the setting, which became an inspiration for Neo-classical typographers. ![]() These were large-size, stately prints on paper smoothed out by hot copper calender rollers. We selected as the most successful models for the digitization of this typeface its Roman and italics in the size of about today’s 14 points, which Baskerville used for the printing, among other things, of his folio Bible in 1763 and Vergil’s works in Latin in 1757. Thanks to the understanding of the librarian Petr Mašek we were allowed to study and photograph four rare volumes from Baskerville’s printing office, dating from about 1760. ![]() Our pursuit of this paramount body typeface of the 20th century began in Nové Hrady Castle, the place where a part of the depository of old prints of the National Museum Library is kept, in the summer of 1999. Until recently the story of this typeface ended with mediocre digital versions, which did not get at the root of its inspiration. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. In addition to the adjustment of spacing, there are also adjustments in the design. The kerning tables, as well, have been individualized for each of these type varieties. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. That of the Bodytypes is adjusted for readability. The most obvious differentiation can be found in the spacing. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions.
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