Minerva
Minerva font specimen Designed by Matteo Finozzi
Minerva Minerva is a sans serif font based on Romulus italics which has been modified and personalized It is Mercurius twin font and share features with it It is a modern and elegant sans serif font with uncommon more modulated strokes and dynamic properties It has been designed with a close attention to calligraphy and old style font world which influence its shapes modularity and contrast between principal and secondary strokes and curves Some of these features are opposed to a wide variety of more traditional and used sans serif fonts that have a more uniform stroke thickness and especially the most recent ones an higher x height if compared to the capital height
Lowercase letters
abcdefg hijklmn opqrstu vwxyz
Strokes are more modulated than more usual sans serif fonts as Optima This is aimed to resemble Mercurius and its calligraphic feature
General features
mnh
Strokes are based on calligraphic brushes which are used to make more angular transitions between stems strokes and shoulders Main strokes are cut on the top with the same angular inclination providing a personalized and specific feature to the font
The same feature influence rounded letters as b c d p and q which have a strongly modulated secondary stroke
Terminals and main strokes are cut to add dynamism and resemble the inclined feature of the font
General features
Almost 90o angle
Ascender line Capitals line x height
Baseline
Descender line
Cuts follow strokes inclinations
define Positive stress angle and overshoot
Horizontal cuts add dynamism
Terminals and secondary strokes enforce the perception of calligraphic pens
Main strokes top is cut
White spaces are added to adjust weight
utopias Positive stress angle and overshoot
Curves are influenced by calligraphic strokes
Terminalsî¤ cross strokes and strokes ends are balanced to look natural and avoid too sharp angles which would make the font looks aggressive
Uppercase letters
ABCDE FGHIJK LMNOP QRSTU VWXYZ
Numbers
Dont wait The time will never be just right Dont wait The time will never be just right Dont wait The time will never be just right
40 pt
30 pt
24 pt
Dont wait The time will never be just right
20 pt
Dont wait The time will never be just right
14 pt
Dont wait The time will never be just right
12pt
Dont wait The time will never be just right
10 pt
Dont wait The time will never be just right
8 pt
40 pt
30 pt
24 pt
The time will always be wrong Dont wait The time will always be wrong Dont wait The time will always be wrong Dont wait
20 pt
The time will always be wrong Dont wait
14 pt
The time will always be wrong Dont wait
12pt
The time will always be wrong Dont wait
10 pt
The time will always be wrong Dont wait
8 pt
The time will always be wrong Dont wait
24 pt
Fonts and Typefaces
1013 pt
Designers including Erik Spiekermann Dan Mayer and Jessica His che have been known to compare choosing fonts for design projects to choosing an outfit to wear And its an apt analogy Think about what your clothes might say about you based on what you wear peo ple might rightly or wrongly make assumptions about your style your personality your socioeconomic background your age or the age you wish you were or the kind of impression you want to make And different occasions and situations call for different apparel You wouldnt wear a bathing suit to a job interview then again you would nt want to wear a suit and tie during your vacation on the beach ei ther Theres an element of appropriateness to consider Now what your clothes do for you font choices serve the same pur pose in a design Typography often provides that ataglance first im pression that people gauge and judge the rest of the design by so your font choices need to be purposeful and appropriate Is your font saying beach vacation when it should be saying job interview Do the elements of your font outfit clash or do they complement each other Are they effectively communicating the qualities you want to project These considerations are part of what makes choosing fonts such an important part of the design process one that should be approached thoughtfully
810 pt
Font choices often set the tone for the whole design and can influence viewers feelings toward and interac tions with your design just like how if you were to show up at a blacktie party in your favorite threadbare tshirt and sweatpants people would judge you on your appearance Dont be that guy with your design and give
viewers an excuse to make incorrect assumptions about your brand or business bad typographic choices al ways distract from your designs mes sage and intentions Not sure where to start This next section will get down to the nittygritty of choosing and using fonts with easytounder stand explanations and practical tips
D
o not go gentle into that good night Old age should burn and rave at close of day Rage rage against the dying of the light
Though wise men at their end know dark is right Because their words had forked no lightning they Do not go gentle into that good night Good men the last wave by crying how bright Their frail deeds might have danced in a green bay Rage rage against the dying of the light Wild men who caught and sang the sun in flight And learn too late they grieved it on its way Do not go gentle into that good night Grave men near death who see with blinding sight Blind eyes could blaze like meteors and be gay Rage rage against the dying of the light
Faculty of Design and Art Free University of Bolzano Bozen Typeface designed by Matteo Finozzi WUP 1819 Prof Antonino Benincasa Gian Marco Favretto Maximilian Boiger Calligraphy Workshop by Mag Art Eva Pöll Font created with Illustrator Fontself