Matteo Blandford London, 2015 #matteodoingthings
Anat�ma
or the Anatomy of the British Character in 8 typefaces.
Anatoma is a study of British type design through the creation of a sans-serif typeface which aims to unveil the letterforms that shape the national typographic heritage. My interest in the topic is to understand if it is possible to have a typeface which we can identify as British, not meant as a visual portrayal of national identity, but as a contemporary typeface which holds, embedded, the history, evolution and use of letterforms.
� the British Lette�forms are �
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Styles
Anatoma Runes Anatoma Uncial Anatoma Gothic Anatoma Gothic Book Anatoma Sans Anatoma Book Anatoma Grotesk Anatoma Humanist
Aa Bb a
b
Gg Hh g
h
Cc Dd Ee
Ff
c
d
e
f
Ii
Jj
Kk
Ll
i
j
k
l
Mm Nn Oo Pp Qq Rr m
n
o
p
q
r
Ss Tt Uu Vv Ww Xx s
t
Yy Zz y
z
u
v
w
x
72 points
Like The Iris Of AN EYE
60 Points
Like The Iris Of AN EYE Visual Symbols
48 points
Looking at the early alphabets
36 points
Looking at the early alphabets in Britain was quite interesting though
30 points
Looking at the early alphabets in Britain was quite interesting though if not by popular associations
Aa
The Peterborough Chronicle
Also quoted in the Gospels
Fe
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Styles
Anatoma Runes Anatoma Uncial Anatoma Gothic Anatoma Gothic Book Anatoma Sans Anatoma Book Anatoma Grotesk Anatoma Humanist
Uppercase
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Lowercase
abcdefghijklmnopqrst uvwxyz
Numerals
0123456789
Ligatures and additional characters
ff Æ æ � � � ƒ � � � � � � � � �
Accented Characters
àáâãäåèéêëìíîïòóôõöù úûüýŸÿ
Punctuation
(.,:;?!)[&@#]{~-−}«»*¶ „“”‚_/\'"†‡≤≠≥÷<+>ו£
72 points
60 Points
The style of writing on the The style of writing on the cusp of the
48 points
The style of writing on the cusp of
36 points
The style of writing on the cusp of the millennia was a formal insular
30 points
The style of writing on the cusp of the millennia was a formal insular script, with longer, straighter
24 points
The style of writing on the cusp of the millennia was a formal insular script, with longer, straighter and more defined letterforms (as opposed to the more rounded forms) though a few letters (such as the ’a’) can be seen having carolingian / protogothic influences. A prime
18 Points
The style of writing on the cusp of the millennia was a formal insular script, with longer, straighter and more defined letterforms (as opposed to the more rounded forms) though a few letters (such as the ’a’) can be seen having carolingian / proto-gothic influences. A prime example is the “Peterborough Chronicle” (1150), which was written in Old-English, and later the “Magna Carta” (1215), written in Latin. After the Norman conquest, the strong hold of christianity allowed for proto-gothic lettering, in the span of three centuries,
12 points
The style of writing on the cusp of the millennia was a formal insular script, with longer, straighter and more defined letterforms (as opposed to the more rounded forms) though a few letters (such as the ’a’) can be seen having carolingian / proto-gothic influences. A prime example is the “Peterborough Chronicle” (1150), which was written in Old-English, and later the “Magna Carta” (1215), written in Latin. After the Norman conquest, the strong hold of christianity allowed for proto-gothic lettering, in the span of three centuries, to evolve into the Black Letter - which is visible in religious written texts written from the 13th century - which, when printing was introduced, was used as standard type until the Civil War (1642 – 1651). The
10 points
The style of writing on the cusp of the millennia was a formal insular script, with longer, straighter and more defined letterforms (as opposed to the more rounded forms) though a few letters (such as the ’a’) can be seen having carolingian / proto-gothic influences. A prime example is the “Peterborough Chronicle” (1150), which was written in Old-English, and later the “Magna Carta” (1215), written in Latin. After the Norman conquest, the strong hold of christianity allowed for protogothic lettering, in the span of
8 points
The Norman conquest (1066) united the country under one monarchy but divided it into counties and for taxation purposes, William the Conqueror ordered the first nation wide survey. The Doomsday Book is the first written record of the manors and their content. This was to become the basis of the modern government and its forms based system of bureaucracy. The division of power created aristocracy and the class system. The style of writing on the cusp of the
three centuries, to evolve into the Black Letter - which is visible in religious written texts written from the 13th century - which, when printing was introduced, was used as standard type until the Civil War (1642 – 1651). The language also evolved, from Old-English to Middle-English, with a stronger Latin and French influence. The structure of the two languages is also different: the first is more logical and descriptive, the second was more intellectual and abstract; the latter became the noble’s
millennia was a formal insular script, with longer, straighter and more defined letterforms (as opposed to the more rounded forms) though a few letters (such as the ’a’) can be seen having carolingian / proto-gothic influences. A prime example is the “Peterborough Chronicle” (1150), which was written in Old-English, and later the “Magna Carta” (1215), written in Latin. After the Norman conquest, the strong hold of christianity allowed for proto-gothic lettering, in the span of three centuries, to evolve
into the Black Letter which is visible in religious written texts written from the 13th century which, when printing was introduced, was used as standard type until the Civil War (1642 – 1651). The language also evolved, from Old-English to Middle-English, with a stronger Latin and French influence. The structure of the two languages is also different: the first is more logical and descriptive, the second was more intellectual and abstract; the latter became the noble’s language.
Aa
Antique Types of Beauty,
the Gothics and Dorics and Titles
Br 750
500
0
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Styles
Anatoma Runes Anatoma Uncial Anatoma Gothic Anatoma Gothic Book Anatoma Sans Anatoma Book Anatoma Grotesk Anatoma Humanist
Uppercase
ABCDEFGHIJKLMNOP QRSTUVWXYZ
Lowercase
abcdefghijklmnopqrstu vwxyz
Numerals
0123456789
Ligatures and additional characters
Ca Ce Ci Co Cu Æ æ � � � � � � � � tt ��
Accented Characters
àáâãäåèéêëìíîïòóôõöùú ûüýŸÿ
Punctuation
(.,:;?!)[&@#]{~-−}«»*¶ „“”‚_/\'"†‡≤≠≥÷<+>ו£
72 points
60 Points
The hand of the 15th century The hand of the 15th century evolved for
48 points
The hand of the 15th century evolved
36 points
The hand of the 15th century evolved for necessity of speed to be used as
30 points
The hand of the 15th century evolved for necessity of speed to be used as movable type, with all its
24 points
The hand of the 15th century evolved for necessity of speed to be used as movable type, with all its consequences. One being that now each letter was separated, but also that now one had to cast various styles, sizes and a large amount of letters to compose an entire book. By tradition each
18 Points
The hand of the 15th century evolved for necessity of speed to be used as movable type, with all its consequences. One being that now each letter was separated, but also that now one had to cast various styles, sizes and a large amount of letters to compose an entire book. By tradition each manuscript held a different letter style according to its content; movable black-letter type equivalents did the same, Texturas for liturgical print, Schwabacker for vernacular texts and Rotundas for literary content. The visual differences
12 points
The hand of the 15th century evolved for necessity of speed to be used as movable type, with all its consequences. One being that now each letter was separated, but also that now one had to cast various styles, sizes and a large amount of letters to compose an entire book. By tradition each manuscript held a different letter style according to its content; movable black-letter type equivalents did the same, Texturas for liturgical print, Schwabacker for vernacular texts and Rotundas for literary content. The visual differences are at the basis of the choice, yet our way of reading each style remains the same. Our understanding of the letter, and of letterforms, remains attached to the skeleton of a letter, which allows us to read it. Identifiable architecture, in the
10 points
The hand of the 15th century evolved for necessity of speed to be used as movable type, with all its consequences. One being that now each letter was separated, but also that now one had to cast various styles, sizes and a large amount of letters to compose an entire book. By tradition each manuscript held a different letter style according to its content; movable blackletter type equivalents did the same, Texturas for liturgical print, Schwabacker for vernacular texts and Rotundas for literary content. The visual differences are at the
8 points
The hand of the 15th century evolved for necessity of speed to be used as movable type, with all its consequences. One being that now each letter was separated, but also that now one had to cast various styles, sizes and a large amount of letters to compose an entire book. By tradition each manuscript held a different letter style according to its content; movable black-letter type equivalents did the same, Texturas for liturgical print, Schwabacker for vernacular texts and Rotundas for literary content. The visual
basis of the choice, yet our way of reading each style remains the same. Our understanding of the letter, and of letterforms, remains attached to the skeleton of a letter, which allows us to read it. Identifiable architecture, in the shape of forms or features, make symbols on the printed page to be recognised as letters. According to A.F.Johnston “The fact that English Printers did ultimately adopt roman (n.d.r. over the black-letter) seems to be almost accidental.” And to look for, or recognise, a British typeface at the
differences are at the basis of the choice, yet our way of reading each style remains the same. Our understanding of the letter, and of letterforms, remains attached to the skeleton of a letter, which allows us to read it. Identifiable architecture, in the shape of forms or features, make symbols on the printed page to be recognised as letters. According to A.F.Johnston “The fact that English Printers did ultimately adopt roman (n.d.r. over the black-letter) seems to be almost accidental.” And to look for, or recognise, a
British typeface at the time is erroneous as there were no British standards to be maintained when printing was developed in the 16th century. Fashion, or humility as Johnston suggest, is the root of the transition: “We have no black-letter versus roman dispute, perhaps because in the 16th century our printers were conscious of their inferiority to continental printers, in particular the French which they followed.” D.B.Updike adds that indeed “In Caxton’s day, gothic letter was in vogue for all English Printing”.
Aa
And it fit� in an i�ant
fa� frankly Ha�ing�.
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Styles
Anatoma Runes Anatoma Uncial Anatoma Gothic Anatoma Gothic Book Anatoma Sans Anatoma Book Anatoma Grotesk Anatoma Humanist
Uppercase
ABCDEFGHIJKLMNOP QRSTUVWXYZ
Lowercase
abcdefghijklmnopqrst uvwxyz
Numerals
0123456789
Ligatures and additional characters
fi Æ � � � tt � � � � � � �
Accented Characters
ÀàÁáÂâÃãÄäÅåÈèÉéÊ êËëÌìÍíÎîÏïÑñÒòÓóÔôÕ õÖöÙùÚúÛûÜüÝýŸÿ
Punctuation
(.,:;?!)[&@#]{~-−}«»*¶ „“”‚_/\'"†‡≤≠≥÷<+>ו£
72 points
60 Points
We find in his efforts We find in his efforts at the beginning
48 points
We find in his efforts at the beginning
36 points
We find in his efforts at the beginning of the 16th century were
30 points
We find in his efforts at the beginning of the 16th century were on perfecting the blackletter, and we owe to
24 points
We find in his efforts at the beginning of the 16th century were on perfecting the black-letter, and we owe to Pynson the introduction of the roman ‘white letter’ which in turn was perfected, and expanded into an italic, cut by De Worde - yet both printers resemble closely the
18 Points
We find in his efforts at the beginning of the 16th century were on perfecting the black-letter, and we owe to Pynson the introduction of the roman ‘white letter’ - which in turn was perfected, and expanded into an italic, cut by De Worde - yet both printers resemble closely the French heritage. In France, Antoine Augereau cut for Robert Estienne the basis of the Garamond tradition, inspired by the Aldine roman. In 1545 the Gros Canon of Garamond was cut by Claude Garamond; the lower case is Estienne’s though the
12 points
We find in his efforts at the beginning of the 16th century were on perfecting the black-letter, and we owe to Pynson the introduction of the roman ‘white letter’ - which in turn was perfected, and expanded into an italic, cut by De Worde - yet both printers resemble closely the French heritage. In France, Antoine Augereau cut for Robert Estienne the basis of the Garamond tradition, inspired by the Aldine roman. In 1545 the Gros Canon of Garamond was cut by Claude Garamond; the lower case is Estienne’s though the uppercase is revised. Garamond was imported in Britain and re-cut by Thomas Berthelet, King’s printer, in 1534. It is not until “AElfredi Regis Res Gestae”, 1574, printed by John Day for the Archbishop of Canterbury that we see “…the
10 points
We find in his efforts at the beginning of the 16th century were on perfecting the black-letter, and we owe to Pynson the introduction of the roman ‘white letter’ which in turn was perfected, and expanded into an italic, cut by De Worde - yet both printers resemble closely the French heritage. In France, Antoine Augereau cut for Robert Estienne the basis of the Garamond tradition, inspired by the Aldine roman. In 1545 the Gros Canon of Garamond was cut by Claude Garamond; the lower case is Estienne’s though the uppercase is
8 points
We find in his efforts at the beginning of the 16th century were on perfecting the black-letter, and we owe to Pynson the introduction of the roman ‘white letter’ - which in turn was perfected, and expanded into an italic, cut by De Worde - yet both printers resemble closely the French heritage. In France, Antoine Augereau cut for Robert Estienne the basis of the Garamond tradition, inspired by the Aldine roman. In 1545 the Gros Canon of Garamond was cut by Claude Garamond; the lower case is Estienne’s
revised. Garamond was imported in Britain and re-cut by Thomas Berthelet, King’s printer, in 1534. It is not until “AElfredi Regis Res Gestae”, 1574, printed by John Day for the Archbishop of Canterbury that we see “…the results of the best efforts of type-founding up to that time” (Updike) and an original British type. Updike states, John Day (born 1522) left the only distinctive mark by Englishmen on Typographic history at the time. The Saxon type cut by Day for his patron features the development of insular forms together with
though the uppercase is revised. Garamond was imported in Britain and recut by Thomas Berthelet, King’s printer, in 1534. It is not until “AElfredi Regis Res Gestae”, 1574, printed by John Day for the Archbishop of Canterbury that we see “…the results of the best efforts of typefounding up to that time” (Updike) and an original British type. Updike states, John Day (born 1522) left the only distinctive mark by Englishmen on Typographic history at the time. The Saxon type cut by Day for his patron features the
development of insular forms together with roman and italic types. The results are outstanding, especially considering the homogeneous overall look of the words. From 1550 onwards we see a decline in British printing, as the restraining tradition of Manuscripts had passed, the demand grew higher for cheaper books. Also, British printers came to realise the possibilities and limitations of movable type in trying to achieve a ‘modern look’. According to Mc Kerrow printing was in the hands of class masters,
Aa
Fail to please the best Tastes in
the full line of Duty, or Endure for all
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Styles
Anatoma Runes Anatoma Uncial Anatoma Gothic Anatoma Gothic Book Anatoma Sans Anatoma Book Anatoma Grotesk Anatoma Humanist
Uppercase
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Lowercase
abcdefghijklmnopqrstu vwxyz
Numerals
0123456789
Ligatures and additional characters
fifl
Accented Characters
ÀàÁáÂâÃãÄäÅåÈèÉéÊê ËëÌìÍíÎîÏïÑñÒòÓóÔôÕõ ÖöÙùÚúÛûÜüÝýŸÿ
Punctuation
(.,:;?!)[&@#]{~-−}«»*¶„ “”‚_/\'"†‡≤≠≥÷<+>ו£
72 points
60 Points
In the second half of In the second half of the 17th century the
48 points
In the second half of the 17th century the
36 points
In the second half of the 17th century the Dutch style dominated
30 points
In the second half of the 17th century the Dutch style dominated in England, the Elzevierâ&#x20AC;&#x2122;s types - Dutch family
24 points
In the second half of the 17th century the Dutch style dominated in England, the Elzevier’s types - Dutch family of printers and typefounders - were the most in vogue. Updike believes that also the Royal court had impact on the style printing as they “have always been
18 Points
In the second half of the 17th century the Dutch style dominated in England, the Elzevier’s types - Dutch family of printers and type-founders - were the most in vogue. Updike believes that also the Royal court had impact on the style printing as they “have always been to some extent responsible for the evolution of taste.” In Britain the best type-founders were undoubtedly Moxon (and his successors Robert and Silvester Andrews) with a library which held Anglo-Saxon and Irish types; James and Thomas Grover owned John Day and
12 points
In the second half of the 17th century the Dutch style dominated in England, the Elzevier’s types - Dutch family of printers and type-founders - were the most in vogue. Updike believes that also the Royal court had impact on the style printing as they “have always been to some extent responsible for the evolution of taste.” In Britain the best type-founders were undoubtedly Moxon (and his successors Robert and Silvester Andrews) with a library which held Anglo-Saxon and Irish types; James and Thomas Grover owned John Day and De Worde types. The Oxford University press, which opened its doors in 1585, had the most extensive selection of languages available; Thomas Marshall was in charge of the purchasing of the fonts, the most
10 points
In the second half of the 17th century the Dutch style dominated in England, the Elzevier’s types - Dutch family of printers and type-founders - were the most in vogue. Updike believes that also the Royal court had impact on the style printing as they “have always been to some extent responsible for the evolution of taste.” In Britain the best typefounders were undoubtedly Moxon (and his successors Robert and Silvester Andrews) with a library which held Anglo-Saxon and Irish types; James and Thomas Grover
8 points
In the second half of the 17th century the Dutch style dominated in England, the Elzevier’s types - Dutch family of printers and typefounders - were the most in vogue. Updike believes that also the Royal court had impact on the style printing as they “have always been to some extent responsible for the evolution of taste.” In Britain the best type-founders were undoubtedly Moxon (and his successors Robert and Silvester Andrews) with a library which held AngloSaxon and Irish types; James and Thomas Grover
owned John Day and De Worde types. The Oxford University press, which opened its doors in 1585, had the most extensive selection of languages available; Thomas Marshall was in charge of the purchasing of the fonts, the most important of them being the Fell Types, which dominated the English scene of the time for their modernity. They were bought in Holland from French Punches that were in German possession, in the Luther foundry in Frankfurt. Though the various letter traditions (of the Jenson,
owned John Day and De Worde types. The Oxford University press, which opened its doors in 1585, had the most extensive selection of languages available; Thomas Marshall was in charge of the purchasing of the fonts, the most important of them being the Fell Types, which dominated the English scene of the time for their modernity. They were bought in Holland from French Punches that were in German possession, in the Luther foundry in Frankfurt. Though the various letter traditions (of
the Jenson, Garamond and Aldine roman) were brought forward by a few exponents on the continent - such as Fleischmann, Luce and Fournier - when Caslon released his type in 1734, 14 years in the making, its success had little to do with the skeleton of the individual letters. Caslon was modelled on Dutch letterforms, but thanks to Caslon’s type-cutting skills, in the process of making a better type he achieved a higher level of delicacy in the modelling. This gave an harmonious appearance, yet not monotonous thus
Aa
How dear to my Heart is the One
I Have Captured; by our camp-fire
Ci 750
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Styles
Anatoma Runes Anatoma Uncial Anatoma Gothic Anatoma Gothic Book Anatoma Sans Anatoma Book Anatoma Grotesk Anatoma Humanist
Uppercase
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Lowercase
abcdefghijklmnopqrst uvwxyz
Numerals
0123456789
Ligatures and additional characters
fifl���
Accented Characters
ÀàÁáÂâÃãÄäÅåÈèÉéÊê ËëÌìÍíÎîÏïÑñÒòÓóÔôÕõ ÖöÙùÚúÛûÜüÝýŸÿ
Punctuation
(.,:;?!)[&@#]{~-−}«»*¶ „“”‚_/\'"†‡≤≠≥÷<+>ו£
72 points
60 Points
Typo graphic ally we Typo graphically we are, as they were
48 points
Typo graphically we are, as they
36 points
Typographically we are, as they were then, in the period past the
30 points
Typographically we are, as they were then, in the period past the â&#x20AC;&#x2DC;goldenâ&#x20AC;&#x2122; age of the technology at hand
24 points
Typographically we are, as they were then, in the period past the ‘golden’ age of the technology at hand - or in the moments just before the next. The computer, as the letterpress, was introduced and with it we produced the first and most innocent attempts at answering the
18 Points
Typographically we are, as they were then, in the period past the ‘golden’ age of the technology at hand - or in the moments just before the next. The computer, as the letterpress, was introduced and with it we produced the first and most innocent attempts at answering the need and potential of the new method. We achieved the best screen fonts at the beginning of the 21th century, just as the best book face was produced before the 19th century. Like woodblocks in Victorian England, the use of the computer
12 points
Typographically we are, as they were then, in the period past the ‘golden’ age of the technology at hand - or in the moments just before the next. The computer, as the letterpress, was introduced and with it we produced the first and most innocent attempts at answering the need and potential of the new method. We achieved the best screen fonts at the beginning of the 21th century, just as the best book face was produced before the 19th century. Like woodblocks in Victorian England, the use of the computer allowed the making of typefaces and graphic composition to be accessed by the many. As we can see the rise of brutal and ugly typefaces, on websites such as DaFont. com, so we see a rise of overly decorated typefaces in 19th
10 points
Typographically we are, as they were then, in the period past the ‘golden’ age of the technology at hand - or in the moments just before the next. The computer, as the letterpress, was introduced and with it we produced the first and most innocent attempts at answering the need and potential of the new method. We achieved the best screen fonts at the beginning of the 21th century, just as the best book face was produced before the 19th century. Like woodblocks in Victorian England, the use of the computer
8 points
Typographically we are, as they were then, in the period past the ‘golden’ age of the technology at hand - or in the moments just before the next. The computer, as the letterpress, was introduced and with it we produced the first and most innocent attempts at answering the need and potential of the new method. We achieved the best screen fonts at the beginning of the 21th century, just as the best book face was produced before the 19th century. Like woodblocks in Victorian England, the use
allowed the making of typefaces and graphic composition to be accessed by the many. As we can see the rise of brutal and ugly typefaces, on websites such as DaFont.com, so we see a rise of overly decorated typefaces in 19th century Britain. The Modern Face together with Old-Style (typeface developed in 1860 by Miller & Richard in Edinburgh) became the standard of printing for text books, literary book, academic papers, newspapers, and most of the printed page. It was not generally
of the computer allowed the making of typefaces and graphic composition to be accessed by the many. As we can see the rise of brutal and ugly typefaces, on websites such as DaFont.com, so we see a rise of overly decorated typefaces in 19th century Britain. The Modern Face together with Old-Style (typeface developed in 1860 by Miller & Richard in Edinburgh) became the standard of printing for text books, literary book, academic papers, newspapers, and most of
the printed page. It was not generally recognised to be difficult to read; as it was written everywhere Modern became something one got used to understanding. I find this story to be similar to the rise in use and readability of Helvetica and the SansSerif: initially contested for book use they are now, due to their popularity on screen, some of the most readable fonts even when printed. As human-beings we have always been attracted by symmetry and mathematical geometry. Today, this is most
Aa
She blushes and shrinks from your
View, I Know in Spite that, she is Pacific
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0
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Styles
Anatoma Runes Anatoma Uncial Anatoma Gothic Anatoma Gothic Book Anatoma Sans Anatoma Book Anatoma Grotesk Anatoma Humanist
Uppercase
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Lowercase
abcdefghijklmnopqrst uvwxyz
Numerals
0123456789
Ligatures and additional characters
fi
Accented Characters
ÀàÁáÂâÃãÄäÅåÈèÉéÊê ËëÌìÍíÎîÏïÑñÒòÓóÔôÕõ ÖöÙùÚúÛûÜüÝýŸÿ
Punctuation
(.,:;?!)[&@#]{~-−}«»*¶ „“”‚_/\'"†‡≤≠≥÷<+>ו£
72 points
60 Points
In Britain we see the first In Britain we see the first modern design in
48 points
In Britain we see the first modern design
36 points
In Britain we see the first modern design in 1788. Bell, cut by Richard Austin
30 points
In Britain we see the first modern design in 1788. Bell, cut by Richard Austin for John Bell, is according to
24 points
In Britain we see the first modern design in 1788. Bell, cut by Richard Austin for John Bell, is according to Stanley Morrison “Our first independent design while maintaining a predominantly old - face character (it) exhibits tendencies towards the modern face.” Though
18 Points
In Britain we see the first modern design in 1788. Bell, cut by Richard Austin for John Bell, is according to Stanley Morrison “Our first independent design while maintaining a predominantly old - face character (it) exhibits tendencies towards the modern face.” Though Austin went on to design several modern faces, he wasn’t a supporter of the style and was solely answering the demand of the market. The following letterform development, which left a mark on both British and continental typographic history, was Robert
12 points
In Britain we see the first modern design in 1788. Bell, cut by Richard Austin for John Bell, is according to Stanley Morrison “Our first independent design while maintaining a predominantly old - face character (it) exhibits tendencies towards the modern face.” Though Austin went on to design several modern faces, he wasn’t a supporter of the style and was solely answering the demand of the market. The following letterform development, which left a mark on both British and continental typographic history, was Robert Thorne’s Modern Face developed in 1800. This became the first popular modern type in Britain and he was the main sponsor of the style in the country. Historically the period is marked by the industrial revolution, and the increased
10 points
In Britain we see the first modern design in 1788. Bell, cut by Richard Austin for John Bell, is according to Stanley Morrison “Our first independent design while maintaining a predominantly old - face character (it) exhibits tendencies towards the modern face.” Though Austin went on to design several modern faces, he wasn’t a supporter of the style and was solely answering the demand of the market. The following letterform development, which left a mark on both British and continental typographic
8 points
In Britain we see the first modern design in 1788. Bell, cut by Richard Austin for John Bell, is according to Stanley Morrison “Our first independent design while maintaining a predominantly old - face character (it) exhibits tendencies towards the modern face.” Though Austin went on to design several modern faces, he wasn’t a supporter of the style and was solely answering the demand of the market. The following letterform development, which left a mark on both British and continental
history, was Robert Thorne’s Modern Face developed in 1800. This became the first popular modern type in Britain and he was the main sponsor of the style in the country. Historically the period is marked by the industrial revolution, and the increased numbers in production brought about a need to sell more products to a larger market. The obvious repercussion on typography is that the type now needed to attract attention and be printed (or painted) at big sizes. Thorne, on the basis of
typographic history, was Robert Thorne’s Modern Face developed in 1800. This became the first popular modern type in Britain and he was the main sponsor of the style in the country. Historically the period is marked by the industrial revolution, and the increased numbers in production brought about a need to sell more products to a larger market. The obvious repercussion on typography is that the type now needed to attract attention and be printed (or painted) at big sizes. Thorne, on the basis of his
Modern Face, produced the first Fat-Face which influenced printers like Thorowgood, the Caslon foundry and Didot, which fattened its Modern face in response. Of remark was one of Richard Austin later types, the Scotch Roman. Definitely modern in appearance, it is strikingly readable, as the shapes take more into consideration transitional types of Baskerville and Vincent Figgins. The roman had massive influence in the United States and it became closely associated with math and science
Aa
Distilling the architecture Of the Letter,
And Not Rather Its appearance.
Gs 750
500
0
-250
Styles
Anatoma Runes Anatoma Uncial Anatoma Gothic Anatoma Gothic Book Anatoma Sans Anatoma Book Anatoma Grotesk Anatoma Humanist
Uppercase
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Lowercase
abcdefghijklmnopqrst uvwxyz
Numerals
0123456789
Ligatures and additional characters
fi
Accented Characters
ÀàÁáÂâÃãÄäÅåÈèÉéÊê ËëÌìÍíÎîÏïÑñÒòÓóÔôÕõ ÖöÙùÚúÛûÜüÝýŸÿ
Punctuation
(.,:;?!)[&@#]{~-−}«»*¶ „“”‚_/\'"†‡≤≠≥÷<+>ו£
72 points
60 Points
The ordinary publisher The ordinary publisher as yet
48 points
The ordinary publisher as yet certainly
36 points
The ordinary publisher as yet certainly did not believe that the old-
30 points
The ordinary publisher as yet certainly did not believe that the oldfaces were more legible. They were alright for
24 points
The ordinary publisher as yet certainly did not believe that the old-faces were more legible. They were alright for books which might or might not be read, but they were not going to use them for sensible reading matters. But in 1851 we see a shift, supported largely
18 Points
The ordinary publisher as yet certainly did not believe that the old-faces were more legible. They were alright for books which might or might not be read, but they were not going to use them for sensible reading matters. But in 1851 we see a shift, supported largely by the printing done by the Chiswick press, to revive the old-face roman for book use. The movement which initiated then, was progressed further by the Kelmscott Press and the work of William Morris, and the private press movement. The Doves press is to be mentioned as I was
12 points
The ordinary publisher as yet certainly did not believe that the old-faces were more legible. They were alright for books which might or might not be read, but they were not going to use them for sensible reading matters. But in 1851 we see a shift, supported largely by the printing done by the Chiswick press, to revive the old-face roman for book use. The movement which initiated then, was progressed further by the Kelmscott Press and the work of William Morris, and the private press movement. The Doves press is to be mentioned as I was inspired by their fine printing and the simplicity of their design. The peculiar use of the dots over the ‘i’ and ‘j’ was of inspiration for the making of Anatoma Gothic.
10 points
The ordinary publisher as yet certainly did not believe that the old-faces were more legible. They were alright for books which might or might not be read, but they were not going to use them for sensible reading matters. But in 1851 we see a shift, supported largely by the printing done by the Chiswick press, to revive the old-face roman for book use. The movement which initiated then, was progressed further by the Kelmscott Press and the work of William Morris, and the private press movement. The Doves press is to be mentioned as
8 points
The ordinary publisher as yet certainly did not believe that the old-faces were more legible. They were alright for books which might or might not be read, but they were not going to use them for sensible reading matters. But in 1851 we see a shift, supported largely by the printing done by the Chiswick press, to revive the old-face roman for book use. The movement which initiated then, was progressed further by the Kelmscott Press and the work of William Morris, and the private press movement.
I was inspired by their fine printing and the simplicity of their design. The peculiar use of the dots over the ‘i’ and ‘j’ was of inspiration for the making of Anatoma Gothic. These were not new experiments yet revivals, so for my research I decided to not take them much into consideration. Although I found in William Morris’s philosophy on work, and his process of creating letterforms much inspiration at the beginning of my work. The first new design by the movement was the Basle roman, cut by William Howard for
The Doves press is to be mentioned as I was inspired by their fine printing and the simplicity of their design. The peculiar use of the dots over the ‘i’ and ‘j’ was of inspiration for the making of Anatoma Gothic. These were not new experiments yet revivals, so for my research I decided to not take them much into consideration. Although I found in William Morris’s philosophy on work, and his process of creating letterforms much inspiration at the beginning of my work. The first new design by the movement
was the Basle roman, cut by William Howard for the Chiswick Press, which was also used by William Morris for “A Tale of the House of the Wolfings”, 1889. Overall the movement is a product of the alienation to the social and economic condition of Victorian England. Similarly as we see a rise in Gothic revival in architecture, of fine art in painting with the Pre-Raphaelites, and of Romanticism in prose and art, in typography we see a return to the calligraphy. The importance of the work of Edward Johnston,