MA Thesis Visual Research Summary {How to create a typeface that talks about typographic history} by Matteo Blandford

Unit 3.1 Major Project Resolution Visual Research Summary Matteo Blandford BLA14436716 MA Contemporary Typographic Media 2015 University of the Arts London: London College of Communication Course Leader and Tutor: Paul McNeil Teaching Assistant: Alex Swain

Printed in Anatoma.

The Anatomy of the British Character or how to create a typeface that talks about typographic history.

A visual research summary organised by periods: Runes Script Gothic Roman Modern Humanist Contemporary

8 38 80 118 196 228 254

Bibliography

278

runes â&#x20AC;&#x153;For millions of years man-kind lived just like the animals Then something happened which unleashed the power of our imagination

We learned to talkâ&#x20AC;?

Previous page: Celtic Shield, British Museum Pink Floyd, “Keep Talking” 1994

In the beginning was the Word, and the Word was with God, and the Word was God. 1

"Gospel of John" 1:1 10

Evolution of the Alphabet; “Alphabet: a key to the history of mankind” D.Deringer, 1968

Artefacts of Pre-Roman Britain, British Museum, 350-150 b.C. Stonehenge, 2400 b.C.

_____________ 350 150 b.C.

Sketches of Ogham Tombstones and Pattern

Celtic Iron-Work Celtic Mirror

Looking at the early alphabets in Britain was quite interesting, though if not by popular associations we actually donâ&#x20AC;&#x2122;t hold many similarities with our celtic ancestors.

Expansion of Language; “Alphabet: a key to the history of mankind” D.Deringer, 1968 14

Ancient Greek

Etruscan Latin

Classical

Early Monumental

Early

Classical

Early

Classical

Western

Eastern

Early

Tombstones from Roman Britain, Pottery from Pre-Roman Britain, British Museum Roman Baths, Bath

_____________ 43 409 a.D.

Writing for Commerce in Roman Britain, British Museum

Informal Hand-writing

Anglo-Saxon Runes

Early Monumental Latin

Greek Uncial

The Romans had more impact on modern day Britain, and to look at the development of the greek alphabet to the latin alphabet, to Roman capitals, and their influences on letter forms, was more helpful.

CÆSAR·NON·SVPRA·GRAMMATICOS

* Trajan Pro, Carol Twombly, 1989 24 pt.

Anglo-Saxon England Anglo-Saxon Runes Anglo-Saxon Pins

Trajan Column, Rome, 113 AD Map of Roman Britain

Pin from the early 7th century, British Museum

_____________ 409 1066 a.D.

Frank's Casket, 700 a.D. British Museum

e˚

r.01

Anglo-Saxon Runes; “Alphabet: a key to the history of mankind” D.Deringer, 1968

The invasion of England by the Cetes, Jutes, Angles, Saxons and Frisians upon the collapse of the Roman Empire, brought Old English and the roots of the English language. Of the Anglo-Saxon heritage I find we hold most in common the spirit beneath the language: logical and following common-sense.

a.01

e.01

i.01

o.01

u.01

Ogham Runes; â&#x20AC;&#x153;Alphabet: a key to the history of mankindâ&#x20AC;? D.Deringer, 1968 22

Map of Britain showing Ogham inscribed stones found in burial sites

Ogham Tombstones; â&#x20AC;&#x153;Alphabet: a key to the history of mankindâ&#x20AC;? D.Deringer, 1968

Ogham Writing

Anglo-Saxon Runes

Anglo-Saxon Runes from 1300 a.D.

p.01

p.02

Celtic Tomb Stone

Anglo-Saxon Runes from 1300; “Alphabet: a key to the history of mankind” D.Deringer, 1968 25

Baltic Runes; “Alphabet: a key to the history of mankind” D.Deringer, 1968 26

South-American Glyphs; “Alphabet: a key to the history of mankind” D.Deringer, 1968 27

Typologies of Letters, sketches

Sketch of names for "The Eye" Signature

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz

* Anatoma Runes 24 pt. Character Set

The translation of the first experiment into Anatoma Runes started by the assembly of our names for the signature of the piece. These first letter assembly progressed during UNIT 3 into an alphabet which does not inform the reader on the characters, but it plays on how similar some may be to todayâ&#x20AC;&#x2122;s alphabet.

"The Eye" Photo: Work in Progress Preparatory Sketches

Facebook Banner Preparatory Sketches Photo: Work in Progress 30

By Matteo Blandford Ev Melekhovets Sofia Arhancet Diana Mora

"The Eye" Photo: Work in Progress 32

"The Eye" Details of finished work

Next page: "The Eye" Finished work 33

“The Eye”, by Matteo Blandford, Sofia Arhancet, Diana Mora, Ev Melekhovets. London, 2015. For Bailey Nelson London, Old Spitalfields Market, E1 6AA. Far right: “Speaking Madam” by Vinnie Nylon.

a study of runes

THE EYE

Study for Anatoma Runes: Glyphs, Sketches

750

Dy 500

-250

Aa Bb a

Gg Hh g

Cc Dd Ee

Mm Nn Oo Pp Qq Rr m

Ss Tt Uu Vv Ww Xx s

Yy Zz y

* Anatoma Runes 480 pt. Dy

# Anatoma Runes Character Map 36pt

The uppercase letters of Anatoma Runes are composed from letters all the alphabets taken into consideration for â&#x20AC;&#x153;The Eyeâ&#x20AC;? project, similarly the lowercase is an assembly of characters from various styles of Anatoma in a pseudo unicase alphabet. The uppercase is surprisingly readable in some instances, in some others it becomes harder, I believe the familiarity of the word has to be taken into account. It overall appears black, and if used in conjunction with the lowercase, it becomes an interesting alternate to a small caps.

script â&#x20AC;&#x153;I've watched Jurassic Park twice in my life, at once when I was six, the second a couple of weeks ago; it inspired me to think about how gaps in time change our way of perceiving.â&#x20AC;?

2 41

Previous Page: Nicolas Jaar, BBC Radio 1 Essential Mix, 2012

_____________ 650 1000 Trajan

Greek Uncial Uncial Half-Uncial

Beneventan Caroline Insular Protogothic

Evolution of miniscule script alphabet 42

They had no single ethnic origin, no common semi-legendary foundation event, no single ruler and yet they all came to be called English. The invasion of England by the Cetes, Jutes, Angles, Saxons and Frisians brought Old English and the roots of the English language; Latin was still largely used by the aristocracy in the country. Though the formal language didnâ&#x20AC;&#x2122;t evolve, stylistically the letterforms did.

They had no single ethnic origin, no common semi-legendary foundation event, no single ruler - and yet they all came to be called English. The traditional Roman capitals were merged with the Greek uncial, strong in Eastern Europe, creating uncial and half-uncial lettering, which in Britain evolved into the insular letterform, whereas in France it evolved in the Carolingian Minuscule - this was imported in Britain during the Norman conquest, in the form of proto-gothic lettering.

They had no single ethnic origin, no common semi-legendary foundation event, no single ruler and yet they all came to be called English. * Clairvaux, Linotype, Herbert Maring, 1990 Type Based on Celtic letters Golden Type, ITC, W. Morris, 1893

Quote from â&#x20AC;&#x153;The English and their Historyâ&#x20AC;? R. Tombs, 2014 43

The importance of religion is clearly evident in the evolution of the letter-form, and of language, in Britain. St. Patrick’s arrival in Ireland in the 4th century marked the beginning of monastery life, but it wasn’t until two centuries later when St. Augustine landed in Kent (597) with the monastic life dictated by the Benedictine Rule of “Ora et Labora” (pray and work) that we see a change in Britain.

St. Stephen Chapel, 1350 Psalter, London, end of the 13th century. 44

# Modular Typeface.01 Character Map 36pt 46

"Les Fleurs Du Mal" Artwork 2015

ďŹ

# Modular Typeface.02 Character Map 36pt 48

"Les Fleurs Du Mal" Artwork 2015

Since UNIT 1 I have been interested in working on the black-letter, possibly because of its beautiful appearance as a ‘black’ block, on the printed page. During one of the first type-design workshops I developed a modular type, which held some letters in common with the gothic manuscripts; this became the basis of my second experiment made during UNIT 2. The Rock fount looks at the black letter with ‘modern eyes’ by twisting its nature on its head. If at first it was based on hand lettering, now I was going to make it as detached from the hand as possible. Utilising the purely digital process of constructing type with modular elements, yet maintaining the traditional stylistic features of the type.

# Modular Typeface.03 Character Map 36pt

+ +

Progression and Development of Modular typeface into the Rock Fount 51

“ ‘Unbowed, unbent, unbroken’. The words of House Martell. A promise to our enemies, and a challenge to our lovers.” - Oberyn Martell, Episode 46

Modular Typeface.03

game of thrones

A new set of characters with a very repetitive appearance, harsh angles and black colour: Rock Fount.

ahahahah

Rock Fount

ahahahah

Study for Rock: Glyphs, sketches

Ae 750

500

-250

Pp p

Gg Hh g

Mm Nn m

* Rock Fount 480 pt. Ae

# Rock Fount Character Map 36pt

Qq Rr q

Vv Ww Xx v

The Rock Fountâ&#x20AC;&#x2122;s lowercase in definitely more successful than the uppercase as I followed the rules of construction of the letter more closely. The uppercase, due to lack of better scrutiny, was rushed without looking further into the making of the character. The experiment was not progressed further; looking back, the finished character set is interesting in some instances, but some ascenders and descenders take up to much attention on the overall look.

ogether with writing illuminated manuscript� of Gospel� in L�tin, from the 9th century the monasterie� were in charge of writing the historical chronicles, which were written in Old-English.

� Æthelstan (924 - 927) King of the English and Anglo-Saxons 58

* Anatoma Uncial 18 pt.

any questions Rock Fount

Book of Durrow, 650 Lindisfarne Gospels, 700 59

Tale of Beowulf, 700-1000 Peterborough Chronicle, 1150 Anglo-Saxon Chronicle, 871 Law of Ă&#x2020;thelberht, VII c. 60

Ecclesiastical History of the English People, 731 61

Magna Carta, Great Charter, 1215 � King Richard I the Lionheart (1189 - 1199) � King John (1199 - 1216) 63

Simultaneously I decided to look closely at the Magna Carta (Great Charter), as it marked for me a mile-stone in British political and social definition. Of the typography, what struck me were the long swashes and the majestic nature of the long lines together with the incredible precision in the writing. Trying to emulate the letters I realised that my calligraphy was not good enough to instinctively write in that script. Inspired by the work of E. Johnston, I decided to interpret the script used on the charter in the same way Johnston calligraphy was interpreted for the London Undergroundâ&#x20AC;&#x2122;s Johnston Sans (1916). I defined the skeleton of each character and through the use of a large nib pen I traced the line of the letters, adding it width to emulate its appearance. 64

Study of letters inspired by the Magna Carta 65

] 66

Progression and Development of the letter studies into letterforms of the Paper Fount 67

Study for Paper: Glyphs, sketches 69

Study for Paper: Glyphs, sketches 70

Study for Paper: Glyphs, sketches 71

Ru 750

500

-250

Aa Bb Gg Hh Mm Nn Ss Tt Yy Zz a

Cc Ii Oo Uu

Dd Jj Pp Vv

Ee Kk Qq Ww

Ff Ll Rr Xx

After a series of iterations of the process, I focused on a set of insular letters, which I then converted to digital letterforms. The process of creation of the letters for the Paper Fount defined the approach for the Anatoma typeface family.

* Paper Fount 480 pt. Ru

# Paper Fount Character Map 36pt

sugar Paper Fount

Paper Fount

quite english indeed

For the application of the typeface created, I decided to merge the principal uses associated with the types I started from: on the one hand the Great Charter was a set of rules, on the other, Johnston Sans is used by the London travel authority to communicate with the users of their services. The Great Charter of Commuting is an ironic set of rules that commuters in London generally abide to, and secretly wish that also the tourists did.

OF COMMUTING

*An ironic set of rules that commuters in London generally abide to, and secretly wish that also the tourists did.

THE GREAT CHARTER

I am the Lord thy Transport, thou shalt have no other machine before me.

Paper Fount

the great charter of commuting

Thou shalt not take the name of Commuting, thy God, in vain. THE GREAT CHARTER

OF COMMUTING

Remember the Off-Peak Hours to keep them Holy. THE GREAT CHARTER

OF COMMUTING

Honour thy carriage companions. THE GREAT CHARTER

4 79

OF COMMUTING

Thou shalt not make eye contact. THE GREAT CHARTER

OF COMMUTING

Thou shalt not commit loud and high-sounding noises. THE GREAT CHARTER

OF COMMUTING

Thou shalt not stand on the left. THE GREAT CHARTER

7 80

OF COMMUTING

Thou shalt not take the seat next to thy neighbour. THE GREAT CHARTER

OF COMMUTING

Thou shalt not linger and wait, keep a brisk pace. THE GREAT CHARTER

OF COMMUTING

Thou shalt Mind the Gap. THE GREAT CHARTER

X 81

OF COMMUTING

I started by adapting the grid of the Paper fount to fit the standardised font size. I then retraced the letter skeleton studies made for UNIT 2 and added more characters, such as an alternate ‘a, s, e’, I also corrected some swashes for better functionality, such as the ‘y’. The result, Anatoma Uncial, has a very easy to read lowercase and an interesting, yet unbalanced, uppercase given the calligraphic nature of the characters I was studying. Overall the typeface is very successful in communicating the letterforms of the time, some even share features with the later Fere-Humanistica style of type.

abcde fghijkl mnop qurst vwxyz

�≠£

* Anatoma Book, 72 pt. Symbols playing on the Magna Carta

Progression and Development of the Paper Fount into the Anatoma Uncial 82

>>» And if it wasn’t for Pap I’d have never started...

I Began My R

From The Runes Of Pre-Roman Britain,

The Progression To The Latin Alphabet

In Medieval Manuscripts And To The B

Printing In The 15th Century. I Found T

Useful As I Was Worried That The Gap

750

500

-250

Aa Bb Cc Dd Ee a

Gg Hh g

Mm Nn Oo Pp Qq Rr m

Ss s

Tt Uu Vv Ww Xx u

Yy Zz y

Of interest is definitely the ‘g’ and ‘A’ for their peculiar form. Overall Anatoma Uncial has a white look, and the use of inverted slants (such as the ‘a’) makes the sentence look dynamic, though it takes some getting used to.

* Anatoma Uncial 480 pt. Fe

# Anatoma Uncial Basic Character Map 36 pt. Anatoma Uncial Stylistic Alternates 36 pt.

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* County court of Chester, held on Tuesday after the feast of St Nicholas, 4 Edw. II, before Payn Tibotot, justiciar of Chester (8th December, 1310) A man called "Roger Fuckebythenavele" was exacted for the first time [the process preliminary to outlawry].

Roger Fuckebythenavele

Anatoma Uncial, 36 pt.

the oldest use of the word fuck:

Anatoma Uncial

the oldest use of the word fuck

gothic â&#x20AC;&#x153;The fact that English printers did ultimately adopt roman as their standard type seems to be almost accidental.â&#x20AC;?

3 89

Previous Page: A.F. Johnston “Type Designs: Their History And Developments” 1959

• • • • •

_____________ 1450 1650

Formal, Rigid, Upright, Angular Absence of Curves Short Ascenders Feet as End Point

from Textus, early 12th century, used for Bible and Religious service texts during the 15th century. Used for titles and headings thereafter.

Textura

{

Known as Text in Britain, see: The Indulgence of 1476 Caxton type 3, 5, 7, 8

* Anatoma Gothic 72 pt. ≠e 90

Textura, 14th century Caslon Gotisch, 1730

From which derived the 2nd generation of British printers Wynkyn De Worde & Richard Pynson. Textura was used as ordinary type until the Civil War (1642-1651). • Consistent Uppercase • Some Curves

Chronicle of Bollogne, 1499 King Edward IV & Queen visiting Caxton � Edward IV (4 March 1461 - 2 October 1483) 91

* Anatoma Uncial 72 pt. ≠ea

Fere ~ Hum�nistica

Book: Title and inner page, 1896, Kelmscott Press, W. Morris

hough the more scholastic gothic type, Fere Humanistica, was not popular in Britain, William Morris’s Troy and Chaucer type are modern equivalents. Morris’s work was attacked for its lack of legibility whereas at the time fere-humanist type was the most legible of gothic types.

a : Open as roman g g : Open or like an 8 d d : 2 variations • • • • • • • •

Less Formal More Rounded Follows Manuscript Open with descenders similar to Roman No Serifs or feet but with blunt endings More white Better legibility Roman Uppercase

Fere-Humanistica Examples type Gothic Architecture � Richard III (26 June 1483 - 1485)

n Caxton’s day, gothic Letter was in vogue for all English printing. ¶Later this gothic cry�allized into an English pointed blac�~letter character, similar to some of the blac�~letter types of the Netherlands, from which, tempered perhaps by French influences, it was derived. ¶

a : closed g : trapezium b c d e h o : round • • • •

Full of Curves Feet only partially: n No Roman tendencies Not as broad, more economical

Rotunda * Anatoma Gothic 72 pt., 24 pt. ≠ I L r s tt st e

D. B. Updike “Printing Types: Their History Forms & Use” 1937 94

Coin of the 15th century

ologna’s hand of Law. The Italian Rotunda is the countries own textura. In Britain it is an alien letter though De Worde and Pynson’s catalogue show a small set. Redman and Berthelet (see example on the left) used it until 1544. “Midway between Bâtarde & Lettre de Forme”

A.F. Johnston “Type Designs: Their History And Developments” 1959

Rotunda Examples Exeter Cathedral, 1400 95

Exeter Cathedral, 1400 Berthelet Rotunda, 1544

Bâ��rda s f : Long letters a � : Italic or one story g : Open tail • Cursive • With elements of Textura, Humanistica, Rotunda • Descenders to points

w : Miserable quality Less restrained and of inferior quality. Better than Caxton's.

* Anatoma Gothic Book 72 pt. ≠Bd

Lettre Bâtarde, 15th century 96

{ w From the Mainz Indulgences of 1455 and the (protestant) North of the Alps, the Bâstardas or Lettre Bâtarde, was gone by mid 16th century though it remained in use in Germany. It was used in Britain for statutes and legal work, see: Caxton type 1 Pynson, 1493

Caxton Sigil Caxton Type 1 Caxton Type 1 - text � Henry VII (22 Aug 1485 - 1509) 97

Schwabacker During the making of the Rock fount I took in consideration manuscript gothic hand. The lower case given the modular nature of the typeface is closer to a textura hand; whereas the uppercase is similar to a Schwabacker.

Schwabac�er The differences between Anatoma Gothic and Gothic Book are evident, and they showcase a progression of letterform in history. From the rotunda, the bâtarde to the schwabacker. The more rounded families of gothic types are closer in architecture to nowadays grotesque.

Schw�b�c�er * Rock 60 pt. Anatoma Gothic 72 pt. Anatoma Gothic Book 72 pt.

Schwabacker, 16th century 98

Roman Catholic Breviary, 1600s Fonthill Abbey, 1796 Gothic Revival

Born out of Nuremberg in 1485, the Schwabacker became secondary by the end of the 17th century. It is a refinement of the design, very similar to the Upper-rhine and types from Liepzig.

A D : Fixed Uppercase b d h : Looped a : One story g : Open tail p ďż˝ : Pointed

100

In use in Germany before 1450, fraktur is the German letter. More economical and preferred for its fussiness

D F : Calligraphic b : Not looped Narrow, pointed, spiky restless design

The original Fraktur is considered to be the Formschneider of Nuremberg. There were 8 cuts in Germany between 1513 and 1524, in Nurember dated 1525.

Fraktur studies, Sketch Nuremberg Fraktur, 1522

ďż˝ Henry VIII 21 April (1509-1547) Crowned Supreme Head of the Church of England Crucifix from Exeter Cathedral, 1400

101

102

Typology of black letter as found in A.F. Johnston “Type Designs: Their History And Developments” 1959 103

Fraktur

Schwabacker

Bâtarde

Rotunda

Humanistica

Fere-

Textura * Ermete Pesce Mangiarete, for Festa dei Desideri, Ancona, Italy, promoted by Associazione Vista Mare. The Project was intended for an exhibition; the two sides are two characters telling a story, one in modern lettering, one in black-letter.

Next page: Study for Anatoma: Glyphs, and size, sketches

Study for Anatoma: Glyphs, sketches 105

a CHINA

a CHINA At the end of the summer, and during my studies of Anatoma Gothic, Bailey Nelson contacted me again. As they were moving into a new store, they wanted me to do a piece on the same graphic style of the previous one. The new shop, two doors down from the previous one, has a longer, fragmented, wall and taller ceilings, ending with a vertical space to fill. The work was to answer more of the client’s needs: it had to feature a map showing the process of construction of the glasses they produced and their motto, “Look Different”. After a initial survey of the shop, I decided to collaborate with Massimo Dorigo, of Studio 589, for the drawing of the map.

product

Proposal for Bailey Nelson Mural, collage overview.

ion:

product

ion:

L�� Diﬀ�r�nt a Bailey Nelson Production Rooted in today’s Alphabet lies, often untold, the history of fashion, of people’s preference, of market, of art. And to trace these histories, the reader finds himself travelling around the globe. “Look Different” is a project that journeys both through time and space. The lettering is based on characters retrieved from the history of British typography. And whilst mantaining the architecture of the letter, they are re-enterpreted for today as part of the typeface Anatoma. The map takes you on a journey of the production process of Bailey Nelson eyewear. Because to find and assemble the glasses you see, one must discover the best way to make you look different, yesterday, today and tomorrow. 2015, “Look Different” for Bailey Nelson by Matteo Blandford & Massimo Dorigo #matteodoingthings & @five8nine Printed in Anatoma

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Study for "Look Different" mural. 110

Study for "Look Different" mural. 111

Completed Mural: detail far right. Work in progress images taken on the 25/09/15 112

113

114

Completed Mural: from outside the front, detail of center map. Work in progress image taken on the 25/09/15 115

116

Completed Mural: Overview, details of the motto "Look Different", far left.

The mural, “Look Different” features characters from the three Anatoma styles made so far. It starts left with the motto, the x-height about 60cm and the uppercase measure up to 1.10m. At the end, on the vertical section, the words ‘yesterday’, ‘today’ and ‘tomorrow’ are set in Anatoma Gothic Book, the x-height of 45cm. The impressive black-ness of the letterforms is quite striking and it sits well in the shop, attracting enough attention, yet high enough not to intrude. The mural was painted on the 25th of September during the 10th anniversary of Spitalfields market; we were featured as the opening event of the shop, which attracted much attention and notoriety for the work and shop.

Study for Anatoma Gothic: Glyphs, Sketches

At 750

500

-250

120

Aa Bb Cc Dd Ee Ff a

Gg Hh g

Mm Nn Oo Pp Qq Rr m

Ss s

Tt Uu Vv Ww Xx u

Yy Zz y

* Anatoma Runes 480 pt. At

# Anatoma Gothic Basic Character Map 36 pt. Anatoma Gothic Stylistic Alternates 36 pt.

I repeated the process of letter construction of Anatoma Uncial, for Anatoma Gothic and Anatoma Gothic Book. First, I drew and typologied the characters seen in the gothic types. Then, focusing on Caslon’s Gotisch and Berthelet’s Rotunda, I started constructing the most singular letters: the closed loop ‘a’ and the italic onestory ‘a’, various ‘e’, the trapezium ‘g’, the long ‘f’. Anatoma Gothic holds more Textura and Rotunda features, it is fractured and complicated to read.

�

122

Co ntinuing on: {

the latin alphabet found in medieval manu�cripts and

to trace the progres�ion to

to the birth of printing in the 15th century.

I found thi� to be useful a� I wa� worried that the gap in time could change my way of perceiving what I wa� going to see

In the evolution from the gothic character to the old-face roman, I di�covered the importance of the purpose of a piece of typography in the �election of

� typeface over another. The differences between literary, religiou�, utilitarian and political printed text� helped me to contextuali�e each type under �crutiny.

(f��) * Title: 42 pt. Sub-Title: 12 pt. / 24 lead Anatoma Gothic in comparison with Text: 21 pt. / 25 lead Anatoma Gothic Book Comment: 8 pt. 123

}

Gi 750

500

-250

124

Aa Bb Cc Dd Ee a

Gg Hh g

Mm Nn Oo Pp Qq Rr m

Ss s

Tt Uu Vv Ww Xx u

Yy Zz y

# Anatoma Gothic Book Basic Character Map 36 pt. * Anatoma Runes 480 pt. Gi

Anatoma Gothic Book Stylistic Alternates and Open-Type Features 36 pt.

For Anatoma Gothic Book I took the swash characters present in Anatoma Uncial to compose the ‘d’, ‘k’, ‘q’, and rectified some others, such as the ’t’. The large number of characters seen in the research of the period forced me to go through an iterative process of selection of glyphs. The type is more readable given its whiter appearance and rounder forms; it reflects the Lettre Bâtarde and schwabacker influences on British Typography, as seen in Caxton’s type 1.

;

“

”

„

“

”

„

126

ﬁ

�

ﬁ

�

‡

127

128

roman

â&#x20AC;&#x153;The learner... has... three great points to consider: his alphabet, his material, his power of making right application. In the first place let him limit himself to a study of good alphabets, principally those of the special type he would follow. In the second place those that have a direct bearing on that type or on the hand he would evolve from it.â&#x20AC;?

129

Previous Page: E. Johnston, “Johnston’s Underground type”, 2000

_____________ 1550 1775

Printed Manuscript by Aldus Manutius, 1509

Printed Manuscript, 1524 130

Map of discoveries by Britain, Spain and Portugal, 16th century..

ďż˝ Elizabeth I (1558 - 1603) Map, 1600 131

Jenson Roman, 1458 132

Oldface Roman

from the hand of the Reinassance humanist, primarily from Florence, or also believed to be born from the Neo-Caroline, humanistic hand. The type is known as Littera Antiqua which originated in Rome, 1467, but the name was given in France in 1470.

h : Straight shanked e : Oblique A M N : Slab • Evenness in colour • High Caps • Strong Individuality

e : Straight M : No serif G : No limb • Iscriptional Caps • Slightly more condensed • Narrow short Caps

* Anatoma Sans 72 pt.

Aldine Roman, cut by Francesco Griffo, 1500 133

â&#x20AC;˘

1509

1521

1523

1527

Richard Pynson Closely resembles the French

John Siderich g : without the ear

Wynkyn De Worde Introduced the first italic

Ensthede of Haarler Closely resembles the French

_ Geoffrey Tory

Garamond Roman 1545 Pynson Roman 1509 134

1531 Garamond, from Aldine Roman, Paris. â&#x20AC;˘ Lowercase became traditional French. â&#x20AC;˘ The Uppercase was revised in 1550

Most likely a series of cuts made by: Antoine Augerau, Roberst Estienne, Chrestein Wechel Simon De Colines Combined by Claude Garamond, in 1545, Gros Canon.

1534 Thomas Berthelet from Garamond

French Romans & Foreign type

It has been often a subject of wonder with those learned persons who have written concerning the arts of Ancient Romans, and CELEBRATED TYPE.

______________ 1550 1650

It has been often a subject of wonder with those learned persons who have written concerning the arts of Ancient Romans, and CELEBRATED TYPE.

* Adobe Jenson Pro Aldus, Linotype Adobe Garamond Pro 18 pt. 135

The roman typography of the 17th century differed very little from that of the 16th century, at least for the BODY of types. The roman typography of the 17th century differed very little from that of the 16th century, at least for the BODY of types.

1562 John Day Anglo-Saxon fonts Roman and Italic resemble continent

* Facsimile type 16th c. Old London Both 18 pt. 136

1694 Joseph Moxon Canon Roman with Anglo-Saxon and Irish Fonts

Sermons, John Day, 1562 "AElfredi Regis Res Gestae", John Day, 1574 137

Exercises of Doctrine, Joseph Moxon, 1694

Example of printing, 1644 � Charles I (1625-1649)

1679 John Grover

U=u R = Curly tail • Light Condensed roman • Forerunner of Fleischmann

138

1693

* Fell Types from Oxford University Press, 1693

Fell Types, bough by Thomas Marshall for the Oxford University press from Holland

â&#x20AC;˘ Heavier than Garamond â&#x20AC;˘ No Stout Serif Nothing exagerrated Large counters Shorter descenders

Peter Lely, "Portrait Of Charles Dormer, His Wife Elizabeth And Their Children", 1650 Map of Pre-British New Holland, 1600s

139

140

Study for Scissors: Glyphs, sketches 141

Ba 750

500

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142

Aa Bb Gg Hh Mm Nn Ss Tt Yy Zz a

* Scissor Fount 480 pt. Ba

Cc Ii Oo Uu

# Scissor Fount Character Map 36pt

Dd Ee Ff Jj Kk Ll Pp Q q Rr Vv Ww Xx d

I investigated the evolution of the early roman letterforms with a Barnbrookesque (post-modern) methodology. I composed the letters of Scissor Fount to create a sharp, pointy, yet playful serif type, substantiating my actions only based on the visual qualities of a character. This is the fourth and last experiment made during UNIT 2. The letter forms are reminiscing of early British and Dutch typefaces, but some share features with J. Barnbrook’s Ma(n) son and Priori Serif type, and some with Insular scripts (such as the letters ‘d’ and ‘g’). Ultimately I find this type to be too peculiar for its own good and by deliberately not communicating about the period of time, it fails to answer my research question.

Scissor Fount

cattivo

Scissor Fount

questions

Scissor Fount

theo & lella

“It's easy to confuse what is with what ought to be, especially when what is has worked out in your favor.” - Tyrion Lannister, Episode 49

Rock + Paper + Scissor Fount

game of thrones

“It is represented as a triangle with the vertex pointing upward. At its center one may find the eye of god or the individual figures of the Father, the Son, and the Holy Spirit.”

During UNIT 1 I investigated the creation of symbols related to the history of art, only through the use of dots and lines. For testing the typefaces at hand, but also as a produce of procrastination, I created a series of artworks composed of anatomical collages in the shapes of the symbols created. Surrounding them is a showcase of the letterforms of the types made in UNIT 2. It is not intended as communicative design, but as an artwork. These were sold as prints. Adoration of the Trinity Albrecht Dürer, 1511 Matilde Battistini "Symbols and allegories in art", 2002

* Trinity Artwork to scale

Queens

rinity

T The ^

Queens Of The Earth

Are The Exquisite Creatures Whose Forms Tower Upward In Grandeur And Grace,While Nature Is Kind In Respect To Their Features In Adding The Charm Of A Beautiful Face, From Ocean To Ocean She Claims Our Devotion Entracing Our Hearts In The Dance's Mad Whirl, Portraying The Essence.

â&#x20AC;&#x153;It is represented by an upheaval of natural and psychic forces, by allegorical personifications of the deadly sins, or by images of ancient pagan gods.â&#x20AC;?

Book Of Urizen, Plate 17 William Blake, 1794

Matilde Battistini "Symbols and allegories in art", 2002

* Chaos Artwork to scale 150

Electroencephalographic Radiopharmaceuticals Polytetrafluoroethylene

Electroencephalogram Forschungsgemeinschaft Keratoconjunctivitis

WORD LENGHTS

Counterrevolutionary Counterrevolutionaries

]

Ha {

Deinstitutionalization

Immunohistochemistry

the longest words

Internationalisation Electroencephalography Hypercholesterolemia Immunoelectrophoresis Phosphatidylinositol Institutionalisation Compartmentalization Acetylcholinesterase Electrophysiological Internationalization Electrocardiographic Institutionalization Uncharacteristically

]

Dehydroepiandrosterone

IV % $ UJ 2.998 1%

m 17.65 % 2 1.2 5 m 0.511 0 3 .8 2 7% 2 1 2 1293 38 m 4.78 . 1 % 3 2 1 2568 33 m .700 0 . 5 3 1 9988 2 m 1 .388% 0 3 8 4 1 589. 1 m .939% 9 2 7 5 7 391. 6 m .943% 2 6 5 6 6 052. 9 m .437% 9 % 2 4 7 5 207. 3 m .076 3 4 % 9 8 4 006. 84 m .761 1 3 . 9 3 2883 06 m .958% . 2 0 % 10 3098 5 m .518 1 .1 0 % 11 7124 8 m .222 0 .5 12 3850 8 m .076% .0 0 13 1653 4 m .020% 2 0 14 565. 2 m 010% . 2 15 151. m 0 004% 1 . 16 72.8 m 0 01% 2 0 17 28.6 m 0. 01% 0 18 8.51 m 0. 00% 0 19 6.35 m 0. 00% 0 20 0.13 m 0. 00% 0 21 0.81 m 0. 22 0.32 23

â&#x20AC;&#x153;It is represented by the symbol of the wheel, with the sign of the zodiac arranged in a circle.â&#x20AC;?

St. Peter Cathedral Plan

Matilde Battistini "Symbols and allegories in art", 2002

* Zodiac Artwork to scale 152

†m¢ The 53.10 b 7.14% Of 30.97 b 4.16% And 22.63 b 3.04% To 19.35 b 2.60% In 16.89 b 2.27% A 15.31 b 2.06% Is 8.38 b 1.13% That 8.00 b 1.08% For 6.55 b 0.88% It 5.74 b 0.77% As 5.70 b 0.77% Was 5.50 b 0.74% With 5.18 b 0.70% Be 4.82 b 0.65% By 4.70 b 0.63% On 4.59 b 0.62% Not 4.52 b 0.61% He 4.11 b 0.55% I 3.88 b 0.52% This 3.83 b 0.51% Are 3.70 b 0.50% Or 3.67 b 0.49% His 3.61 b 0.49% From 3.47 b 0.47% At 3.41 b 0.46% Which 3.14 b 0.42% But 2.79 b 0.38% Have 2.78 b 0.37% An 2.73 b 0.37% Had 2.62 b 0.35% They 2.46 b 0.33% You 2.34 b 0.31% Were 2.27 b 0.31% Their 2.15 b 0.29% One 2.15 b 0.29% All 2.06 b 0.28% We 2.06 b 0.28% Can 1.67 b 0.22% Her 1.63 b 0.22% Has 1.63 b 0.22% There 1.62 b 0.22% Been 1.62 b 0.22% If 1.56 b 0.21% More 1.55 b 0.21% When 1.52 b 0.20% Will 1.49 b 0.20% Would 1.47 b 0.20% Who 1.46 b 0.20% So 1.45 b 0.19% No 1.40 b 0.19%

MOST POPULAR WORDS in the english language

zOd iaC

zOd iaC â&#x20AC;&#x153;She is represented either nursing an infant, immersed in nature, or surrounded by attribute that allude to fertility.â&#x20AC;?

Mother and Child, Leonardo Da Vinci

Matilde Battistini "Symbols and allegories in art", 2002

154

* Mother Artwork to scale

AA AB AC AD AE AF AG AH AI AJ AK AL AM AN AO AP AQ AR AS AT AU AV AW AX AY AZ

BA BB BC BD BE BF BG BH BI BJ BK BL BM BN BO BP BQ BR BS BT BU BV BW BX BY BZ

MOST POPULAR BIGRAMS 276 Bigrams in the english language

CA CB CC CD CE CF CG CH CI CJ CK CL CM CN CO CP CQ CR CS CT CU CV CW CX CY CZ

DA DB DC DD DE DF DG DH DI DJ DK DL DM DN DO DP DQ DR DS DT DU DV DW DX DY DZ

EA EB EC ED EE EF EG EH EI EJ EK EL EM EN EO EP EQ ER ES ET EU EV EW EX EY EZ

FA FB FC FD FE FF FG FH FI FJ FK FL FM FN FO FP FQ FR FS FT FU FV FW FX FY FZ

GA GB GC GD GE GF GG GH GI GJ GK GL GM GN GO GP GQ GR GS GT GU GV GW GX GY GZ

HA HB HC HD HE HF HG HH HI HJ HK HL HM HN HO HP HQ HR HS HT HU HV HW HX HY HZ

IA IB IC ID IE IF IG IH II IJ IK IL IM IN IO IP IQ IR IS IT IU IV IW IX IY IZ

JA JB JC JD JE JF JG JH JI JJ JK JL JM JN JO JP JQ JR JS JT JU JV JW JX JY JZ

KA KB KC KD KE KF KG KH KI KJ KK KL KM KN KO KP KQ KR KS KT KU KV KW KX KY KZ

LA LB LC LD LE LF LG LH LI LJ LK LL LM LN LO LP LQ LR LS LT LU LV LW LX LY LZ

MA MB MC MD ME MF MG MH MI MJ MK ML MM MN MO MP MQ MR MS MT MU MV MW MX MY MZ

NA NB NC ND NE NF NG NH NI NJ NK NL NM NN NO NP NQ NR NS NT NU NV NW NX NY NZ

OA OB OC OD OE OF OG OH OI OJ OK OL OM ON OO OP OQ OR OS OT OU OV OW OX OY OZ

PA PB PC PD PE PF PG PH PI PJ PK PL PM PN PO PP PQ PR PS PT PU PV PW PX PY PZ

QA QB QC QD QE QF QG QH QI QJ QK QL QM QN QO QP QQ QR QS QT QU QV QW QX QY QZ

RA RB RC RD RE RF RG RH RI RJ RK RL RM RN RO RP RQ RR RS RT RU RV RW RX RY RZ

SA SB SC SD SE SF SG SH SI SJ SK SL SM SN SO SP SQ SR SS ST SU SV SW SX SY SZ

TA TB TC TD TE TF TG TH TI TJ TK TL TM TN TO TP TQ TR TS TT TU TV TW TX TY TZ

UA UB UC UD UE UF UG UH UI UJ UK UL UM UN UO UP UQ UR US UT UU UV UW UX UY UZ

VA VB VC VD VE VF VG VH VI VJ VK VL VM VN VO VP VQ VR VS VT VU VV VW VX VY VZ

WA WB WC WD WE WF WG WH WI WJ WK WL WM WN WO WP WQ WR WS WT WU WV WW WX WY WZ

XA XB XC XD XE XF XG XH XI XJ XK XL XM XN XO XP XQ XR XS XT XU XV XW XX XY XZ

YA YB YC YD YE YF YG YH YI YJ YK YL YM YN YO YP YQ YR YS YT YU YV YW YX YY YZ

ZA ZB ZC ZD ZE ZF ZG ZH ZI ZJ ZK ZL ZM ZN ZO ZP ZQ ZR ZS ZT ZU ZV ZW ZX ZY ZZ

heR

Th 100.3 b (3.56%) He 86.7 b (3.07%) in 68.6 b (2.43%) Er 57.8 b (2.05%) An 56.0 b (1.99%) Re 52.3 b (1.85%) On 49.6 b (1.76%) At 41.9 b (1.49%) En 41.0 b (1.45%) Nd 38.1 b (1.35%) Ti 37.9 b (1.34%) Es 37.8 b (1.34%) or 36.0 b (1.28%) te 34.0 b (1.20%) of 33.1 b (1.17%) Ed 32.9 b (1.17%) Is 31.8 b (1.13%) it 31.7 b (1.12%) Al 30.7 b (1.09%) Ar 30.3 b (1.07%) St 29.7 b (1.05%) to 29.4 b (1.04%) Nt 29.4 b (1.04%) Ng 26.9 b (0.95%) Se 26.3 b (0.93%) Ha 26.1 b (0.93%) as 24.6 b (0.87%) ou 24.5 b (0.87%) Io 23.5 b (0.83%) Le 23.4 b (0.83%) Ve 23.3 b (0.83%) Co 22.4 b (0.79%) Me 22.4 b (0.79%) de 21.6 b (0.76%) hi 21.5 b (0.76%) Ri 20.5 b (0.73%) ro 20.5 b (0.73%) ic 19.7 b (0.70%) Ne 19.5 b (0.69%) Ea 19.4 b (0.69%) Ra 19.3 b (0.69%) Ce 18.4 b (0.65%) Li 17.6 b (0.62%) Ch 16.9 b (0.60%) Ll 16.3 b (0.58%) Be 16.2 b (0.58%) Ma 15.9 b (0.57%) si 15.5 b (0.55%) om 15.4 b (0.55%) Ur 15.3 b (0.54%)

}

At the same time I was asked to create a poster for a 'Welcome Back' event, supported by The CASS School of Art, Architecture and Design (London Metropolitan University). I centered the layout around the Bring Your Own Booze message, showcasing type found for each of the centuries I looked at in my research. The final line is composed of letters of Anatoma.

* BYOB Artwork is A3 Typefaces in order, from top left: Lino Text, Old London, Morris Black, Fette Fraktur, Jenson, Aldus, Garamond, Fell, Caslon, Caslon 224, Caslon Open, Baskerville, Didot, Bodoni, Modern, Fat face, Gravitas, Porter Sans, Cotton Wood,Morris Black, Doves, Imprint, Times, Perpetua, Gill Sans, Akzidenz Grotesk, Din, Futura, Neue Haas Grotesk, Helvetica, Helvetica Neue, Univers, Anatoma

XVI th { XVII th {

]

XVIII th { XIX th{

Welcome Back Units! Boulevard Party on Thursday the 15th of November from 6:30 until 9 p.m. Hosted by UNIT 51. The party will continue @ The Castle Pub

XX th { XV-XI MMXV {

157

Palladian Architecture Articles of Union 1706 Oxford Press, 1704

Cambridge Press, 1708 Round Head and Cavaliers. 1649

158

159

�

160

� Anne, Queen of Great Britain (1707 - 1714) Oxford Press, 1702 Greenwich Army Hospital, 1692 Architecture Of The 18th c. Caslon Type Specimen, 1722 Christopher Van Dyck Type Specimen, 1674 � George I (1714 - 1727)

1648 Christoffel Van Dyck Perfected the Dutch tradition, main reference for Caslon.

_____________ 1722

162

“He owes his success, not to any originality, but to the fact that he was the first really competent engraver and caster of types in the country„

Caslon Influenced by the Dutch tradition, William Caslon revealed his type at first in 1722, later working on it for further 12 years. A descendant of Garamond, he singlehandedly overthrows the economy of type - the Oxford Press stopped buying type in 1742. Joined by his son, William II in 1742, they published their first specimen in 1763.

Caslon Type Specimen, 1722

* Anatoma Sans Title: 48 pt. Quote: 18pt. 163

• • • • •

Higher quality Variety in design Delicate modelling Not monotonous Harmonious as a whole

A.F. Johnston “Type Designs: Their History And Developments” 1959

_____________ 1757

164

“What Caslon did for types, Baskerville did for printing, aided by the novel form of his letters, his black ink, and hot pressed rag paper, did for 18th century presswork”

Baskerville John Baskerville types were published on a specimen in 1762, they had more delicacy than lighter types on the continent. At the time, they weren't much in vogue, but they had massive influence on the development of the English form. Upon his death his matrices were sold in Birminghm and on the continent, 1775. It wasn't until 1920 they returned in Britain, and went to the Cambridge Press.

Letter Of P. Didot Announcing The Purchase Of Baskerville Stock, 1819

* Anatoma Grotesk Title: 48 pt. Quote: 18pt. ≠a 165

Inclined Serifs Q : New Tail R : Curled ending g : Open loop w : Without central serif F K J N Q y 7 : to note in the Italic • Evenly modelled • More vertical • Gentle, light in appearance • Charming, to sterile refinement • Resemblance with old-face

A.F. Johnston “Type Designs: Their History And Developments” 1959

“Content with the simplicity of typographic art, the English printer has had no need to borrow aid from engraving; nor do we find in the editions that he has so far published - which are admirable - plates, vignettes, tail pieces, ornamental letters, or, in short, any of those accessories which serve as passports, so to speak for a worthless cot of French verse which, without this useful precaution, would meet its just desert oblivion.”

� George II (1728 - 1760) D. B. Updike “Printing Types: Their History Forms & Use” 1937 166

* Anatoma Grotesk Quote: 18pt. ≠a

“Bucolica” by Virgil, J. Baskerville, 1757 167

"Holy Bible" J. Barskerville, 1773 “Orlando Furioso”, J.Baskerville, 1773 “Bucolica”, J.Baskerville, 1757 Hogart, “Breakfast Scene”, 1743

168

“Never the less, Baskerville was a great printer, because he had something individual to say (...) and he had the courage to say it, and say it persistently. He was not amongst the worlds greatest printers, because what he had to say was not great in itself. When we look at his books we think of the Baskerville; while we look at work of Jenson is to think but of his beauty, and almost to forget that it was made with hands.”

* Anatoma Grotesk Quote: 18pt. ≠a

D. B. Updike “Printing Types: Their History Forms & Use” 1937

� George III (1728 - 1760) 169

I began experimenting in creating roman letterforms for the Anatoma family, though I incurred some friction at the beginning. Focused in trying to emulate the characteristics of individual letters I lost track of the overall look and feel of the type, and I struggled in achieving a plain set of letters as discussed during tutorials. Furthermore I wasnâ&#x20AC;&#x2122;t focusing on distilling the architecture of the letter, rather its appearance.

disagio Anatoma test.01

Disagio Disagio Disagio

Disagio

I was recommended to look at contemporary equivalents which tried to achieve my same aim, and to look at sans-serif examples that were plain by nature. The Marian project, by Paul Barnes for Commercial type, â&#x20AC;&#x153;imagines the classics of the typographic canon reinvented for the contemporary worldâ&#x20AC;?. Euclid Flex, by Swiss Typefaces, showed me the very interesting possibilities of having stylistic alternates, which in turned defined the management of the additional glyphs for each typeface in Fontlab. Similarly the work of Jonathan Barnbrook on the Doctrine typeface was very inspiring.

Marian, Commercial Type, 2012 Euclid Flex, Swiss Typefaces Frutiger typefaces

173

Recognition, A2 type Doctrine, Virus Fonts Patriot, Virus Fonts

174

Infidel, Virus Fonts Akzidenz Grotesk, Berthold

Akzidenz Grotesk 175

Akkurat Specimen, Laurence Brunner, Lineto 176

Paralucent, Device Fonts, Rian Hughes Unica, Lineto Plain, Optimo

177

Google Search

Product Sans, Google Neutral, Kai Bernau Circular, Lineto 178

Futura Future Futuro

Futura, Paul Renner Bais Grotesque, Colophon Foundry Reader, Colophon Foundry Avenir, Frutiger

My words won’t come out right I feel like I’m drowning I’m feeling weak now But I can’t show my weakness I sometimes wonder Where do we go from here

179

Nick Shinn, Neology, 2015 180

Progression of Apple Computer's typography Think Different, 1984 San Francisco, 2015

181

“While a universal character or typography is applicable in a given national area is practicable, to impose a universal detailed formula upon all books printed in roman type is not.”

D. B. Updike “Printing Types: Their History Forms & Use” 1937

* Gill Sans Joanna Perpetua by Eric Gill for Monotype 182

Study for Anatoma Sans: Glyphs, Sketches 184

denial Anatoma test.02

Study for Anatoma Sans: Glyphs, Sketches 186

Anatoma Sans 21 Sept. 2015

{Imaginary Muscle # 3}

Type: Grotesk

Anatoma test.02

anatoma

Weight: Regular

Study for Anatoma Sans: Glyphs, Sketches 188

Anatoma Sans 21 Sept. 2015

Type: Grotesk

mother

{Imaginary Muscle # 4}

Anatoma test.03

Weight: Regular

190

The quick brown fox JumpS over the lazy dog Anatoma Sans

The quick brown fox jumps over the lazy dog Anatoma Book

The quick brown fox jumps over the lazy dog Anatoma Grotesk

The Quick brown fox juMps over the lazy dog Anatoma Humanist

* Anatoma test.03 Character set and Line

Development and distribution of initial test in the final four styles of Anatoma: Sans, Book, Grotesk, Humanist. 191

Ra 750

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Aa Bb Cc Dd Ee a

Gg Hh g

Mm Nn Oo Pp Qq Rr m

Ss s

* Anatoma Sans 480 pt. Ra

Tt Uu Vv Ww Xx u

Yy Zz y

# Anatoma Sans Basic Character Map 36 pt. Anatoma Sans Additional Glyphs 36 pt.

Anatoma Sans looks at the narrow architecture of early old-face romans, the Dutch tradition and Caslon’s work. The type initially wasn’t very harmonious: the squared nature of the ‘a’ versus to the very geometrical ‘o’; the neo-grotesque characteristics, in the inclined endings of the ‘c’ and ‘e’ against the straight ending of the ’s’; humanist features, in the ‘u’, ‘y’, and narrow proportions on some of the uppercase, opposed to the smoother ‘m’ and ’n’, and rounder ‘G’. The overall horizontal rhythm of the letters is successful as I took into consideration the repetitiveness of each character from the very beginning.

æ1

æ2

;

“

”

„

“

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þà

194

åæ

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195

196

modern

â&#x20AC;&#x153;The whole question of evolution from Old-Face Roman to Modern Romans is largely a question of technique, rather than the rejection of one style over another on a definitive principle. In typography we shall find that mechanical improvements in the printing press and changes in the texture of paper allowed the engraver of types to produce effects which could have been impossible in the early days.â&#x20AC;?

197

Previous Page: 1A.F. Johnston “Type Designs: Their History And Developments” 1959

_____________ 1692 1850

Romain Du Roi, 1702 198

“The Exaggerated and abrupt modelling, coupled with mathematically vertical shading, resulted in a rigid and mechanical letter which was an abomination to men like William Morris.”

• Flat unbracketed serifs • Abrupt and exaggerated modelling • Vertical shading • Based on mathematical grid • Right and left serifs on the ascenders and descenders

1707

1742

1783

Pierre Cot

Stanlecque

P.F. Didot the Young Accused

Madame Herisant

1692 Philippe Grandjean Created for the Imprimerie Royale, and continued by Jean Alexandre and Luois Luce. To copy the design was illegal though starting from 1707 many tried. Until Didot perfected the style at the end of the century.

* Anatoma Book 18 pt. 199

P.F. Didot the Old, A.F. Johnston “Type Designs: Their History And Developments” 1959

1732 J.M. Fleischman German, but popular in Holland.

1750 Luois Luce Inspired by the work of Fleischman

• Condensed • Light • Long ascenders and descenders

1750 P. Simon Fourneir From the idea of Luce, of condesed characters, created the Poetiqué for long verses of poetry.

Fleischman Roman and Italic, 1732 Fournier Poetique, 1750 200

Labourers Wage from 1375 To 1825 Caslon Etruscan, 1745 John Sloane, 1779 Ha端y System, 1784 201

1784 Francois Didot Later perfected by the son Firmin Didot. Didot became the hallmark of classical type, and the standard French letter.

Didot Modern 1784, 1789 202

19th century drawing, by J.F.M. de Walderick

â&#x20AC;&#x153;Our first independent design (...) while mantaining a predominantly old - face character (it) exhibits tendencies towards the modern face.â&#x20AC;? Flat Bracketed serifs e : Not quite vertical shading

1788 Richard Austin for John Bell. Inspired by Didot with Baskerville traits. Influenced newspaper typography

* Bell, Monotype, cut by Richard Austin, 1788 18 pt.

Union Jack Adopted 1801 The Battle of Trafalgar (21 October 1805) 203

1800 Robert Thorne Modern Face was the first in the country and was popular. He went on to produce and export fat-faces influencing the continental types.

Thorne Modern Face, 1800 204

Figgins Antique, 1815 G. Dore, "London" Didot Fattened, 1850 205

Scotch Roman, Richard Austin, 1813 Thorne Fat Face 206

ďż˝ George IV (1820 - 1830)

207

The reason for me to choose to make Anatoma Book (thus intended to be used as a book face) resemble the architecture of modern types came to me while looking at the economic, social and typographic reality of Victorian England. I find the period to be historically (and typographically) the most similar to today. Typographically we are, as they were then, in the period past the â&#x20AC;&#x2DC;goldenâ&#x20AC;&#x2122; age of the technology at hand - or in the moments just before the next.

Bible, Printed 1867, London in Italian

you were dead

You Were Dead

Anatoma Book vs MT Modern

Study for Anatoma: Numbers, Sketches 210

* According to official police figures, there is currently a combined total of 1,863,524 guns in Britain and Wales, the largest recorded number since the statistics were first collected in 1995.

Tot. of: 1,863,524 Guns

Anatoma Book

documented guns in great britain

Study for Anatoma: Glyphs horizontal rhythm, Sketches 212

+ (13) The city of London shall enjoy all its ancient liberties and free customs, both by land and by water. We also will and grant that all other cities, boroughs, towns, and ports shall enjoy all their liberties and free customs. + (39) No free man shall be seized or imprisoned, or stripped of his rights or possessions, or outlawed or exiled, or deprived of his standing in any way, nor will we proceed with force against him, or send others to do so, except by the lawful judgment of his equals or by the law of the land. + (40) To no one will we sell, to no one deny or delay right or justice.

* Clauses marked (+) are still valid under the charter of 1225, but with a few minor amendments.

+ (1) FIRST, THAT WE HAVE GRANTED TO GOD, and by this present charter have confirmed for us and our heirs in perpetuity, that the English Church shall be free, and shall have its rights undiminished, and its liberties unimpaired. That we wish this so to be observed, appears from the fact that of our own free will, before the outbreak of the present dispute between us and our barons, we granted and confirmed by charter the freedom of the Church's elections - a right reckoned to be of the greatest necessity and importance to it - and caused this to be confirmed by Pope Innocent III. This freedom we shall observe ourselves, and desire to be observed in good faith by our heirs in perpetuity.

Anatoma Book

valid clauses of the magna carta

Ci 750

500

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214

Aa Bb Cc Dd Ee a

Gg Hh g

Mm Nn Oo Pp Qq Rr m

Ss s

Tt Uu Vv Ww Xx u

Yy Zz y

# Anatoma Book Basic Character Map 36 pt. * Anatoma Book 480 pt. Ci

Anatoma Book Additional Glyphs 36 pt.

Anatoma Book appears to be reminiscing of Courier types, yet it shares more grounds with the regular cuts of Neue Helvetica and Akzidenz Grotesk. The endings are straight and the majority of the characters share characteristics with Anatoma Sans. The ascenders and descenders are longer for lighter appearance and the letters are overall larger. To note are the double-story ‘g’ , ‘a’ and ‘i’. The punctuation for the Anatoma family is drawn on the basis of these letters. Overall the appearance, is grey and the lines are well balanced.

æ1

æ2

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Crown

216

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217

218

Crystal Palace, 1851 Caslon Two Line Egyptian, 1816 Satire, 19th century

ďż˝ William IV (1830 - 1837) 219

Study for Anatoma: Glyphs division, Caps Sketches 220

Study for Anatoma: Glyphs division, Caps Sketches 221

222

Study for Anatoma: Glyphs division, Sketches 223

Sa 750

500

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224

Aa Bb Cc Dd Ee a

Gg Hh g

Mm Nn Oo Pp Qq Rr m

Tt Uu Vv Ww Xx u

# Anatoma Grotesk Basic Character Map 36 pt. * Anatoma Grotesk 480 pt. Sa

Anatoma Grotesk Additional Glyphs 36 pt.

I believe there to be an ongoing trend towards geometric typefaces, and a process of streamlining into the very generic sans-serif style. Although I don’t agree with the fashion, Anatoma Grotesk plays on the notion of the (often unnecessary) heightened playfulness in advertisement by the use of neo-grotesk. Overall the type is very readable and other than some kerning issues it remains balanced. Of interest are the ‘a’, that plays on notion of painted display type, and the lowercase and uppercase ’s’ and lowercase ’t’ for their fluidity. The ‘G’, ‘C’, ‘O’ are very geometric, The ascenders and descenders are long, as this typeface is meant for readable headlines, or in my case, the use in quotes.

æ1

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226

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humanist

â&#x20AC;&#x153;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.â&#x20AC;?

Previous Page: A.F. Johnston “Type Designs: Their History And Developments” 1959

e : Diagonal stroke o : Angular s : Long s : Short with steep spine i : Oblique stroke

_____________ 1837 1936

• Heavy face • Diagonal Stress • Squarish terminals

1852 William Howard Cut for the Chiswick Press. Based on Roman from the 16th century, from Basle, in use until 1550. Considered too exotic for general printing but brought about the recutting of typefaces.

Chiswick Press, London, 1852-1854 W.Turner, "Boats in a Gale", 1801 230

1851

“Mr. Whittingham at the suggestion of Mr. Pickering first re-introduced the old letters of Garamond and Jenson. And many of the London printers soon have followed.”

* Anatoma Humanist 18 pt. A.F. Johnston “Type Designs: Their History And Developments”, 1959 John, Phillip, London, 1860 W.Turner, "Snow Storm", 1842 231

Pickering & Wittingham, London, 1844 Selection of photographs by Julia Margaret Cameron 232

Pickering & Wittingham, London, 1844 Selection of photographs by Julia Margaret Cameron 233

Kelmscott Press, 1892 Julia Margaret Cameron, "Iago", 1867

Troy, Chaucer, Golden type by W. Morris for Kelmscott Press Preparatory drawings for Kelmscott Press type. 234

Kelmscott Press, 1892 Julia Margaret Cameron, "Mountain Nymph", 1866 ďż˝ Queen Victoria (1837 - 1901)

235

G.E.Millais, "Ophelia", 1852 William Morris Gallery, Walthamstow, London Kelmscott Press, 1896 236

D.G.Rossetti, "Proserpine", 1874

Kelmscott Press, 1896 J.W.Waterhouse, "Lady of Shallot", 1888 Kelmscott Press, 1895 237

� Edward VII (1901-1910) Arden Press, London, 1908 238

Doves Press, 1903 � George V (1910-1936)

239

H M W : Narrow P R : Wider A : Flat top C G : More open C : Top Serif, spur

a e : Larger bowl and eye t : Taller g : Steep loop

• • • •

Sharp and Regular Gradual, vertical stress Uniformity in width of Uppercase. Italic more inclined and regular.

It is a striking fact that in this country (...) the first acceptable book type after 1860 Old Style is Monotype imprint.

1860 Miller & Richard, Edinburgh

1912 Edward Johnston, London

It is a striking fact that in this country (...) the first acceptable book type after 1860 Old Style is Monotype Imprint.

* Old Style, 1860 Monotype machine Imprint, MT, 1912 18 pt. 240

"This is a printing office", Beatrice Warde, 1932

Specimens for types developed for Monotype, under Stanley Morrison supervision 242

Johnston Sans, Regular Edward Johnston, 1916 244

Johnston Sans, Condensed, Bold, Edward Johnston, 1916 Johnston, A2 Type, 2015

245

246

Gill Sans, Alphabet studies, Eric Gill, 1926 � Edward VIII (1936)

Gill Sans, Letter studies, Eric Gill, 1926 � George VI (1936-1952) 247

The key stone development came by looking at the work by Eric Gill and Frutiger. What struck me was that in creating Gill Sans, Gill also defined what was for him a formula of proportions. His typefaces (Gill Sans, Perpetua, Joanna) gave me the impression that they shared the same architecture, yet held different stylistic and visual features which answer a specific need, that defines their use. Looking closely at the preparatory sketches at the St. Brideâ&#x20AC;&#x2122;s Library, I saw in them a similar process to my letter construction. Thus I began drawing again. Gill Sans, Alphabet, Eric Gill, 1926

Study for Anatoma: Glyphs division, Sketches 249

Gs 750

500

-250

250

Aa Bb Cc Dd Ee a

Gg Hh g

Mm Nn Oo Pp Qq Rr m

Ss s

# Anatoma Humanist Basic Character Map 36 pt. * Anatoma Humanist 480 pt. Gs

Tt Uu Vv Ww Xx

Yy Zz y

Anatoma Humanist Additional Glyphs 36 pt.

Anatoma Humanist is reminiscing of Gill’s shapes and pointy-ness but early stages of the typeface held more similarity to the Frutiger typeface. These shapes are now visible in Anatoma Gothic Book. Anatoma Humanist has an overall edgy grey-ness appearance. Its calligraphic heritage allows it to be used effectively for multiple purposes and to hold features successful both at large and small sizes. The capital and lowercase ‘g’ are in my opinion really successful and the ’s’ holds its shape very effectively. The increased roundness of the ‘b’,’d’,’p’,’q’and ‘o’ make it approachable, in contrast to the sharpness of the ‘w’,’v’,’z’. At small sizes the diamond shaped dot over the ‘i’ and ‘j’ becomes a dot that doesn’t distract the reader.

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253

contemporary

â&#x20AC;&#x153;They are simply the common characters, deprived of all beauty and all proportion by having all strokes of equal thickness, so that those which should be thin look as if they had the elephantiasis.â&#x20AC;?

Previous Page: 1807, Robert Southey â&#x2C6;&#x2019; Letters from England

Figgins Sans Extra Bold, 1830 Two line Great Primer Sans Serif, Figgins, 1832 Blake, Garnett Foundry, 1852 Seven Line Grotesque, Throrowgood, 1834

_____________ 1850 1900

256

Royal Grotesk, 1880 Albfette Kursiv Grotesk, J.G.Schelter and Giesecke Foundry, 1881 Accidenz Grotesk, Berthold, 1898

257

_____________ 1900 Today

My research into the 20th century was largely inconclusive for letterform references, but in terms of technique and typography it was a treasure chest. Particularly of interest was the rise to dominance of the grotesque form, almost born by accident. After that I focused primarily on documenting popular cultures.

ďż˝ Elizabeth II (1952-Present)

Frankiln Gothic, 1902 Alte Haas Grotesk, 1912 Die Neue Haas Grotesk revival, 1912

259

Linotype, Big Red Selected works by Desdmond Jeffrey, 1950 260

Selection of work by Desdmond Jeffrey, 1950

261

Coucil housing in Britain, post-war National Theatre, 1976

262

263

Rail Alphabet, M. Calvert, 1965 New Rail, A2 Type Migrants, 23 April 1938 264

Transport typeface, 1957 Jock Kinneir, M. Calvert New Transport, A2 type 265

Norwell Roberts, first black policemen, 1968 We are the Lambeth Boys, 1958 Young Sould Rebels, 1970

Robin, National Bird of Britain, known for being feisty and with attitude. 266

Posters of the 1960s for Campaign for Nuclear Disarment 267

Punk covers, 1970s Monotype Monophoto, 1960-1970 268

Selected work by Wim Crouwel, 1970

269

Selected work by Neville Brody for Face Magazine, 1980s Linotype CRTronic, 1980 270

Posters of the Trade Club, London, 1980s 271

Martin Parr British Food, 1995

Images from VICE article on Acid Culture 272

273

Martin Parr, Think of England, 2000 Skins, Derek Ridgers, 2015 Antifa, Henry Langston, 2015 Charles Bronson, 1997 Hippies, 1974 This is England 90, Channel 4 274

Martin Parr, Think of England, 2000 275

276

bibliography

277

Johnstonâ&#x20AC;&#x2122;s underground type / Justin Howes. / Howes, Justin. / Harrow Weald : Capital Transport, [2000] One hundred years of type making, 1897-1997 : a series of essays covering the history of type making at Monotype in its first 100 years, with a chronology of key events in Monotypeâ&#x20AC;&#x2122;s history / edited by Andrew Boag & Lawrence W. Wallis; with a foreward by / / Redhill, Surrey, England : Monotype Typography, [1997] Stanley Morison, 1889-1967 / by James Moran. / Moran, James Charles, 1916-1978. / [London] : Monotype Corp., [1968] Holy tradition of working : passages from the writings of Eric Gill / introductory essay by Brian Keeble; foreword by Walter Shewring. / Gill, Eric, 1882-1940. / Ipswich : Golgonooza, [1983] Barnbrook bible : the graphic design of Jonathan Barnbrook / with contributions by Kalle Lasn [and others] ; and three paragraphs by David Bowie ; [edited by Edward BoothClibborn]. / Barnbrook, Jonathan. / [London] : BoothClibborn Editions, 2007. Alphabet and image : a quarterly of typography and graphic art / Edited by Robert Harding. Volume 1, Original issues 1-4. / / New York : Arno Press, 1975. Gray N., Nineteen Century Ornamented Types and Title Pages, 1938, London: Faber & Faber Alphabet : a key to the history of mankind / David Deringer. Vol. 2./ London : Hutchinson, 1968.

278

Modern typography in Britain : graphic design, politics and society / Paul Stiff. / / London : Hyphen Press, [2009] Type designs of the past and present. With upwards of sixty illustrations. /Morison, Stanley, / The Fleuron, limited [Printed by W. Lewis at the Cambridge university press] (1926) Type designs : their history and development./Johnson, A. F. (Alfred Forbes)./ Series: Grafton book:/ London : AndrĂŠ Deutsch, 1966. Printing types, their history, forms, and use : a study in survivals / by Updike, Daniel Berkeley/Publisher: Cambridge : Harvard University Press; 1922. Printing types, their history, forms, and use : a study in survivals / by Daniel Berkeley Updike./New York : Dover Publications 1980.

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