Anatoma book

anatoma book specimen

Aa ABCDEFGHIJKLMNOPQRSTUVXWYZ abcdefghijklmnopqrstuvxwyz

How dear to my Heart is the One

I Have Captured; by our camp-fire

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 ‘golden’ 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

_____________ 1692 1850

Romain Du Roi, 1702

“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.

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

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

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

“Our first independent design (...) while mantaining a predominantly old - face character (it) exhibits tendencies towards the modern face.�

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)

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

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

Scotch Roman, Richard Austin, 1813 Thorne Fat Face

ďż˝ George IV (1820 - 1830)

Study for Anatoma: Numbers, Sketches

* 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

+ (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

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

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

Matteo Blandford London, 2015 #matteodoingthings MatteoBlandford.com