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