anatoma gothic book specimen
Aa ABCDEFGHIJKLMNOPQRSTUVXWYZ abcdefghijklmnopqrstuvxwyz
And it fit� in an i�ant
fa� frankly Ha�ing�.
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
{ 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)
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
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
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��) Fraktur studies, Sketch Nuremberg Fraktur, 1522
* 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.
}
Gi 750
500
0
-250
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,
Matteo Blandford London, 2015 #matteodoingthings MatteoBlandford.com