anatoma grotesk specimen
Aa ABCDEFGHIJKLMNOPQRSTUVXWYZ abcdefghijklmnopqrstuvxwyz
She blushes and shrinks from your
View, I Know in Spite that, she is Pacific
_____________ 1757
“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”
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
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.
• 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” Anatoma Grotesk 1937 Quote: 18pt.
“Bucolica” by Virgil, J. Baskerville, 1757
"Holy Bible" J. Barskerville, 1773 “Orlando Furioso”, J.Baskerville, 1773 “Bucolica”, J.Baskerville, 1757 Hogart, “Breakfast Scene”, 1743
“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.
D. B. Updike “Printing Types: Their History Forms & Use” 1937
� George III (1728 - 1760)
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
Labourers Wage from 1375 To 1825 Caslon Etruscan, 1745 John Sloane, 1779 Ha端y System, 1784
Crystal Palace, 1851 Caslon Two Line Egyptian, 1816 Satire, 19th century
ďż˝ William IV (1830 - 1837)
Study for Anatoma: Glyphs division, Caps Sketches
Study for Anatoma: Glyphs division, Caps Sketches
Study for Anatoma: Glyphs division, Sketches
Study for Anatoma Sans: Glyphs, Sketches
Anatoma Sans 21 Sept. 2015
Type: Grotesk
mother
{Imaginary Muscle # 4}
Anatoma test.03
Weight: Regular
Se 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
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
Matteo Blandford London, 2015 #matteodoingthings MatteoBlandford.com