anatoma humanist specimen
Aa ABCDEFGHIJKLMNOPQRSTUVXWYZ abcdefghijklmnopqrstuvxwyz
Distilling the architecture Of the Letter,
And Not Rather Its appearance.
_____________ 1837 1936 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
e : Diagonal stroke o : Angular s : Long s : Short with steep spine i : Oblique stroke • Heavy face • Diagonal Stress • Squarish terminals
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
Pickering & Wittingham, London, 1844 Selection of photographs by Julia Margaret Cameron
Pickering & Wittingham, London, 1844 Selection of photographs by Julia Margaret Cameron
Kelmscott Press, 1892 Julia Margaret Cameron, "Iago", 1867
Troy, Chaucer, Golden type by W. Morris for Kelmscott Press Preparatory drawings for Kelmscott Press type.
Kelmscott Press, 1892 Julia Margaret Cameron, "Mountain Nymph", 1866 ďż˝ Queen Victoria (1837 - 1901)
G.E.Millais, "Ophelia", 1852 William Morris Gallery, Walthamstow, London Kelmscott Press, 1896
D.G.Rossetti, "Proserpine", 1874
Kelmscott Press, 1896 J.W.Waterhouse, "Lady of Shallot", 1888 Kelmscott Press, 1895
� Edward VII (1901-1910) Arden Press, London, 1908
Doves Press, 1903 � George V (1910-1936)
Gill Sans, Alphabet studies, Eric Gill, 1926 � Edward VIII (1936)
Gill Sans, Letter studies, Eric Gill, 1926 � George VI (1936-1952)
“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.”
“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.”
“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
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. Bride’s Library, I saw in them a similar process to my letter construction.
Gill Sans, Alphabet, Eric Gill, 1926
Study for Anatoma: Glyphs division, Sketches
Gs 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
The ordinary publisher The ordinary publisher as yet
48 points
The ordinary publisher as yet certainly
36 points
The ordinary publisher as yet certainly did not believe that the old-
30 points
The ordinary publisher as yet certainly did not believe that the oldfaces were more legible. They were alright for
24 points
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. But in 1851 we see a shift, supported largely
18 Points
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. But in 1851 we see a shift, supported largely by the printing done by the Chiswick press, to revive the old-face roman for book use. The movement which initiated then, was progressed further by the Kelmscott Press and the work of William Morris, and the private press movement. The Doves press is to be mentioned as I was
12 points
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. But in 1851 we see a shift, supported largely by the printing done by the Chiswick press, to revive the old-face roman for book use. The movement which initiated then, was progressed further by the Kelmscott Press and the work of William Morris, and the private press movement. The Doves press is to be mentioned as I was inspired by their fine printing and the simplicity of their design. The peculiar use of the dots over the ‘i’ and ‘j’ was of inspiration for the making of Anatoma Gothic.
10 points
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. But in 1851 we see a shift, supported largely by the printing done by the Chiswick press, to revive the old-face roman for book use. The movement which initiated then, was progressed further by the Kelmscott Press and the work of William Morris, and the private press movement. The Doves press is to be mentioned as
8 points
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. But in 1851 we see a shift, supported largely by the printing done by the Chiswick press, to revive the old-face roman for book use. The movement which initiated then, was progressed further by the Kelmscott Press and the work of William Morris, and the private press movement.
I was inspired by their fine printing and the simplicity of their design. The peculiar use of the dots over the ‘i’ and ‘j’ was of inspiration for the making of Anatoma Gothic. These were not new experiments yet revivals, so for my research I decided to not take them much into consideration. Although I found in William Morris’s philosophy on work, and his process of creating letterforms much inspiration at the beginning of my work. The first new design by the movement was the Basle roman, cut by William Howard for
The Doves press is to be mentioned as I was inspired by their fine printing and the simplicity of their design. The peculiar use of the dots over the ‘i’ and ‘j’ was of inspiration for the making of Anatoma Gothic. These were not new experiments yet revivals, so for my research I decided to not take them much into consideration. Although I found in William Morris’s philosophy on work, and his process of creating letterforms much inspiration at the beginning of my work. The first new design by the movement
was the Basle roman, cut by William Howard for the Chiswick Press, which was also used by William Morris for “A Tale of the House of the Wolfings”, 1889. Overall the movement is a product of the alienation to the social and economic condition of Victorian England. Similarly as we see a rise in Gothic revival in architecture, of fine art in painting with the Pre-Raphaelites, and of Romanticism in prose and art, in typography we see a return to the calligraphy. The importance of the work of Edward Johnston,
Matteo Blandford London, 2015 #matteodoingthings MatteoBlandford.com