Before digital type each point size was cut specifically, creating necessary variations in letter shapes, spacing and proportions. One of the decisions revivalists face is which size of metal type to base their design. The top row is original scale, the bottom is rescaled to common size. I have learned that graphic designers see typefaces differently to type designers-it is wise to take note when their interest is piqued. As Duncan is an excellent graphic designer, he saw potential in the Grotesques. Even though I was aware of these styles, I hadn’t considered their possibility for contemporary interpretation. He noted the appealing rudimentary geometry, the serpentine S, and the narrow but welcome aperture of the C and G. After trawling through my 1912 Miller & Richard specimen, he became enamoured with their series of Grotesques, particularly the No.7 all-caps showing. We had often discussed the nature and usefulness of the classic grotesks, and the possibility of creating a new one. The impetus for Founders Grotesk originally came from Duncan Forbes of The International Office.
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