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PDF Specimen introduction 1 Typotheque’s project History has been in development longer than any other project the foundry has ever undertaken. Its beginnings can be traced to the early 1990s when Peter Biľak experimented with decorative layering systems inspired by 19th century Tuscan types.1 Years later the project took a new twist when Biľak worked on proposals for the Twin Cities typeface.2 Decoratica, unpublished, 1994 Instead of proposing one new typeface, he presented the idea of a typeface system that could take any form, inspired by the evolution of typography. While the Twin Cities proposal was a conceptual typeface that reused existing typefaces, History goes one step further. Based on a skeleton of Roman inscriptional capitals, History includes 21 layers, 21 independent typefaces which share widths and other metric information so that they can be recombined. Thus History has the potential to generate thousands of different unique styles through the superimposition of layers ranging from humanist renaissance, transitional, baroque, script-like, early grotesque and 19th century vernacular to digital types. Since all these fonts share the same widths and skeleton, the most interesting things happen when various seemingly incompatible elements are combined. Just try combining pixel letters with Didot-like serifs, or put 19th century slab serifs on top of a renaissance construction. While careless use can generate freakish results resembling Frankenstein’s monster, more careful experimentation can produce not only amusing, but surprisingly fresh and usable typeface samples. Realising that controlling 21 different layers can be a daunting task, Typotheque not only delivers History as Sketches of History, 2003–2008 a set of OpenType fonts, but also provides an application called History Remixer. This web-based software processes single text input through an interface which allows the user to work with the layers, activating, deactivating, arranging, setting colour, and luminosity. The application generates an open PDF file suitable for direct use. 1 See Decoratica 2 See book Metro Letters, a typeface for the Twin Cities, Deborah Littlejohn, Design Institute Minneapolis, 2003, isbn 0-9729696-1-6, (The project was not selected) 2 references layering system 3 01 (80 – 200 ad) 12 (1750 – 1850) 01 Inscriptional square Roman capitals Ornate and decorated filligree types showing (e.g. lettering on Trajan’s column, Pantheon) advances in engraving technique after the Illustrated: Trajan’s column, 113 ad baroque period (Fournier, Bodoni et al.) Illustrated: Bodoni’s ornate capitals, 1771 02 (1470 – 1620) Typeforms with low contrast and an oblique 13 (1820 – 1940) stress, modelled on pen-drawn forms Shadowed and three-dimensional ABCDEFGHIJKLMN (e.g. the work of Jenson, Garamond et al.) display types show the rise of advertising Illustrated: Nicolas Jenson’s Roman, 1470 accompanying widespread industrialisation (e.g. the work of Benton, Bernhard, Gill et al.) Illustrated: Monotype Gill Sans Shadowed, 1931 03 (1700 – 1810) Typeforms with increasingly high contrast and vertical stress, machine-like forms 14 (1860 – 2000) OPQRSTUVWXYZ (e.g. Grandjean’s Romain du Roi, the work Inline-outline types, originally achieved of Caslon, Didot and Bodoni) pantographically and now digitally, can Illustrated: Bodoni’s Manuale Tipografico, 1818 be seen as a response to the increasing electrification of commercial signage in the 20th century 04 (1820 – 1920) Illustrated: Rudolf Koch’s Prisma, 1932 123456789 Sans serif typeforms with low contrast, popularised by the advertising boom accompanying widespread industrialisation 15 (1860 – 2000) (e.g. the work of Caslon IV, Benton, Erbar) Display types featuring optical or filled Illustrated: Johnston’s Underground Lettering, 1916 patterns, originally machine engraved, but later produced photographically and digitally, & showing influences from commercial signage 05 (1970 – 1980) and experimental art photography Rounded graphic and display typeforms, Illustrated: AM Cassandre’s Bifur, 1929 popularised by instant lettering rub-down systems (e.g. the catalogues of Letraset, bases Meccanorma) 16 (1840 – 2000) Illustrated: vernacular lettering Rounded and outline forms produced by 02 03 04 05 06 07 both photographic and digital reproduction and perhaps suggested by neon signage 06 (1960 – 1980) (e.g. commercial signage work) Rasterised typeforms and early grid typefaces Illustrated: detail from an 1847 playbill, found in computer phototypesetting systems printed by woodblock, typeface unknown from 1960 – 80s (e.g. Hell, Digitek) A A A Illustrated: Wim Crouwel’s sketch, 1964 A A A 17 (1560 – 1570) 07 (1980 – 2000) Swashed and flourished types derived from Pixellated and bitmapped typeforms, found in humanist calligraphy of the 15th century (e.g. serifs early low-resolution computer screen displays the work of Bembo, Arrighi, Granjon’s Civilité) (e.g. Emigre type library, Apple screen fonts) Illustrated: Cancellaresca Romana, 08 09 10 11 Illustrated: Apple System Software 6, 1988 Giambattista Palatino, 1540 08 (1470 – 1620) 18 (1800 – 1900) Cupped and bracketed serifs (rounded and Bifurcated and tuscan serif styles, popularised A A A heavy) derived from pen-drawn forms and in the 19th century, went beyond simple A ink-spread on press (e.g. the work of Jenson, ornament and obscured letter-form structures Garamond, Jannon et al.) (e.g. advertising, display and commercial Illustrated: Jenson’s Roman, 1470 signage work) fills Illustrated: skeletal Tuscan, 19th century 12 13 14 15 16 09 (1700 – 1780) Sharper, rationalised serifs with shapes 19 (1800 – 1900) resulting from metalsmithing and engraving 19th century typeforms decorated with outline advances designed to counter ink-spread on and solid fill styles, again diverting attention press (e.g. the work of Caslon, Baskerville) from the essential structure of letterforms Illustrated: Caslon’s 1734 Broadside specimen sheet (e.g. advertising, display and commercial A A A A signage work) A 10 (1760 – 1820) ornaments Hairline or ultra-thin serifs with a horizontal 20 (1800 – 1900) stress perpendicular to the stroke, showing Outline forms easily produced by mechanical 17 18 19 20 21 the impact of a machine aesthetic in engraving and photographic reproduction (e.g. advertising, (e.g. the work of Didot and Bodoni et al.) display and commercial signage work) Illustrated: Pierre Didot l’aîné’s Roman, 1818 11 (1820 – 1930) 21 (1800 – 1900) Slab serifs completely without bracket or cup, Machine engraving to pattern-fill display A of varying weight and perpendicular stress, types, popular in the 19th century, later done A A A popularised by the industrial revolution and photographically and digitally, evidence of A among the first advertising styles the continuing demand for novelty in type (e.g. Clarendon) appearance Illustrated: Robert Thorne’s Two Line Great Primer Illustrated: Gothic Tuscan, 19th century Egyptian, 1820 4 available styles 5 01 11 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 02 12 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 03 13 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 04 14 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 05 15 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 06 16 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 07 17 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 08 abcdefghijklmnopqrstuvwxyz 18 abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 09 19 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ 10 abcdefghijklmnopqrstuvwxyz 21 abcdefghijklmnopqrstuvwxyz (0123456789)&!?@#$%*/-+€£¥¢§™ (0123456789)&!?@#$%*/-+€£¥¢§™ Yes, that’s right careful reader, reader, that’s right careful Yes, all didn’t manage to fit here we 20 (outline and layer samples, 21 19) is missing. of layer version Please see it online. 6 layered samples 7 Turkey cuts ties over spelling mistake 04 + 10 Four flies murdered in bakery 01 + 10 Ceasefire deal after font wars Ceasefire13 + 12 deal after font wars Sex, politics & rock’n’roll Sex,03 + 09 politics & rock’n’roll Garamond to run in second round 07 + 06 Didot backlash in hinting row 02 + 08 Pelicans vote to leave Florida Pelicans04 + 11 vote to leave Florida Quarantined fonts given all-clear 14 + 15 Microsoft01 + 17 contests $20 fine 8 sample combinations sample combinations 9 A A A A A A A A A A 01 03 17 01 01 02 01 19 01 16 13 04 02 03 14 12 18 17 19 01 A A A A A A A A A A 01 11 01 05 01 10 01 04 03 11 05 04 01 20 18 01 03 10 04 15 06 13 A A A A A A A A A A 18 20 16 15 07 06 03 17 04 01 16 18 18 01 04 12 08 02 01 03 11 A A A A A A A A A A 15 14 15 04 11 02 20 19 18 01 21 20 05 21 20 12 04 14 13 16 05 A A A A A A A A A A 12 17 13 14 10 04 05 01 04 11 10 01 15 03 01 17 05 03 06 01 01 05 07 A A A A A A A A A A 11 13 01 12 18 04 01 08 09 03 17 04 08 02 01 13 15 14 10 03 05 15 A A A A A A A A A A 21 19 10 07 16 06 12 13 20 07 11 14 04 01 02 12 19 21 18 05 06 10 history remixer tutorial credits 11 CONCEPT character set To help control the 21 layers of a b c the typeface, we offer the History Remixer online software. Instead a b c of entering text separately for abcdefghijklmnopqrstuvwxyzæœfifl ENTER TEXT each layer, you enter it only once, a b c after which you can adjust the (1234567890)%‰[.,;:] {-–—} | layers’ colour, visibility, opacity, a b c etc. History Remixer then generates a high resolution PDF. €$¢£¥#&@†‡§•®©“”‘’«»‹›!¡?¿ <=>+×^ a b c a b c àáâãäåāăąæçćĉċčèèéêëēĕĕėęěďđġģĥħìíîïïĩ a b c LAYER ORDER You might want to change the īĭįĵðķĺļľŀłñńņňōŏőòóôõöøŕŗřśŝşšţť a b c order of layers, for example to have a certain layer on top, a b c rather than on the bottom. Just ŧũūŭůűųùúûüŵýÿŷźżžþ drag the layer you want to move a b c to the new position.
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