Types and Characters – Martin Majoor

ff Scala

ff Scala Sans

FF Scala Jewels ff Seria

ff Seria Sans

ff Nexus Serif

ff Nexus Sans

ff Nexus Mix

FontFont presents to you two brochures concerning excellent type designers and their approach to designing fonts: the scribbling, the computer work, their sources of inspiration …

The aim of the brochures is to provide an insight into the work of the nice people behind the letters. Have a glance at the work of the two type super heroes Xavier Dupré and Martin Majoor.

types & characters Martin Majoor

www.fontfont.com www.fontshop.com Æ 10 Questions to Martin Majoor

What are your inspirations and Do you think there is a connection You design books. ff Scala what do you like about being a type between Dutch type designers? Do you like reading? designer? There is no jealousy between us, I don’t have enough time for reading, ff Scala Sans Old books, especially old books set rather respect, unlike in other unfortunately. But when I have time in hot metal type, are inspiring professions maybe. But after all, I love reading. Although I recently FF Scala Jewels 1988 – 1997 for me, although new books are the Netherlands are so small that noticed that I’ve become such a nerd inspiring, too, of course. What I like you see each other quite often. that I don’t see any texts but just type. in my profession is that I often see my typefaces out there used by other What problems did you have Are you living with your family in designers. when you designed your >rst digital Poland and the Netherlands? typeface? Yes, my wife is from Poland. Our ff Seria Which computer applications are Everything was new at the time. children are 9 and 10 years old you using? We had bad screens and slow and we have decided to live and work For making fonts I still use Fonto- computers with a low resolution. in two countries. So, we are in ff Seria Sans 1996 – 2000 grapher 4.7 but also FontLab 4.6 Film exposing was dif>cult. Warsaw for 5 weeks and then in and sometimes Adobe Illustrator, Actually, everything was a problem! Arnhem for the next >ve weeks. The and my design tools are XPress, children go to two schools because InDesign, Illustrator and Photoshop. Did you always want to become we want them to be not only bilingual a type designer? but also bicultural. It requires a What are you taking into account I did want to be an architect. As a child bit more organizing, but it’s worth it. when you work on a new typeface? I built my >rst typefaces on my own, ff Nexus Serif When I designed my >rst typeface but at the art academy I discovered that FF Scala I intentionally made it you can learn type design. Typography ff Nexus Sans bolder than all the other PostScript and type quickly became my favourite typefaces that were available at the speciality. ff Nexus Mix time. All these fonts were too thin because they were directly transferred Is there anybody serving as a role FF Nexus Typewriter 2004 from the old hot metal type drawings. model for you? Yes, if you mean typedesigners: You say, „to be a good type Eric Gill, Pierre Simon Fournier, designer you must >rst be a good W. A. Dwiggins, Jan van Krimpen. book designer.“ Why? You need to know how to make a typeface but you also need to know how to use a typeface. Just to design type is not suf>cient, typefaces are Type Characters – Martin Majoor made to be used. Published by FontShop® International 2007

www.fontfont.com www.fontshop.com

Designed by Nina Völlink The following text-examples [email protected] are excerpts from “My Type Design Philosophy” written by Martin University of applied sciences Wiesbaden Majoor. First published in tipoGra>ca, No 53, Buenos Aires, Typeface: ff Scala Argentina, 2002. We reserve the right of errors and changes.

foto: Nienke Terpsma Hamburgon Hamburgon Hamburgon Hamburgon Hamburgon Hamburgon Hamburgon + Expert LF Caps LF Bold LF Italic LF Regular Hands Regular BoldItalicCaps Caps Bold Caps Italic Caps Bold Italic Bold Condensed Bold Italic Regular Condensed Regular have been usedallaround theworld andwonseveral awards. after theTeatro allaScalain Milan. Since theirreleaseScala andScalaSans So hedecidedtodesignatypeface especiallyforVredenburg tobenamed could chooseof,hadanylowercase numbers,smallcapsandligatures. of>ces workingwithadtp-systemandnonthe16PostScript fonts,he for theVredenburg Music Centre inUtrechtwhichwasoneof the>rst Martin Majoor starteddesigningScalain1987. At thattimehewasworking ff with differentprintingtechniques. must knowhowatypefacebehaves type ondifferentsortsofpaper, he he mustknowwhathappenswiththe how typeworksinapieceoftext, text types.Atypedesignermustknow here aboutdisplaytypesbut a booktypographer. Iamnottalking be agoodtypedesignerifyouarenot It ismyconvictionthatyoucannot typeface behaveswithdifferent printingtechniques. type ondifferentsortsofpaper, hemustknowhowa piece oftext,hemustknowwhathappenswiththe A typedesignermustknowhowworksina talking hereaboutdisplaytypesbuttexttypes. designer ifyouarenotabooktypographer. Iamnot It ismyconvictionthatyoucannotbeagoodtype Scala Regular 10 pt/13 pt Regular 10pt/13

Regular 7 pt/10 pt Regular 7pt/10

one canthinkof. not eventheworstpossiblecombination fonts wereavailableeverywhere.Itis often beendonesimplybecausethese Helvetica inthesamepieceoftexthas choose. MixingTimes NewRomanand the problemwasalwayswhichonesto to takeasansandseriftypeface,but in thetext.Itwasmostlyquiteuseful had tobeusedinorderclarifythings plex bookswheremorethanonetypeface As abookdesignerImadeseveralcom- ABCDEGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890()!?%& both forms andperhaps evenofthe displaytype joining thefamily in1996… became extremely popular. That maybebecauseofitsnumerous featuresof face. Itwasonly whenScalaSans wasissuedthreeyearslater thatthefamily Scala wasreleasedin1990by FontShop International asits>rstserioustext AFi pw)!Z7 q Martin Majoor evenaddedanicon-font–theScalaHands-Regular. even theworstpossiblecombinationonecanthinkof. because thesefontswereavailableeverywhere.Itisnot in thesamepieceoftexthasoften beendonesimply ones tochoose.MixingTimes NewRomanandHelvetica and aseriftypeface,buttheproblemwasalwayswhich things inthetext.Itwasmostlyquiteusefultotakeasans more thanonetypefacehadtobeusedinorderclarify As abookdesignerImadeseveralcomplexbookswhere

Italic 10 pt/13 pt Italic 10pt/13 Italic 7 pt/10 pt Italic 7pt/10 R with Gill Sans). (Garamond withUnivers,Bodoni binations produceasevereheadache aesthetic pointofviewsomecom- or knowledgeofhistory. From an been usedwithoutanyideaofstyle Numerous combinationshave seriffed facesshouldtheybemixed? very acceptable,butwithwhich Gill Sans orFutura astexttypeis Using sansserifslikeNews Gothic, Sans). headache (Garamond withUnivers,BodoniGill point ofviewsomecombinationsproduceasevere style orknowledgeofhistory. From anaesthetic combinations havebeenusedwithoutanyideaof Numerousseriffed facesshouldtheybemixed? Futura astexttypeisveryacceptable,butwithwhich Using sansserifslikeNews Gothic, Gill Sans or

m Bold 10 pt/13 pt Bold 10pt/13 Bold 7 pt/10 pt Bold 7pt/10

ArnA WarszawaW ff criterium? which combinationofserifandsanscouldmeetthis from eachother. Theonlyremainingquestionwas combination ofaserifandsansthatderivedirectly clear tomethatthebestsolutionfortextwasusea useful, thatthesecombinationsarepossible.Itbecame It isonlyinadvertising,whereaheadachecanbe rium? serif andsanscouldmeetthiscrite- question waswhichcombinationof from eachother. Theonlyremaining serif andasansthatderivedirectly text wastouseacombinationof clear tomethatthebestsolutionfor combinations arepossible.Itbecame headache canbeuseful,thatthese It isonlyinadvertising,wherea Scala Sans Scala

Ah pt Light 10pt/13 Light 7 pt/10 pt Light 7pt/10 >rst sansseriftypefacetobeusedforprintingwas have beenusedsubstantially. O;cially, thevery for aboutthelastonehundredyearsthatthey be Before themixingofserifandsansintextcan typeface tobeusedforprintingwas O;cially, thevery>rstsansserif they havebeenusedsubstantially. about thelastonehundredyearsthat faces originatefrom,asitisonlyfor be madeclearwheresansseriftype- in textcanbeexplained,itshould>rst Before themixingofserifandsans sans ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890()!?%& explained, itshould>rstbemadeclearwhere serif typefacesoriginatefrom,asitisonly Regular 10 pt/13 pt Regular 10pt/13

Regular 7 pt/10 pt Regular 7pt/10 D

1898 bytheGermanBertholdtypefoundryinBerlin. Much moreinterestingisAkzidenzGrotesk,publishedin from. Asadesignthissansseriftypefacehaslittlevalue. and itisnotclearwheretheratherclumsyformscame typefoundry. Thisdisplayfaceonlycontainedcapitals published around1816bytheWilliamCaslon iv English German BertholdtypefoundryinBerlin. Grotesk, publishedin1898bythe Much moreinterestingisAkzidenz this sansseriftypefacehaslittlevalue. clumsy formscamefrom.Asadesign and itisnotclearwheretherather display faceonlycontainedcapitals Caslon ivEnglishtypefoundry. This published around1816bytheWilliam n Italic 10 pt/13 pt Italic 10pt/13 Italic 7 pt/10 pt Italic 7pt/10 k Hamburgon hamburgon hamburgon hamburgon hamburgon Hamburgon Hamburgon Hamburgon Hamburgon Hamburgon caps bolditalic Regular Condensed lf capsitalic Bold Condensed LF BoldItalic Black Italic caps italic caps bold Bold Italic Light Italic + Expert LF Italic Regular LF Bold lf caps Black Light caps Italic Bold ff Scala Sans

This sans serif immediately became But what was the basis for Akzi- a great success and was soon imi- denz Grotesk? The Frst printing tated by several typefounders. Like types date from the 15th century, all sans serifs of the time, Akzidenz and they were all seriffed type- Grotesk was meant to be used as faces because they were imitations a display face (the German word of handwriting. When the sans Akzidenzschrift means display face serif typefaces appeared in the or jobbing type), however as it also 19th century they could only be included a lowercase it was suitable based on the seriffed typefaces in for text too. use at that time. Bold 10 pt/13 pt Black 10 pt/13 pt

This sans serif immediately became a great success But what was the basis for Akzidenz Grotesk? and was soon imitated by several typefounders. Like The Frst printing types date from the 15th cen- all sans serifs of the time, Akzidenz Grotesk was tury, and they were all seriffed typefaces because meant to be used as a display face (the German word they were imitations of handwriting. When the Akzidenzschrift means display face or jobbing type), sans serif typefaces appeared in the 19th century however as it also included a lowercase it was suitable they could only be based on the seriffed type- for text too. faces in use at that time. Bold 7 pt/10 pt Black 7 pt/10 pt

ff Scala Jewels ff sCALAjewel-pEARL ff sCALAjewel-cRYSTALT abcdefghijklm abcdefghijklm nopqrstuvwxyz nopqrstuvwxyz 1234567890 ()!?%& 1234567890 ()!?%& I Elegant white Brilliant glimmer Elegant white Brilliant glimmer Elegant white Brilliant glimmer

FF Scalajewel-Saphyr ff sCALAjewel-dIAMOND

abcdefghijklm abcdefghijklm nopqrstuvwxyz nopqrstuvwxyz 1234567890 ()!?%& 1234567890 ()!?%& flBprecious stone sparkeling light precious stone sparkeling light fl precious stone sparkeling light Regular ff Seria Regular Caps Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 1234567890 ()!?%& Italic Caps Bold Akzidenz Grotesk was probably cut This can be seen clearly upon superim- In 1928 Paul Renner designed his Bold Caps by some experienced but anony- posing Walbaum and Akzidenz Grotesk Futura. It was the first time a sans Bold Italic mous Berthold punchcutters rather characters. Yet these classicistic typefaces serif typeface was not based on the Bold Italic Caps than designed by an individual type were far from good examples on which watered down classicistic letter- Polska LF Regular designer. This means the punchcut- to base a sans serif. In Walbaum the thin forms on which Akzidenz Grotesk LF Italic ters had to have a general idea for tailends in characters like the c and in was based; instead he started his LF Bold the serifl ess forms, and they could numbers such as 2 and 5 were elegant, drawings from scratch. It would LF Bold Italic probably only derive these ideas from but when these thin parts were simply seem that the Futura was infl uenced + Expert the then popular classicistic type- made thicker the result was a sans serif by the ideas of the Bauhaus move- faces such as Walbaum or Didot. typeface with extremely ‘closed’ forms. ment and by constructivism. hamburgon Regular 12 pt/13 pt Italic 12 pt/13 pt Bold 12 pt/13 pt Akzidenz Grotesk was probably cut by some This can be seen clearly upon superimposing Walbaum In 1928 Paul Renner designed his Futura. It was hamburgon experienced but anony-mous Berthold punch- and Akzidenz Grotesk characters. Yet these classicistic the first time a sans serif typeface was not based cutters rather than designed by an individual typefaces were far from good examples on which to base on the watered down classicistic letterforms on type designer. This means the punchcutters a sans serif. In Walbaum the thin tailends in characters which Akzidenz Grotesk was based; instead he hamburgon had to have a general idea for the serifl ess forms, like the c and in numbers such as 2 and 5 were elegant, started his drawings from scratch. It would seem and they could probably only derive these ideas but when these thin parts were simply made thicker the that the Futura was infl uenced by the ideas of Hamburgon from the then popular classicistic typefaces such result was a sans serif typeface with extremely ‘closed’ the Bauhaus movement and by constructivism. as Walbaum or Didot. forms. hamburgon bRegular 9 pt/10 pt Italic 9 pt/10 pt Bold 9 pt/10 pt FNederlandc

The Irst sketches of Seria were created in the summer of 1996. Martin direct question of a French art critic, Hector Obalk. He wanted to use Scala Majoor was on his way from Berlin to Warsaw by train using a table napkin for a book he was writing and he needed something special for complicated from the dining car as a paper. He started the new type because of dissatis- texts: an extra-slanted italic. A extra-slanted Scala italic seemed impossible faction with the use of Scala in a more literary way. Another reason was the to Martin Majoor. But with Seria it was possible … Regular Regular Caps ff Seria Sans Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 1234567890 ()!?%& Italic Caps Bold Its letterforms look very much con- Helvetica and numerous look-alikes were They pretended to be better than Akzi- Bold Caps structed but in fact they were not published as a sort of reaction to prewar denz Grotesk, but instead they were Bold Italic constructed at all. Renner based his geometric faces like Futura. These typefaces bereft of every bit of character and Bold Italic Caps Futura on classic principles, like roman were all based on the old Akzidenz Grotesk, the charming clumsiness of Akzidenz LF Regular inscriptional capitals, rather than bas- and they became extremely popular in a Grotesk. However Univers, designed LF Italic ing it on Bauhaus principles. This was short period of time. Basing a sans serif by Adrian Frutiger, had one strong LF Bold one of the reasons for its success, it on another sans serif is rather cheap, and it feature that was new in type design: it LF Bold Italic is a very well balanced text typeface, is therefore not strange that these typefaces was made up of an almost scientiIc + Expert yet it has the aura of the then popular had hardly any new features compared to system of 21 weights and widths that Bauhaus movement. In 1957 Univers, Akzidenz Grotesk. could be mixed perfectly. Regular 12 pt/13 pt Italic 12 pt/13 pt Bold 12 pt/13 pt hamburgon Its letterforms look very much constructed but Helvetica and numerous look-alikes were published as They pretended to be better than Akzidenz Grotesk, in fact they were not constructed at all. Renner a sort of reaction to prewar geometric faces like Futura. but instead they were bereft of every bit of character hamburgon based his Futura on classic principles, like roman These typefaces were all based on the old Akzidenz and the charming clumsiness of Akzidenz Grotesk. inscriptional capitals, rather than basing it on Grotesk, and they became extremely popular in a short However Univers, designed by Adrian Frutiger, had hamburgon Bauhaus principles. This was one of the reasons period of time. Basing a sans serif on another sans one strong feature that was new in type design: it for its success, it is a very well balanced text serif is rather cheap, and it is therefore not strange that was made up of an almost scientiIc system of 21 typeface, yet it has the aura of the then popular these typefaces had hardly any new features compared weights and widths that could be mixed perfectly. Hamburgon Bauhaus movement. In 1957 Univers, to Akzidenz Grotesk. Regular 12 pt/10 pt Italic 12 pt/10 pt Bold 12 pt/10 pt hamburgon eM Seria and Seria Sans were created as a literary typeface. Exept of the extra long ascenders and descenders the Seria family has a lot of subtle details and uncon- ventional curves which can best be seen when used in a large size. The need to augment Seria with a sans serif version became immediately obvious to him. UsingK a black marker and some white paint, he changed the seriffed characters into a sans. Seria Sans has the same long ascenders and descenders as Seria and this is very unusual for a sans. The strength of Seria Sans is that its deriva- tion has been done in a very consequent way, something that is obviously seen most clearly in the italics and bold italics. A Nederlan ff Nexus Serif slanted hasbeenevenmore. and theitalicthat wasalready too versions, thejustificationistootight there arenow toomany superfl this hasnot beenanimprovement; than 60versions. Unfortunately a few yearsagoandnow hasmore Univers wascompletely redrawn one typemust work together widths. slanted hasbeenevenmore. tion istootight andtheitalicthat wasalready too now toomany superfl nately thishasnot beenanimprovement;thereare ago andnow hasmorethan60versions. Unfortu- he actedaccording tohisprinciple Martin Majoor wantedtoreachwithhislast new typecreation.Onceagain Nexus isthelatinwordforconnection, context andthat alsoistheaim facesthat lacked serif diff It wasananswer tothejungleof weightsandwidths. a clearsystemof diff It wasananswertothejungleof cooperate withanother. FortheNexus family hewent evenfurther then erent sans serif facesthat lacked erent sansserif Univers wascompletely redrawnafew years rn uous versions, thejustifi a clear system of weightsand a clearsystemof Regular 10pt/13pt Regular 7pt/10pt erent sans handinhand, they shouldharmonizeand uous ca- G that serif and sans serif versions of versionsof andsansserif that serif

Probably, withthehugecompetition diff the Walbaum italic. A realitalichasa an Akzidenz Groteskitalicbasedon It wouldnot seemtoodiffi was theitalicnot basedonarealitalic? theroman;but why a slantedversionof Akzidenz Groteskisnothingmorethan should consider. theitalicin The formof something atypedesignermaybenever Redesigning anoldsuccessfultypefaceis Probably, withthehugecompetition A realitalichasadiff Akzidenz Groteskitalicbasedonthe Walbaum italic. Ita realitalic? wouldnot seemtoodiffi theroman;but why wastheitalicnotversion of basedon italic in Akzidenz Groteskisnothingmorethanaslanted designer maybenevershouldconsider. the The formof Redesigning anoldsuccessfultypefaceissomethingatype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmn opqrstuvwxyz1234567890 1234567890()%& erent formprinciplethantheroman. erent formprinciplethantheroman. h Italic 10pt/13pt cult tomake cult tomakean Italic 7pt/10pt e for sansitalics. even today, standard thisslantedromanisasort of to copyThe fromtheroman. to make, whileaslantedromanwasrelatively easy version wasprobably toomuchworkordiffi therefore they hadtoimitateothers. A realitalic were undergreat pressuretoproducefast, and amongst typefoundries, the19thcentury punchcutters standardforsansitalics. of today, thisslantedromanisasort The strangethingisthat, even relatively easy tocopy fromtheroman. make, whileaslantedromanwas too muchworkordiffi A realitalicversionwasprobably therefore they hadtoimitateothers. great pressuretoproducefast, and century punchcutterswereunder amongst typefoundries, the19th Award” wasgivento the Nexus family in2006 in London. OpenType font inFontFont library. The “Creative Review Type Design Nexus Typewriter. FFNexus wasreleasedinOctober2004asthefirst he didforScalaorSeriabecause heevenmoredevelopedNexus Mix and W

m strange thingisthat, Bold 10pt/13pt

cult to Bold 7pt/10pt cult

Hamburg

g Hamburgon hamburgon hamburgon hamburgon hamburgon Hamburgon Italic SwashTwo Italic Swash One Bold Italic SC TF BoldItalic Regular SC TF Regular Bold Italic Italic SC Bold SC TF Bold TF Italic Regular Bold Italic Regular Regular SC ff Nexus Sans Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 1234567890 ()!?%& Italic SC Bold Typefaces like News Gothic (1908) too, but in this case it is much more a seriff ed typeface should look like. Bold SC and Helvetica all have slanted romans. understandable as there was no real old He designed Gill Sans in 1928, and Bold Italic Consequently, even a great type seriff ed model on which to base it. although this is a sans serif he used Bold Italic SC designer like Adrian Frutiger made A more interesting italic is that of Gill his experience as a letter-cutter. TF Regular slanted romans with his sans serif Sans. It is the first among the sans serifs While he may not have realized it, he TF Italic designs, and it was only recently, that has true italic characteristics. His based his Gill Sans on the seriff ed TF Bold when his Frutiger typeface (1977) was first italic sketches show some very cal- typefaces in his head. Mixing Gill TF Bold Italic redrawn in 2000, now with a real italic ligraphic features. Eric Gill was, by all Sans with his seriff ed Joanna (1930) instead of a slanted roman, that he standards, an extraordinary type designer would provide perfectly harmoni- acknowledged that a real italic makes who started his career cutting letters ous type. You could almost say that a better contrast with the roman. Type- in stone. When he began designing Joanna is a sort of Gill Sans Avec! faces like Futura have slanted romans printing type he knew by heart what Regular 10 pt/13 pt Italic 10 pt/13 pt Bold 10 pt/13 pt hamburgon Typefaces like News Gothic (1908) and Helvetica all too, but in this case it is much more understandable as a seriff ed typeface should look like. He designed have slanted romans. Consequently, even a great type there was no real old seriff ed model on which to base it. Gill Sans in 1928, and although this is a sans serif he designer like Adrian Frutiger made slanted romans A more interesting italic is that of Gill Sans. It is the first used his experience as a letter-cutter. While he may hamburgon with his sans serif designs, and it was only recently, among the sans serifs that has true italic characteris- not have realized it, he based his Gill Sans on the when his Frutiger typeface (1977) was redrawn in 2000, tics. His first italic sketches show some very calligraphic seriff ed typefaces in his head. Mixing Gill Sans with now with a real italic instead of a slanted roman, that features. Eric Gill was, by all standards, an extraordinary his seriff ed Joanna (1930) would provide perfectly hamburgon he acknowledged that a real italic makes a better type designer who started his career cutting letters in harmonious type. You could almost say that Joanna is contrast with the roman. Typefaces like Futura have stone. When he began designing printing type he knew by a sort of Gill Sans Avec! Hamburgon slanted romans heart what Regular 7 pt/10 pt Italic 7 pt/10 pt Bold 7 pt/10 pt hamburgon

Regular ff Nexus Mix Regular SC ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 1234567890 ()!?%& Italic Italic SC a Had Eric Gill planned Joanna and Gill the serifs, lower the contrast, and there with a sans serif design. Superim- Bold Warszaww Sans as one family he would have you have a sans serif. But of course there posing the serif upon the sans shows Bold SC x s

been the first in history to design a is more to it than just that. I believe the how literally Van Krimpen based Pols Bold Italic family of serif and sans, but he made most logical order when making such them upon each other. Romulus Sans Bold Italic SC them as separate designs with separate a family is to start with the seriff ed was cut in four weights but unfortu- TF Regular names. In my opinion, mixing serif design. From that basis a sans serif can nately it remained at an experimen- TF Italic with sans only makes sense when the be made. The first attempt to design a tal stage, as it was never released. I TF Bold seriff ed typeface and the sans are de- sans based on a seriff ed typeface was started designing Scala in 1987. At TF Bold Italic signed from the same basis, or even undertaken by the Dutch type designer that time I was working as one of the from the same skeleton. It sounds Jan van Krimpen. In the early 1930s he two graphic designers for the Vre- simple: take a seriff ed design, cut off designed the seriff ed Romulus, totally denburg Music Centre in Utrecht, Regular 10 pt/13 pt Italic 10 pt/13 pt Bold 10 pt/13 pt hamburgon Had Eric Gill planned Joanna and Gill Sans as one the serifs, lower the contrast, and there you have a sans with a sans serif design. Superimposing the serif family he would have been the first in history to serif. But of course there is more to it than just that. I upon the sans shows how literally Van Krimpen design a family of serif and sans, but he made them as believe the most logical order when making such a family based them upon each other. Romulus Sans was cut hamburgon separate designs with separate names. In my opinion, is to start with the seriff ed design. From that basis a in four weights but unfortunately it remained at an mixing serif with sans only makes sense when the sans serif can be made. The first attempt to design a sans experimental stage, as it was never released. I started seriff ed typeface and the sans are designed from the based on a seriff ed typeface was undertaken by the designing Scala in 1987. At that time I was working hamburgon same basis, or even from the same skeleton. It sounds Dutch type designer Jan van Krimpen. In the early 1930s as one of the two graphic designers for the Vreden- simple: take a seriff ed design, cut off he designed the seriff ed Romulus, totally burg Music Centre in Utrecht, Hamburgon Regular 7 pt/10 pt Regular 7 pt/10 pt Bold 7 pt/10 pt hamburgon Regular Italic Bold Bold Italic TF Regular TF Italic TF Bold TF Bold Italic FF Nexus Typewriter ABCDEFGHIJK LMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 1234567890 ()!?%&

We worked on one of the concert programmes, book- design a typeface espe- contrast and strong serifs, fi rst models of Apple Mac- lets and posters contained cially for Vredenburg to as I had learned that most Polskaintosh, using PageMaker very differentska informa- be named after the Teatro Postscript-fonts were too 1.0, and we could choose tion, such as composers, alla Scala in Milan. The thin. The italic was based from 16 typefaces. I was titles, conductors, or- form principle of Scala more on 16th century Ital- typographically educated chestras, soloists, time, was defi nitely infl uenced by ian writing masters like with lowercase numbers date and place. To design humanist typefaces like Arrighi, although to a (also known as old style this information in a good Bembo and by typefaces large extent the details fi gures), small caps and way I needed these lower- from the mid-18th century were closely related to ligatures, none of which case numbers, small caps French typographer Piere the roman. were available in these and ligatures. And so it Simon Fournier. But I 16 Postscript-fonts. The happened that I decided to wanted Scala to have low Regular 10 pt/13 pt Italic 10 pt/13 pt Bold 10 pt/13 pt Bold Italic 10 pt/13 pt

We worked on one of the fi rst models concert programmes, booklets and design a typeface especially for Vre- contrast and strong serifs, as I had of Apple Macintosh, using PageMaker posters contained very different in- denburg to be named after the Teatro learned that most Postscript-fonts 1.0, and we could choose from 16 formation, such as composers, titles, alla Scala in Milan. The form princi- were too thin. The italic was based typefaces. I was typographically conductors, orchestras, soloists, ple of Scala was defi nitely infl uenced more on 16th century Italian writing educated with lowercase numbers time, date and place. To design this by humanist typefaces like Bembo and masters like Arrighi, although to a (also known as old style fi gures), information in a good way I needed by typefaces from the mid-18th cen- large extent the details were closely small caps and ligatures, none of these lowercase numbers, small caps tury French typographer Piere Simon related to the roman. which were available in these 16 and ligatures. And so it happened Fournier. But I wanted Scala to have Postscript-fonts. The that I decided to low Regular 7 pt/10 pt mItalic 7 pt/10 pt Bold 7 pt/10 pt Bold Italic 7 pt/10 pt r S ff Scala