![]() Others, like Frutiger and it’s numerous derivatives, don’t have much to do with renaissance letters. They just have that name because some of them, for example, Magma and Syntax, share construction similarities with renaissance types. Humanist sans serifs don’t really have much to do with Tory’s ideas or humanism. You might also want to look at Vervliet’s Paleotypography of the French Renaissance to see if he mentions it. I’m not sure how much influence Tory really had on type design most of the French types of that era are obviously based on the types Griffo cut for Aldus Manutius, to the extent that some systems of type classification lump both groups of types into one category. Also see chapter 14 of Updike’s Printing Types. You can find used copies of the English translation on Amazon. Tory was an influential type designer and publisher of the early sixteenth century. What you’re looking for is Champ Fleury by Geoffrey Tory. ![]() Weren't french points and picas, at one point, measured in relation to the King's foot? Does that count? ![]() But, I mean, of course the only real reason a letter looks the way it does is because you want it to. Or Stanley Morrison's idea of bringing Perpetua to life by having it cut by Malin. the constraints of the Linotype and Monotype systems – I think Van Krimpen came to the conclusion that they weren't really all that different, just different systems for proportions. Or maybe look at Gill and what he was trying to do (unrelated, but his illustrations for the Four Gospels are a gorgeous example of letters and human figures working together to great effect, each gives a little to accommodate the other and the parts would probably look a bit off in isolation). Calligraphy, stone cutting, sign painting and lettering guides etc. You might be better off looking into what makes forms "human" as opposed to "machine made", like the influence of the tool, skill and personal taste in forms. Most of this stuff seems to be designed for, or at least works better at, display sizes and would be impractical to use at scale in punch cutting (see the whole debate on the usefulness of the Roman du Roi diagrams and what Grandjean actually cut, or Moxon's ideas about dividing the body into 42 parts etc.). There are probably examples of other misguided renaissance artists post-rationalising the roman alphabet in similar ways, they seemed to enjoy that sort of thing. Off the top of my head, Dürer drew some famous diagrams of letters based on the proportions of the human body. Association Typographique Internationale.Handwriting – among other techniques – cannot. Glyphs: The symbols in a typeface that represent characters like A, ! or 5.Type: Printed or digitally reproduced glyphs.Typesetting: The act of arranging physical or digital type.Typography: The art and technique of arranging physical or digital type.Rule of thumb: If your submission is about Comic Sans MS misuse, bad keming or a funny typo, it’s likely better not to post it.ĭo not use URL shorteners. Only exception: It’s educational and non-obvious. No memes, image macros and similar submissions.No lettering, calligraphy, handwriting, graffiti, illustrations.
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