The Concept of Stripping Down the Black Terminals?

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Stefan Miklos's picture
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Joined: 7 Jul 2013 - 4:50pm
The Concept of Stripping Down the Black Terminals?
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Previously, I started a thread about The Concept of Stripping Down the Serifs.
Now, let's go back to time, back to the Middle Age.
I still wonder who first conceives sans serif typefaces based on blackletter calligraphy? Should I say Blackletter Sans, in other words, blackletter without terminals.
William Morris, Rudolf Koch or Tom Carnase and his <em>Honda<em>?
Some recent designers work and exploit geometric moduls combined with a heavy weight which give the flavor of blackletter: see <em>Trigot</em> or <em>Griffensee</em>.
Fell free to give your interpretation. Thanks for your input.

Reynir Heiðberg Stefánsson's picture
Joined: 19 Nov 2010 - 11:15am
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The vulgar name for them in Germany was/is "Schaftstiefelgrotesk", as I recall. This link should be good as a starting point: http://de.wikipedia.org/wiki/Gebrochene_Grotesk (Worst case, you can try throwing this link at a machine translator.)

Stefan Miklos's picture
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Joined: 7 Jul 2013 - 4:50pm
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William Morris' <em>Troy</em> fits the actual concept of Neo-Blackletter or Blackletter Sans.

Tom Carnase's <em>ITC Honda</em> (1970) has not only the Blackletter Sans leaning but combined with the weight of a slab serif/fat face if you catch my meaning.

I found another lead concerning the concept through Eric Gill's <em>Jubilee</em>.
What do you think of Gill's <em>Jubilee</em> and its cognitive bias?

Reynir Heiðberg Stefánsson's picture
Joined: 19 Nov 2010 - 11:15am
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Were there a humanist-sans blackletter style, Jubilee would probably be it.