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¶ Apart from the notorious Claude Garamont and his Garamond typeface, Lyon-born Robert Granjon, another key figure of the French Renaissance, gave us roman and italic typefaces.
¶ The question that comes to mind now is what's the real Robert Granjon "roman" available on digital format:
Granjon (George William Jones)
Plantin (Frank Pierpont)
Galliard (Matthew Carter)
¶ Many thanks to your inputs to come.
Yesterday I posted an introduction to my new typeface I’m working on, Theory Serif: http://typophile.com/node/107663
Your thoughts, critique and ideas are welcome.
I'm designing a book on Renaissance and Baroque bronze figurative sculpture and am looking for an elegant font to suit. Something along the lines of DTL Elzevir, perhaps? Would be most grateful for any suggestions.
In the course of time I have posted some info on my PhD research titled Harmonics, Patterns, and Dynamics in Formal Typographic Representations of the Latin Script | The regularization, standardization, systematization, and unitization of roman and italic type since their Renaissance origin until the Romain du Roi on this forum. Based on my more recent ﬁndings I now think it’s possible that movable type was developed as a ‘font format’, in which different horizontal and vertical dynamics and dimensions for (different point sizes of) Gothic and roman type were captured in (geometric) models and in which intelligence was put in (the proportions and related spacing of) punches and matrices to make the cutting, striking, justiﬁcation and casting as simple as possible.
I just released my first font in MyFonts. It's a text sans. If it makes success, I'll make a Cyrilic. Hope you like it! Here is a description:
Inspired by Italian Renaissance fonts like Poliphilus, Blado, Centaur and Arrighi, Lucca presents a simple charm and a powerful classic feel. It is cute, friendly, clear and superbly readable.
Its low contrast provides Lucca a firm yet flexible substance, making it sensual and enticing. There’s a certain degree of abstraction in the precise endings, and the whole design was made to survive even in the harshest conditions, conserving its readability and beauty.
I'm currently working on an essays about the christian Hebrew typographer named Guillaume Le Be from the 16th century, and i want to elaborate about the profession of type design and type foundries. As i understood, the first type designers were craftsmen, often jewelers who were commissioned to create the letters by the printers/publishers. Then, in some point in history, type foundries were created and supplied type for the printers.
What i need is a good online source which i can cite and reference, dealing with this transition from sole craftsmanship to the commercial type foundry.
a friend of mine send me this scan from a book, to find out which font this is. But unfortunately I couldn't figure it out. Can anyone here give a hint?
Thank you Joachim
We're looking for appropriate typefaces to be used for display purposes in a branding project. "Appropriate" could mean inspired from that era / matches certain motifs from the buildings / etc.
Hello there, I'm new here. I'm doing a research for my final work in college (I don't know how you call this is english, it's a big final work we have to do in order to graduate - btw I'm brazilian).
Just wanted recommendations for a body-titling pair for a Renaissance-themed website: they must be licensable as webfonts. Preferably something Venetian.
I'm currently using Palatino + IM Fell English. Horrible choice, I know.
For body text, I'm currently looking at Adobe Jenson Pro (Adobe), Requiem (H&FJ; not yet a webfont, but I can wait) and Venetian 301 (Bitstream version of Centaur). Out of these only Jenson Pro renders as well as a system font (eg Palatino). I don't know how the rest will display, but this is very important as well.
For headings I want something rough like IM Fell English, and it must also have an authentic italic like Fell English. I was thinking GLC Garamond.
Also: is Garamond an actual Renaissance design?
In a class I took this semester, Materializing the Word: The Book as Object, Technology, Concept, and Event, 1500-1800, I researched the text font used by William Jaggard for Shakespeare's First Folio, printed from 1621 to 1623 in London. Below is a short summary of my paper. Although I feel reasonably confident about the visual and historical evidence for my conclusions, they must be viewed with some skepticism; myriad attributes can create a misleading appearance, from inking and justification to paper quality and mixed-sort fonts.