The trend of more upright letters and greater contrast in strokes continued into the Transitional era, which is the period between Old Style and Modern font designs. Fonts such as Garamond and Goudy Old Style are from this era and are characterised with a move towards more upright letters and straighter crossbars compared to previous Humanist typefaces, as well as more variation between thick and thin strokes. With typefaces now being carved to form printable fonts, typographers began to experiment and design their own type, rather than mimic existing scripts. Centaur and Jenson are modern fonts in the Humanist style. Still based on hand lettering, these fonts have the characteristics of angled crossbars on the letter ‘e’ and a high stress which relates to how a scribe would hold a pen. In Italy the German blackletter style was soon replaced with typefaces inspired by Roman inscriptions. Serif fontsĪs movable type printing became the standard across Europe different typeface styles were developed, but these early typefaces were still based on early hand written scripts so they retained the characteristics of brush/pen lines and serifs on the entry and exit of each stroke. Fonts such as Gutenberg and Fraktur are popular modern interpretations of the first print typefaces. There’s a whole series of subcategories of Blackletter typefaces each with its own characteristics, but they’re all based on the original calligraphic style with tall, narrow letters and sharp angular lines. The first typeface carved by Gutenberg was based on the hand writing style of the time and was used to print the first books in Europe, including the Bible. But when you can license weights one by one it's not a problem.In the middles ages books were hand lettered in the Gothic style that had been developed by scribes, until the invention of the movable type press by Johannes Gutenberg. The design concept seems stuck in the Art Nouveau era with that condensed "a" and tilted "e". The regular weight, I don't think so much of. You'd have to have a heart of stone to hate them. The Bold and Black Italic weights are really cheerful and full of warmth. Goudy Sans by Frederic Goudy is a typeface that looks great if you take care to use the right weight. There's a freeware digitization of the main weights. It feels a bit arty for a maths textbook, though. It wouldn't work in a textbook, the contrast is far too high and the color wrong, but might be interesting as a companion for headings. The most famous design along these lines is Albertus, also by Wolpe, but it's a display typeface. Or in Berthold Wolpe's Pegasus typeface, which is definitely a text face but has a kind of chiselled, metallic feel. You might also be interested in a humanist sans-serif (serif-style proportions, but a more monoline structure without serifs) like Ideal Sans. Ayer from the same designer, Miguel Reyes, is a more expressive heading face. It comes with a lot of optical sizes, weights and features. It's well-spaced and proportioned for body text, and has a fair price and a common-sense license.Ĭanela from Commercial Type is more expensive, but the main styles come free with a Mac if you use one. I hugely recommend Heliotrope by Matthew Butterick. You're probably looking for a "glyphic" sans-serif, one with visible stroke contrast and with swellings at the terminals.
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