And the r is given a playful point in the stylistic alternates. A ”second“ typeface with its own personal character resulted as stylistic alternates were designed for the letters a e f g l t u in accordance with the uncial scripts of the late antiquity or rather the early Middle Ages. Contrast to the soft round forms is provided by the points of all characters derived from the triangle: v w z, and especially the capitals A M N V W Z. And so a font with pleasant rhythmic proportions was created and is extremely comfortable to read, especially in large amounts of text but, it is also reader-friendly under adverse typographic conditions on the monitor.A terse character is the f, having a shortened ascender and managing without the usual sweeping bow in reading order.The determining element in the appearance of Faber Sans is seen in the wide round forms of b c d e o p q and C D G O Q, and this formal characteristic is even more emphasized with the use of the round a and g of the stylistic alternates. The Roman Capitalis provided the model for the classically proportioned capital letters and the harmonic shapes of the humanistic minuscule for the lower case characters. The »basic typeface« is a sans serif in the classic-modern style of type creations of the early 20th century - godfathered by Futura from Paul Renner and Gill Sans from Eric Gill. Two fonts in one: a classic-modern sans serif appearing in two forms - ”standard“ and a ”stylistic alternate“ with uncial script-orientated characters which give the font a completely different ”look.“A uniqueness of Faber Sans is that it is actually composed of two fonts.
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