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I considered Optical size, I tried to base my initial version on a 72pt size. Personally I tried (and I am finishing the first three styles right now) to *capture* what I felt as the essence of the curves. there is a lot of room about what these "optimisations" could be. I did not re-read John Downer’s essay, I did not want to attain 1., even less 3.īut in 2. This is interesting because when I decided to tackle De Vinne, before any of my own designs, I considered the thing from many angles. Some of the digital versions copied this bad designed \c_h which is far away from the originals by Breitkopf jun.
Berthold AG at the beginning of the 20th century. The above picture is from a specimen of "Original-Breitkopf-Fraktur" recut by H. Just for the records an example of too slavish: In most cases some characters will be missing in the specimens and need creation. Redesign: Take the original as an inspiration and put own personality it. Revival: Keep the shape and proportions (more or less) with some optimisations for modern use.ģ. more or less rounded corners to imitate the squash of the ink at the edges.Ģ. Reconstruction: an attempt to reconstruct the shape, look and feel and even the spacing, making it possible to render a page of an old book without the technical failures (broken or deformed letters, over-inking, wavy baselines). Sure, that's the most important question. This will help you determine the approach to take to the revival: do you want a slavish reproduction of the metal type as used in a particular book or specimen? or do you want a more rationalised interpretation? or do you want to use the structure of the original to carry a new character, perhaps sharper or softer? Having this in your head before you start will save you a lot of time fiddling with scans and traced outlines trying to find your way without a destination in mind. I have one piece of advice before starting work on a typeface revival: sit down and form a mental image of what you want a page of text set in the resulting type to look like. Who knows where that journey will take any of us who tries it. That takes years of learning and struggling for wisdom. Many of the answers I got regard the journey from B to Z. I was just looking for help getting from A to B. It's a feel I never get from the many digitizations of Baskerville I've seen.Īt the same time, my original query was a lot more humble. When I look at it, I feel transported to the place I yearn for.Īnother analogy: when I read things set in your face, Brill, I feel the same vibe I get from reading books from 18th-century British presses. However, Mr Simonson's Etna does - inadvertently, as it were, but it succeeds admirably. None of the digital revivals of Serie 16eme, from Berthold's Augustea to Charles Maze's Berthe, comes close to recreating that feel for me.
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One: I grew up reading a lot of French prose printed in metal cuts of Series 16eme and 17eme (see also here: ). Two more attempts to say what I'm looking for. Dredging up a digital simulacrum that'll help me feel closer to the experience I had as a young man looking at those printed pages, turning them, and glancing at the whole page out of focus, letting the particular texture of that type burn itself into my retinae, disregarding completely what the particular words were trying to say. I know what I'm looking for - it's coming close to a "what it feels like" sort of thing. The only answer I relies on metaphors, which I hate in this context here literal language does best, and imagery is of little help. Your question goes to the heart of the matter, but that makes it the hardest to answer.
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