Professional Documents
Culture Documents
Specimen
2 Content
abcdefghi
abcdefghi
jklmnopqr
jklmnopqr
stuvwxyz
stuvwxyz
The text version – of all scripts – refers to the filing of punches,
deterioration of type-metal and ink-fill. While creating a rough
appearance at large, this creates a peculiar sparkle at small
sizes. Greek and Cyrillic follow their own old-style references,
resulting in distinct textures that shine in mixed setting.
5 Characteristics
Regular
1 5
2 6
3 7
4 8
1 Strong horizontal serifs, inspired by Frobens 5 Wide round forms with clear and direct but
models, accentuate baseline and cap-height, flowing round strokes create an open feel. The
hence stabilise the pattern by creating a contrast with the sturdy straights influences
band-effect that shines in all-cap setting. the texture strongly at all sizes.
2 Overshooting Serifs at cap-height make for a 6 Terminals inspired by both flag and tear-drop
lively feel at small sizes and enrich the texture. features make for a contemporary twist.
3 Extended capital-width creates a uniquely 7 The constructed treatment of joins and
sqarish pattern in all-cap setting at all sizes, adjacent thin strokes (of both upper- and
while the reduced height makes them suitable lowercase) creates a peculiar roughness at large,
for mixed setting. while bringing a crispness to text sizes.
4 Geometric stems and high shoulders lead to a 8 The distinct inside / outside asymmetry of the
strong verticality of straight forms. cupped serifs, inspired by the foundry-type
technique of filing down punches, make Fro-
ben Antiqua easily recognisable and would also
allow for very tight setting.
6 Characters
Italic
abcdefghi
abcdefghi
jklmnopqr
jklmnopqr
stuvwxyz
stuvwxyz
The characteristics of the Regular grow even more acute in
the Italic version of Froben Antiqua. Diverse round shapes with
various constructions are combined with direct straights in
changing angles, resulting in a vigorous texture that – enhanced
through the «faux-ink-trap» features – particularly shines at
small sizes.
7 Characteristics
Italic
1
AKMN 6
chjkrfsxy
2
CFSEZ 7
QugwX
3
HAND 8
ahmnrw
4
nliprfu 9
diruvyz
5
abcdepq
1 Reduced complexity along baseline and cap- 6 The characteristic and terminals are a promi-
height, by retaining medieval serifs, helps nent feature of the Italic, refreshing the
differentiating the feel of Regular and Italic old-style forms adequately.
uppercase letters. 7 The constructed joins work just as well with
2 Slightly reduced overshoots help to integrate the Italics, giving them a more outspoken
these changes in an overall smoother look. character.
3 Reduced capital-width keeps a slight squarish 8 Swelling returning strokes contrast with
appearance while integrating better with reduced single strokes and add to the vivid
the narrow lowercase letters. nature of the typeface.
4 Changing angles lead to a lively rhythm that 9 A hybrid feature referencing both constructed
flourishes when set with the upright style. joins and swelling returning strokes, holds
5 A strong variation among round shapes creates different tendencies together.
further lifeliness. Opposed to most present-
day Italics, many round shapes resemble their
regular counterpart.
8 Characters
Display / Display Italic
abcdefghijklm
abcdefghijklm
nopqrstuvwxyz
nopqrstuvwxyz
abcdefghijklm
abcdefghijklm
nopqrstuvwxyz
nopqrstuvwxyz
The display version is not only narrower and sharper: While its
forms keep relations to the Renaissance, it freely samples
later historical models. Froben Antiqua Display therefore not
only matches the Roman in complex typographical setting,
but can be used as an elegant stand-alone typeface. Despite the
strong compression, round-shapes keep their character
which leads to an intriguing pattern.
9 Characteristics
Display / Display Italic
1
KMNr 6
acfrhjksy
2
CFSEZ 7
QugwX
3
HAND 8
ahmnrw
4
nhinlprfu 9
diruvyz
5
bcpadeq 10
NnuWH
1 While the upright capitals keep some of the 6 Tear drop features are roundened to compen-
medieval inside serifs – wherever they add to sate for the importance they gained through
the charm without disrupting the clarity – the increased stroke modulation.
Italic is completely reduced. 7 The constructed joins are completely eliminat-
2 The overshoots are minimised to a flat spike. ed, creating a crisp and slick appearance.
3 Capital-width is further reduced in both styles. 8 Swelling returning strokes are reduced to a
Whereas round shapes retain some of the minimum.
generosity, straight letters are «normalised». 9 Consistent with the overall redution in com-
4 Higher joins enhance the verticality of straight plexity, in- and outstrokes relate closer to the
forms and amplify an already strong rhythm. plain serifs.
The changing angles of the Italic, are slightly 10 Due to the reduced counter-sizes, the inside-/
corrected, to prevent them from becoming outside asymmetry diminishes in lowercase
too dominant. letters, but remains noticeable in capitals.
5 With higher joins, round strokes become direct
and clean. As the outside shape is retained in
both Upright and Italic, the pattern has an
attractive irregularity, that brings flavour to
large sizes.
10 Characters
Greek / Greek Italic
ΑΒΓΔΕΖΗΘΙΚΛΜ
αβγδεζηθικλμ
ΝΞΟΠΡΣΤΥΦΧΨΩ
νξοπρςστυφχψω
ΑΒΓΔΕΖΗΘΙΚΛΜ
αβγδεζηθικλμ
ΝΞΟΠΡΣΤΥΦΧΨΩ
νξοπρςστυφχψω
1
ΑΒΕΙΥΧ αβραβρ 5
2
ΔΣΦΨ θφθφ 6
3
οoοo δξζςδξζς 7
4
αγζηαγηζ 8
1 Typographic uppercase letterforms directly 5 Shorter outstrokes with a truncated appear-
correlating to the Latin styles create a strong ance bridge Regular Latin and Greek. Long
contrast to the fluid lowercase characters. outstrokes in the Italic accentuate the organic
2 Particularly Greek Old-style letterforms match feel and help differentiate the styles.
the Latin styles' references through features and 6 Alternate forms are used to distinguish the pat-
general proportions. tern of both styles by enhancing their nature
3 An almost vertical stress modelled after Renais- whenever strong historical precedences allow it.
sance prints strongly differentiates the Greek 7 Curlier instrokes and more open outstrokes in
from the Latin versions (see: omicron and o, of varying angles help to create a more fluid and
Froben Antiqua Regular and Italic). more informal appearance in the Italic.
4 Swelling returning strokes of Regular and Italic 8 Contextual alternates are added to the set to
resemble the model of the Latin Italic and prevent collisions
hence adding to the matchmaking of the scripts.
12 Characters
Cyrillic
АБВГДЕЖЗИЙКЛ
абвгдежзийкл
МНОПРСТУФХ
опрстуфхцчш
ЦЧШЩЪЫЬЭЮЯ
мнщъыьэюя
abcdefghijklm
abcdefghijklm
nopqrstuvwxyz
nopqrstuvwxyz
abcdefghijkljklM
opqrstuvwxyz
�B�����H�����
�������������
����������� ��
�������� � � � ��
���D���������
���� ���� � � � ��
thanks
For a peek into their wealth of knowledge:
Gerry Leonidas, Gerard Unger, Fiona Ross,
James Mosley, Michael Twyman
For their feedback: Alex Blattmann, Alice Savoie,
Frank Griesshammer, Johannes Wicki ,
Patrick Giasson, Paul Barnes, Tobias Frere-Jones,
Victor Gaultney
For his research material: Riccardo Olocco
For a great time in Brixton: Bruno Maag, Ron
Carpenter and the whole Dalton-Maag Team
For their influence on my way: Rudolf Barmettler,
Type and graphic design Frank Blokland, Just van Rossum
Ueli Kaufmann, www.uelikaufmann.ch Very special thanks to my family.
Part B of this Specimen consists of excerpts from Submitted in partial fulfilment of the require-
the magazine 31, originally designed by Bonbon ments of the Master of Arts in Typeface Design,
(www.bonbon.li), re-set in Froben Antiqua. University of Reading, June 2015.
16 Froben Antiqua
Specimen
What
17 Froben Antiqua
Specimen
ms o
moeglich
18 Froben Antiqua
Specimen
gelangen,
fluss-, das
die stadt d
fuehrt, zu
und kana
in dem su
Den Typus des Flaneurs schuf Paris.
Zieht nicht in Rom selbst das Träumen gebahnte
mischen:
Strassen?
Walter Benjamin, Das Passagen-Werk (1 / 525) entweder
aussenma
bahnhofs
durch die
der weg d
kaum jem
meisten p
durch den
tages- und
ist. mensc
nd zuege, schalter, kioske, geschaefte vermisc
ruktur- und bewegungsnetz, dem zu entkomm
fordert, hat man sich einmal darin verfangen
19 Froben Antiqua
Specimen
T:G\05
Abgeschlos- Publikationen
Und ploetzlich China
Das touristische Setting Schweiz im Aesthetik der Kritik
globalisierten Tourismus oder: Verdeckte Ermittlung
sene ith- Leitung: Peter Spillmann
•
Das Magazin des Instituts
Hgg.: Jörg Huber, Philipp Stoellger,
Gesa Ziemer, Simon Zumsteg
Digression:Specimen
A — B — C — D — ... the form
en, dass die Kombination von zwei oder al- It
ine notwendige Ordnung in dem Sinn im- all three
e Transzendenz hinausläuft. Dies wäre eine in the sen
gie, die manches erklärt, aber bei weitem transcen
hied zum Bahnenmodell des Wegs, werden gy, which
e die Grundtypen der Bewegung sowohl in- not every
uch miteinander verketten, nicht durch die “events” w
rgegeben, movemen
form of th
Only in r
ch Nietzsche, Nachgelassene Fragmente
in: ders., Sämtliche Werke. Kritische Studien- will these events ha
Bde., Giorgio Colli, Mazzino Montinari the pattern in Aristo
nchen / Berlin / New York 1988, moment of movem
5.
dingly the scansion
Deleuze, Differenz und Wiederholung, lated are formed on
(Übers.), München 1992, S. 366.
•
esentative Gew
g: Ludger Schw
dert vom Schw
nalfonds (SNF)
tdauer: Juli 2009
22 Froben Antiqua
Specimen
ath?
ment
23 Froben Antiqua
Specimen
orld
24 Froben Antiqua
Specimen
14 – Zur Geschichte der Raumvorstellung vgl. Max Jammer, Concepts of 14 – See Max Jammer, Concepts of Space. The History of
Space. The History of Theories of Space in Physics, Cambridge (Mass.) Theories of Space in Physics, Cambridge (Mass.) 1970
1970.
15 – See Hans-Joerg Rheinberger, Toward a History of
15 – Vgl. Hans-Joerg Rheinberger, Experimentalsysteme und epistemische Epistemic Things. Synthesizing Proteins in the Test Tub
Dinge. Eine Geschichte der Proteinsynthese im Reagenzglas, Göttingen 2001. Stanford 1997.
16 – Vgl. C. Plinius Secundus d. A., Naturalis Historia / Naturkunde, 37 16 – See. C. Plinius Secundus the Elder, Naturalis His
Bde., Roderich König u. a. (Hgg.), Düsseldorf / Zürich 1976–1995, ria / Naturkunde, 37 Bde., Roderich König u. a. (Hg
Bd. 35, S. 83. Düsseldorf / Zürich 1976–1995, vol. 35, p. 83.
17 – Vgl. Hans Blumenberg, Paradigmen zu einer Metaphorologie, Frank- 17 – See Hans Blumenberg, Paradigmen zu einer Meta
furt a. M. 1998, S. 166–193. rologie, Frankfurt a. M. 1998, p. 166–193.
26 Froben Antiqua
Specimen
ihm v
gerad
hunde
rung d
in die
27 Froben Antiqua
Specimen
ember 200
•
28 Froben Antiqua
Specimen
Y. Edgert
München
und Laen
vgl. Herm
Nautik im
Anschauu
rologie, 46
29 Froben Antiqua
orscherin
Specimen
Angela San-
omacherin
beit).
m Flughafen
enze
30 Froben Antiqua
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ezem
31 Froben Antiqua
Specimen
Den
Zieht nicht
hisch und deutsch
32 Froben Antiqua
Specimen
, S. 308.
okles, Οιδίπους
eutsch, Wilhelm
gio Petrocchi, L
–67, Inferno 26
33 Froben Antiqua
Specimen
1
Denn ein Weg ist nie einer. Ein
hon ein Woher und ein Wohin,
her, die Möglichkeiten der Um-
hlgehens. Figuren wie die Weg-
abelung gehören unaufhebbar
es. Vor allem aber lässt sich ein
hied zwischen einem Weg als
Bahnung und als Vollzug der
A—B—C—A—
Dante, Divi
ina Commedia
tages
met;
wherethrough
ist. m
rld, whose margin fades
move.
38 Froben Antiqua
Specimen
No. 1617
Das Magazin des Instituts fuer Theorie
hat make up itinerant perfor-
2 — With a focus on the
e task is to show that Froben
the mani-
39 Antiqua
Specimen
itinerancy leave their mark on
province of Franken, see
Ernst Schubert, Arme
m. The representational norms Leute, Bettler und Gauner
in Franken des 18. Jahr-
ant stage indicate the particular hunderts, Neustadt an der
ge inhabited in 17th-century cul- Aisch 1983, pp. 234–240.
of the order of meaning that had
3 — See the essays collected
ong the travelling troupes. Only in: Rudolf Schloegl (ed.),
raisal of the itinerant stage can Interaktion und Herrschaft.
conditions under which it oper- Die Politik in der frühneu-
zeitlichen Stadt, Konstanz
turn, glimpse the reasons why 2004.
c culture – one, quite literally,
fascinated crowds throughout 4 — For an excellent study
of the precarious status
dern period and beyond. of vagabonds in early
ef introduction to the material modern strategies of
under which the itinerant sta- social discipline, see
Ernst Schubert, Mobili-
is in order. The itinerant stage taet ohne Chance. Die
popular form of entertainment Ausgrenzung des fahrenden
h thespians arrived at the end Volkes, in: Winfried
Schulze (ed.), Ständische
entury. The performances com- Gesellschaft und soziale
with music, tricks, circus riding, Mobilität, München 1988,
isual and acoustic spectacle was pp. 113–164.