Finally, a pseudo-italic version of the Regular was created. These have the same alternate forms found in the companion font. Next came a lower case for the Regular and a set of slightly smaller (about 90%) caps to serve the full-size Bold Caps. Also, because the lower case characters are expected to be used in a smaller range of sizes than the capitals, most of the bracketing has been eliminated.Īs the Brothers font series grew, Downer made several alternate capitals for the Bold, then designed a Regular weight to match in style. The crotches of these letters contain “traps” that deepen the negative space for the sake of keeping the letterforms crisp. There are some exceptions, however, where strokes join at acute angles, as in A, K, M, N, V, W, X, Y, and Z. Thus, many of the capitals are bracketed inside. A notable aspect of work done in this manner is that it is relatively easy to get sharp outer edges, such as the bevels on the corners of the octagonal O, but it is difficult (often, impractical) to try for sharp corners on the counters, even where they should appear square, as on the inside of an H. They were drawn on a lithography stone and were “cut-in,” meaning that the lettering artist filled the panel background and left the letters showing in reverse. The letters are not very typographic, nor are they very consistent. The COLE BROTHERS stationery has quite a bit of variation in the letterform proportions. There is a quality of boldness and daring in the letters that reflects the directness and bravado of circus performers. The inspiration for Brothers came from a bright chromolithographed letterhead designed around the turn of the century for the COLE BROTHERS traveling shows, an extravaganza of acrobatic and circus acts that included trained horses with bareback riders. Nine Literary Types Printed Version PDF.Mrs Eaves & Mrs Eaves XL Printed Version PDF.
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