![]() It was designed by Claude Garamond for use by French King Francis I in 1540. Garamond is one of the most widely used old style font. Old style serif fonts are documented in use in the early 1420s. The thinner sections tend to be the angular lines (diagonal stress). Old Style Serif TypefacesĪrtfully crafted, old style fonts have bracketed serifs and slight weight differences between the thick and thin parts of the letters (low line contrast). Today’s selection of serif typefaces numbers in the thousands. The new faces were easy to read, even in very small sizes. Around 1460 a transformation in printing technology, from handset blocks of type to linotype systems using hot lead to create strips of type, created opportunities for design of new typefaces. The practice of using serifs in typeface design is generally believed to have roots in the Roman age, when lettering was chiseled into stone for signage. Sans serif fonts are generally considered more readable online. Typefaces without serifs are called sans serif (“sans” translates as “without” in Romance languages). There are four basic groupings of serif typefaces: old style, transitional, modern and slab serif. These “legs”, “hooks” or “loops” add weight, contrast and print readability to the typefaces. “And stay tuned folks, Extraset will launch more typefaces soon.Serif typefaces, or font families, display thick and thin artistically drawn characters with embellishments at the stroke ends. “Thanks to the Extraset Team for all the support behind the project – Rainer Schechelbauer, Miriam Surànyi and Joana Correia for the mastering phase, and Benjamin Muzzin for the use of some of his renders through ES Face’s specimen,” Alex adds. And also, two different choices for ‘&’ and ‘3’ were elaborated to get more or less neutrality or assertive positioning.”ĮS Face developed through a few phases, but it ultimately served to add a transitional typeface to Extraset’s collection and feed into Alex’s pursuit of versatile design tools with sharp, precise finishes. This angle in the middle of the stems of certain letters brings something ‘luminous’ when readers are faced to the subject. The most important creative part at the end of this project was to focus on this italic weight the idea was to bring something special to it to magnify subjects into long text parts. “The purpose of the project,” he continues, “was to gather both of these important finishes in one tool, in order to provide choices around the same structure to users. The ‘Default set’ holds similarities with typefaces such as Times New Roman – it deals with neutral needs and precision for reading – while the ‘Straight set’ is more oriented to a contemporary vision of a serif typeface, maybe more usable in fashion or pure titling contexts, but it works perfectly for text as well.” “ES Face offers a default set articulating the ends of its terminals in the form of drops, and a set called ‘straight,’ which focuses on the finishes of certain straight letters for a sharper design look. “The available OpenType options allow a versatile oscillation of the characters,” says Alex, running us through ES Face’s features. Keeping in mind the need to develop an incisive and contemporary project, the designer says he has been focusing on different stylistic sets and partially geometric drawing in recent years – a necessity, he adds, to offer radical solutions to some of the terminals of the typeface when using it for titling. Blossoming into a stunning serif, ES Face balances the heritage of the transitional typefaces that originated around the 18th century with contemporary design finishes, resulting in a fresh take on a much-loved classic. Setting out to create a tool for optimal reading comfort in commercial word processing, Alex Dujet started working on the initial ideas for ES Face, independent Swiss type foundry Extraset’s new typeface, back in 2016.
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