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TYPE FOUNDRY : Storm Type Foundry
FONT NAME : John Sans CE
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███ - -(x)- R E L E A S E i N F O -(x)- - ███
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▓ ░ ▓▓▓ SUPPLiER: TEAM TYPO RELEASE DATE: 10/11/2005 ▓▓▓ ░ ▓
▓ ░ ███ PACKAGER: TEAM TYPO TOTAL DISKS : 04 X 1.44MB ███ ░ ▓
▓ ░ ▓▓▓ PRiCE : $284.00 TYPE : PostScript ▓▓▓ ░ ▓
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▓ ░ ███ Note to Nukers : This is the COMPLETE VERSION, with all 72 ███ ░ ▓
▓ ░ ███ styles of the John Sans font famliy. Scriptum has released ███ ░ ▓
▓ ░ ███ three smaller packs which are just a tiny section of the ███ ░ ▓
▓ ░ ███ complete family. ███ ░ ▓
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███ - -(x)- R E L E A S E N O T E S -(x)- - ███
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▓ ░ ███ The idea of a brand-new grotesk is certainly rather foolish ███ ░ ▓
▓ ░ ███ û there are already lots of these typefaces in the world ███ ░ ▓
▓ ░ ███ and, quite simply, nothing is more beautiful than the ███ ░ ▓
▓ ░ ███ original Gill. The sans-serif chapter of typography is now ███ ░ ▓
▓ ░ ███ closed by hundreds of technically perfect imitations of ███ ░ ▓
▓ ░ ███ Syntax and Frutiger, which are, however, for the most part ███ ░ ▓
▓ ░ ███ based on the cool din-aesthetics. The only chance, when ███ ░ ▓
▓ ░ ███ looking for inspiration, is to go very far... ███ ░ ▓
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▓ ░ ███ A grotesk does not afford such a variety as a serif ███ ░ ▓
▓ ░ ███ typeface, it is dull and can soon tire the eye. This is why ███ ░ ▓
▓ ░ ███ books are not set in sans serif faces. A grotesk is, ███ ░ ▓
▓ ░ ███ however, always welcome for expressing different degrees of ███ ░ ▓
▓ ░ ███ emphasis, for headings, marginal notes, captions, ███ ░ ▓
▓ ░ ███ registers, in short for any service accompaniment of a ███ ░ ▓
▓ ░ ███ book, including its titlings. We also often come across a ███ ░ ▓
▓ ░ ███ text in which we want to distinguish the individual ███ ░ ▓
▓ ░ ███ speaking or writing persons by the use of different ███ ░ ▓
▓ ░ ███ typefaces. The condition is that such grotesk should blend ███ ░ ▓
▓ ░ ███ in perfectly with the proportions, colour and above all ███ ░ ▓
▓ ░ ███ with the expression of the basic, serif typeface. In the ███ ░ ▓
▓ ░ ███ area of non-fiction typography, what we appreciate in sans ███ ░ ▓
▓ ░ ███ -serif typefaces is that they are clamorous in inscriptions ███ ░ ▓
▓ ░ ███ and economic in the setting. John Sans is to be a modest ███ ░ ▓
▓ ░ ███ servant and at the same time an original loudspeaker; it ███ ░ ▓
▓ ░ ███ wishes to inhabit libraries of educated persons and to ███ ░ ▓
▓ ░ ███ shout from billboards. ███ ░ ▓
▓ ░ ███ ███ ░ ▓
▓ ░ ███ A year ago we completed the transcription of the typefaces ███ ░ ▓
▓ ░ ███ of John Baskerville, whose heritage still stands out ███ ░ ▓
▓ ░ ███ vividly in our memory. Baskerville cleverly incorporated ███ ░ ▓
▓ ░ ███ certain constructional elements in the design of the ███ ░ ▓
▓ ░ ███ individual letters of his typeface. These elements include ███ ░ ▓
▓ ░ ███ above all the alternation of softand sharp stroke endings. ███ ░ ▓
▓ ░ ███ The frequency of these endings in the text and their rhythm ███ ░ ▓
▓ ░ ███ produce a balanced impression. The anchoring of the letters ███ ░ ▓
▓ ░ ███ on the surface varies and they do not look monotonous when ███ ░ ▓
▓ ░ ███ they are read. We attempted to use these tricks also in the ███ ░ ▓
▓ ░ ███ creation of a sans-serif typeface. Except that, if we ███ ░ ▓
▓ ░ ███ wished to create a genuine ôBaroque groteskö, all the ███ ░ ▓
▓ ░ ███ decorativeness of the original would have to be repeated, ███ ░ ▓
▓ ░ ███ which would result in a parody. On the contrary, to achieve ███ ░ ▓
▓ ░ ███ a mere contrast with the soft Baskerville it is sufficient ███ ░ ▓
▓ ░ ███ to choose any other hard grotesk and not to take a great ███ ░ ▓
▓ ░ ███ deal of time over designing a new one. Between these two ███ ░ ▓
▓ ░ ███ extremes, we chose a path starting with the construction of ███ ░ ▓
▓ ░ ███ an almost monolinear skeleton, to which the elements of ███ ░ ▓
▓ ░ ███ Baskerville were carefully attached. After many tests of ███ ░ ▓
▓ ░ ███ the text, however, some of the flourishes had to be removed ███ ░ ▓
▓ ░ ███ again. Anything that is superfluous or ornamental is ███ ░ ▓
▓ ░ ███ against the substance of a grotesk typeface. The monolinear ███ ░ ▓
▓ ░ ███ character can be impinged upon in those places where any ███ ░ ▓
▓ ░ ███ consistency would become a burden. The fine shading and ███ ░ ▓
▓ ░ ███ softening is for the benefit of both legibility and ███ ░ ▓
▓ ░ ███ aesthetics. The more marked incisions of all crotches are a ███ ░ ▓
▓ ░ ███ characteristic feature of this typeface, especially in the ███ ░ ▓
▓ ░ ███ bold designs. The colour of the Text, Medium and Bold ███ ░ ▓
▓ ░ ███ designs is commensurate with their serif counterparts. The ███ ░ ▓
▓ ░ ███ White and X-Black designs already exceed the framework of ███ ░ ▓
▓ ░ ███ book graphics and are suitable for use in advertisements ███ ░ ▓
▓ ░ ███ and magazines. ███ ░ ▓
▓ ░ ███ ███ ░ ▓
▓ ░ ███ The original concept of the italics copying faithfully ███ ░ ▓
▓ ░ ███ BaskervilleÆs morphology turned out to be a blind alley. ███ ░ ▓
▓ ░ ███ This design would restrict the independent use of the ███ ░ ▓
▓ ░ ███ grotesk typeface. We, therefore, began to model the new ███ ░ ▓
▓ ░ ███ italics only after the completion of the upright designs. ███ ░ ▓
▓ ░ ███ The features which these new italics and Baskerville have ███ ░ ▓
▓ ░ ███ in common are the angle of the slope and the softened ███ ░ ▓
▓ ░ ███ sloped strokes of the lower case letters. There are also ███ ░ ▓
▓ ░ ███ certain reminiscences in the details (K, k). More ███ ░ ▓
▓ ░ ███ complicated are the signs & and @, in the case of which ███ ░ ▓
▓ ░ ███ regard is paid to distinguishing, in the design, the ███ ░ ▓
▓ ░ ███ upright, sloped @ small caps forms. The one-storey lower- ███ ░ ▓
▓ ░ ███ case g and the absence of a descender in the lower-case f ███ ░ ▓
▓ ░ ███ contributes to the open and simple expression of the ███ ░ ▓
▓ ░ ███ design. ███ ░ ▓
▓ ░ ███ ███ ░ ▓
▓ ░ ███ Also the inclusion of non-aligning figures in the basic ███ ░ ▓
▓ ░ ███ designs and of aligning figures in small caps serves the ███ ░ ▓
▓ ░ ███ purpose of harmonization of the sans-serif families with ███ ░ ▓
▓ ░ ███ the serif families. Non-aligning figures link up better ███ ░ ▓
▓ ░ ███ with lower-case letters in the text. ███ ░ ▓
▓ ░ ███ ███ ░ ▓
▓ ░ ███ If John Sans looks like many other modern typefaces, it is ███ ░ ▓
▓ ░ ███ just as well. It certainly is not to the detriment of a ███ ░ ▓
▓ ░ ███ Latin typeface as a means of communication, if different ███ ░ ▓
▓ ░ ███ typographers in different places of the world arrive in ███ ░ ▓
▓ ░ ███ different ways at a similar result. ███ ░ ▓
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███ - -(x)- P R O P S T O -(x)- - ███
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▓ ░ ███ SiGNMAKER - DIVXFACTORY - PR0NSTARS ███ ░ ▓
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