Font Similar To Mr Eaves

[Juanjo Pollreisz]

I tired using the Mrs Eaves font in Affinity Designer and Publisher and whenever I use it, it doesn't show any spaces in-between the words. The spaces are there because if I use another font the spaces appear. I've never had this issue in any other program or software with this font. Has anyone else had this problem, is there a workaround?

Really old fonts are, from what I've read, not supported by the Affinity applications. If you're using a copy that is that old, my guess is you'll need to replace it with something newer (new implementation of Mrs Eaves, or something similar) to use it with the Affinity fonts.

I'm not sure if this topic has to do with it, but since last year Type-1 fonts are no longer supported - even by Adobe. It's outdated. I don't know if Affinity still supports Type 1. But I don't think so. What font format is your Mrs Eaves font?

Mrs Eaves is a transitional serif typeface designed by Zuzana Licko in 1996. It is a variant of Baskerville, which was designed in Birmingham, England, in the 1750s. Mrs Eaves adapts Baskerville for use in display contexts, such as headings and book blurbs, through the use of a low x-height and a range of unusual combined characters or ligatures.

Mrs Eaves is named after Sarah Eaves, the woman who became John Baskerville's wife. Like his typefaces, John Baskerville was, himself, a controversial character. As Baskerville was setting up his printing and type business, he hired Sarah Eaves as his live-in housekeeper; eventually, her husband Richard abandoned her and their five children, and Mrs Eaves became Baskerville's mistress and eventual helpmate with typesetting and printing. She married Baskerville within a month of her estranged husband's death. Selection of the name Mrs Eaves honors one of the forgotten women in the history of typography.[2]

Stylistically, Mrs Eaves is a revival of the Baskerville typefaces cut for Baskerville by John Handy. Like Baskerville, Mrs Eaves has a near vertical stress, departing from the old-style model. Identifying characters, similar to Baskerville's types, are the lowercase g with its open lower counter and swashlike ear. Both the roman and italic uppercase Q have a flowing swashlike tail. The uppercase C has serifs at top and bottom; there is no serif at the apex of the central junction in uppercase W; and the uppercase G has a sharp spur suggesting a vestigial serif.

Licko's design is unorthodox and not a pure revival. In creating it, she was influenced by how it would be printed by contrast to printing in Baskerville's time: considering the flatness of offset lithography in comparison to letterpress printing, and the resolution of set devices and on-screen display. The overall stroke weight of Mrs Eaves is considerably heavier than most other revivals, countering the often anemic reproduction of smaller point sizes in other digital revivals of Baskerville, and restoring some of the feeling of letterpress printing's unpredictability. To compensate for this and create a brighter-looking page, Licko lowered the x-height, reducing the amount of space taken up by ink on the page.

Licko also designed a set of Petite Caps for Mrs Eaves, which were lower in height than regular Small Caps to accommodate the small x-height. This was the first typeface family to have a Petite Caps font and it became a feature in the OpenType specifications.[4]

Several derivatives of Mrs Eaves have been released. These include Mrs Eaves XL (2009), a tighter derivative with a higher x-height intended for body text, and Mr Eaves and Mr Eaves XL, a sans-serif design similar to Johnston and Gill Sans.

Mrs Eaves XL was intended to provide a solution to a common criticism of Mrs Eaves' original release: its very loose and uneven spacing, which makes Mrs Eaves unsuitable for body text. Emigre noted themselves that "The spacing is generally too loose for large bodies of text, it sort of rambles along ... Economy of space was not one of the goals behind the original Mrs Eaves design."[5]

Mr Eaves was released in both regular and XL designs, matching the original Mrs Eaves and Mrs Eaves XL. Both heights were released in two widths: regular and narrow, and in two styles: Sans, a humanist design closest to the original serif model, and a more simplified Modern design resembling geometric sans-serif fonts like Futura.[6][7]

Mrs Eaves is particularly well known for its range of ligatures, ranging from the common to the fanciful and including intertwined and swash designs. Ligatures in all variants of Mrs Eaves include the standard fi, ffi, and fl ligatures, as well as the classic eighteenth-century ct and st ligatures and others with no historical precedent. These have been released in a variety of formats: originally ligatures were released in separate expert set fonts; more recently they are issued as stylistic alternates using the OpenType format. A Just Ligatures variant is available in roman and italic. The OpenType format fonts also contain all 213 ligatures.[8]

Trajan is one of the most recognisable and enduring display typefaces. Based on classical Roman letterforms, the original digital version of the font was designed by Carol Twombly for Adobe in 1989. Since then, a range of designers have revisited Trajan, looking to further optimise its legibility and visual impact.

Twombly designed Trajan with display purposes in mind, rather than printed text. The legibility and visual drama of the font made it an instant hit with movie studios and book designers, who used the font liberally across posters and covers during the 1990s and 2000s.

Below, discover our selection of the best alternatives to the Trajan font style. These include fonts similar to Trajan Pro with lowercase letterforms, as well as more modern interpretations which incorporate script styling, alternative letters, or ligatures for a unique take on the Trajan typeface's heritage.

Looking for fonts similar to Trajan for a design project? The typefaces below pay tribute to the classical heritage that informed the design of the original Trajan Pro font. From classical display fonts to Roman-inspired scripts, these contemporary Trajan alternatives retain the ancient and elegant spirit of Trajan, while offering something fresh and original for your design work.

Karin is an exotic and beautiful take on classical script styles, with a wide range of alternative letterforms and ligatures, making it a versatile choice for branding and logo design. More flowing and feminine than the Trajan font style, Karin nonetheless retains the legibility and clarity of the Trajan typeface, making it suitable for display, packaging design, and posters.

Merova is a classical font that blends Roman styling with Belle Epoque proportions. With a tall x-height, the font offers a more condensed alternative to Trajan Pro, and includes five weights for versatile use across editorial, book, and magazine design.

If Carol Twombly had designed Trajan in the 1920s, the result would probably not look dissimilar to Agatho. With more pronounced serifs and thicker ascenders and descenders than the Trajan font family, Agatho has a vintage feel that would suit nostalgic marketing, packaging design, or logos. Designed by Andrii Shevchyk, Agatho is available in a single regular weight.

Described as a modern Roman font, The Broads pays tribute to 1930s interpretations of Roman type styles while retaining crisp, geometric letterforms, resulting in a font that feels luxurious and contemporary. A beautiful and subtle alternative to Trajan, The Broads will lend class and elegance to branding projects, websites, and packaging.

Novante is described by its designer, Ramz, as a luxury display serif. Inspired by Art Deco interpretations of classical type styles, Novante uses flowing descenders and script-inspired alternates for a romantic and effortlessly stylish result. Suited to contemporary branding, eMagazines, and websites, this offers a relaxed and pretty alternative to the serious personality of Trajan.

If Trajan or the other fonts similar to Trajan featured here feel too formal for your design project, why not try a brush font alternative? Cal Roman Modern is an informal calligraphic font created with brush rather than pen strokes. Simple Roman proportions are given dynamism and energy with the jaunty brush style, making for a font that feels lively and optimistic.

Created by Craft Supply Co., Giveny is a classical and breezy serif font designed for display and brand design. The square shapes of the round letterforms pay tribute to the formality of Roman type styles like Trajan, while the geometric design nods to transitional serifs like Baskerville and Mrs Eaves.

Amongst the most decorative of the Trajan alternatives presented here, Arrogant is suitably vain and flashy, with decorative letters and alternative ligatures. Created by Zeppelin Graphics, Arrogant is indebted to the classical tradition of Trajan, using generous tracking and broad, airy letterforms.

From the true-to-Trajan styling of Praetoria to the informal interpretation of classical typefaces, such as Giveny and Loki, and a range of other Trajan Pro font alternatives in-between, we hope you've found a font similar to Trajan that will suit your next design project.

If not, find more fonts similar to Trajan and other classical Roman fonts over on Envato Elements. Discover our essential selections of the other fantastic fonts and font alternatives to add to your collection below:

i have a pitch rroof with the ridge not equidistant from the eaves and the building footprint is kind of t-shaped with eaves at different heights.the froof slope is the same throughout 6/12. what is the best way to model a roof like that all attempts so far have been unsuccessful . a link to a video that tackles something similar will be helpful too. thanks

thanks for responses. could one change the ridge location of a roof after placement of roof. .in a case where he slopes of both pitches are the same but one eave is lower than the other , how does one place the ridge exactly where you want it , if revit by default places the ridge equidistant from both eaves.?

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