Antwerp Font Free Download

[Otilia Mojarro]

Weuse Calibri for all Microsoft Office applications and emails. Calibri is also the standard font for PowerPoint presentations. If you have an Adobe Creative Cloud licence, you can also download an Officina version for PowerPoint.

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Copyright (c) 2012 Richard van HorssenThis record material and the data recorded thereon is the property of Richard van Horssen and may not be reproduced, used, displayed, modified,disclosed or transferred in any manner without the express writtenapproval of Richard van Horssen.

I have a soft spot for classic text faces carefully crafted in the digital format. They link historical tradition with modern technology in a perfect way. Antwerp is a prime example.

With five weights, Antwerp is designed to be a workhorse not only for books, but newspapers and magazines as well. Its forward-thinking design gives it a good chance to be just that for many years to come.

Based in Stockholm, Stefan Hattenbach has been producing type since 1997. After many years as a designer in the advertising world, he now works fulltime on custom fonts for clients and retail fonts for his MAC Rhino foundry.

Founded in 2002, Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles and Caren Litherland and designed by Chris Hamamoto.

I have become increasingly interested in fonts over the last couple of years, exploring something of the history as well as the enormous volume and variety of current activity. I will post an occasional note about them here, acknowledging my amateur status. The fonts on this entry are from two sources, each with an intriguing and significant story that speaks to diversity and its lack.

First, the body text and quotations set in fonts from a collection of typefaces by Ange Degheest, a fictional designer wonderfully realised by students at The European Academy of Art in Brittany. Read more here. They were highlighting how female type designers where either hidden or absent from the record. The body is in Latitude, and the quotations are in Abordage, both by Eugnie Bidaut. The fonts are distributed together in one download on Velvetyne, the wonderful site for open source fonts.

The heading, navigation and button text are in Soyuz Grotesk by Roman Gornitsky of The Temporary State. It is an adaptation back into Latin of a Russian adaptation of Helvetica. The conceit here is that it is done as if without knowledge of the original Helvetica, or of the Latin practices of which it is a part. I love the 'r' in this context. Read more here and here. It has only one case, a reminder that upper and lower case are not universal.

The intention behind the design of Plantin was to create a font with thicker letterforms than were often used at the time: early printing on absorbent book paper led to ink spread, but by 1913 innovations in smoothing and coated paper had led to reduced ink spread and made old types often look skeletal on paper.[3] Monotype engineering manager Frank Hinman Pierpont visited the Plantin-Moretus Museum, where he acquired a printed specimen of historic types.[4]

Plantin was one of the first Monotype Corporation revivals that was not simply a copy of a typeface already popular in British printing; it has proved popular since its release and has been digitised. Monotype followed it with revivals of many other classic typefaces in the 1920s and 30s.[1] Plantin would later also be used as one of the main models for the creation of Times New Roman in the 1930s.[5] The Plantin family includes regular, light and bold weights, along with corresponding italics.

At the time Plantin was released, Monotype's hot metal typesetting system, which cast new type for each printing job, was developing a reputation for practicality in trade and mass-market printing, but the designs offered by Monotype were relatively basic choices, such as a "modern" face, an "old style" and a Clarendon.[1]

James Moran and John Dreyfus suggested that an inspiration for the design may have been a c. 1910 family from the Shanks foundry known as "Plantin Old Style", advertised as highly legible.[6] This was actually a bold design based on Caslon, with no connection to Christophe Plantin or Granjon, but Dreyfus suggests it may have prompted Monotype to research Christophe Plantin and the collection of the Plantin-Moretus Museum.[7]

The Plantin-Moretus Museum was created in 1876 from Plantin's collection which had been preserved and added to by his successors in business. It is notable as the world's largest collection of sixteenth century typefaces.[8] Although Plantin commissioned types from Granjon, according to Hendrik Vervliet the specific type Pierpont's design was based on began to be used by the Plantin-Moretus Press only in the 18th century, after Plantin had died and his press had been inherited by the Moretus family.[9] (It has been reported that Plantin did use the long letters of the type as replacement letters to cast a type by Garamond shorter height, but Vervliet suggests that these may have been a set of slightly different characters cut by Granjon separately.[9][3][4][10])

Plantin was designed and engraved into metal at the Monotype factory in Salfords, Surrey, which was led by Pierpont and draughtsman Fritz Stelzer. Both were recruits to Monotype from the German printing industry.

The choice to revive a French Renaissance design was unusual for the time, since most British fine printers of the period preferred either Caslon or revivals of the fifteenth-century style of Nicolas Jenson (recognisable from the tilted 'e'), following the lead of William Morris's Golden Type, both of which Monotype would also develop revivals of.[1] However, other revivals of Aldine/French renaissance typefaces followed from several hot metal typesetting companies in the following decades, including Monotype's own Poliphilus, Bembo and Garamond, Linotype's Granjon and Estienne and others, becoming very popular in book printing for body text.

The design for Plantin preserved the large x-height of Granjon's designs, but shortened the ascenders and descenders and enlarged the counters of the lowercase 'a' and 'e'.[4] Not all the letters were Granjon's: the letters 'J', 'U' and 'W', not used in French in the sixteenth century, were not his, and a different 'a' in an eighteenth-century style had been substituted into the font by the time the specimen sheet was printed.[9][11][12][13]

The 1742 specimen of Claude Lamesle (notable for its printing quality) provides a specimen of the Granjon type in its original state.[14][9] Mosley has close-up images of some characters of the face.[12][a]

With its relatively robust, solid design compared to the Didone and "Modernised Old Style" faces popular in the early twentieth century (which Monotype already had made versions of), Plantin proved popular and was often particularly used by trade and newspaper printers using poor-quality paper in the metal type period and beyond. Monotype's advertising emphasised its popularity with advertisers, highlighting its use in the "Mrs Rawlins" series of adverts for washing starch.[16][17][18][19] As the basic font is relatively dark on the page, Monotype offered a 'light' version as well as a bold, which Hugh Williamson describes as "particularly suitable for bookwork."[20]

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