k k k kk k kk k
k k k Trance Sans
Trance Sans by Ana Cecilia Bautista
font anatomy of the source font
Braketed serif Second vertical stroke curves inwards
Cap Height
Baseline
Rhap
Upturned tail, emulates calligra
Expressive and elongated leg extending to next letter
Slanted strokes on most lowercase stems
Transitional bracketed serif
Slight diagonal stress with overshoot
psody
Ascender
High stroke contrast
X-Height
Humanist serif
Descender
aphy
Teardrop Terminal
Bembo Std, Francesco Griffo, 1496
uppercase letters
C AA BB C D EE FF GG HH D I I JJ KK LL M M R R
N O O PP Q Q N T UU VV SS T W XX Y Y W ZZ
lowercase letters
abcd efghi jklmno pqrstuv w x y z e af bg ch di j k l m n o p q r s t u v w x y z
numerals
0
0 9 0 9 8 1 1 8 2 7 2 7 3 6 3 6 4 5 4 5 5 4 5 4 6 3 6 3 7 2 7 2 8 1 8 1 9 0 9
88
0
0
symbols
.,:;!?'" “ ”« »}_&#@ ™©§%* +-™ = < >/(){}[]€
say, say, otha
brot a
brot
tha b
,
evolution
g
final letterform
source font & skeleton
applied brush
Bembo
Trance
brushes -163deg. 35% 9pt
Thickest brush used as a base for almost every single character. Thiner brushes where then applied to harmonise the whole font and to balance the weight between letters such as capital M, N and H and lowercase letters related to b (d,p,q) and n (m,h,u)
Stem looked too thick compared to bowl, slightly thiner brush applied on it to create balance within the final shape
-163deg. 35% 7.5 pt
Uppercase letters such as S and Z and lowercase letters like h, k, m, z and those related to v (w,y) consisit solely of one stroke, for their shapes appeared to be too heavy at some angles in comparison to the other letters that were using the exact same brush
-166deg. 35% 4pt
-163deg. 35% 7pt
Specially thin brushes can be found at characters such as multiplication/ division sign, punctuation and diacritic signs related to comma and apostrophe (, ; “”‘’) and at lowercase i and j's tittle
font sizes in use 22pt/25pt
12pt/16pt
History at the boundaries of gender Charles Hamilton, a travelling medicine-seller in 18th-century
Somerset, was a dapper, charming suitor, wooing a landlady’s niece and settling into the role of husband until, in 1746, the newlywed bride denounced their marriage as fraudulent. After a Glastonbury jury ruled Hamilton had impersonated a man, news of the young mountebank’s trial and shaming led Henry Fielding to cash in with a sensationalised work. This now largely forgotten entry to Fielding’s catalogue of reprobates and rakes gave newspapers a term for people like Hamilton, who had been assigned female at birth, lived as men and legally married women: the ‘female husband’. 11pt/15pt
10pt/14pt
The challenges of interpreting the fragments of evidence about these people’s lives, written by those who had the social and economic order of marriage to defend, becomes in Jen Manion’s hands a masterclass in historical rigour, empathy and craft.
Joining Hamilton in this transatlantic history are a cast of figures brought to the page through new digital technologies and exhaustive archival research: the innkeeper James Howe, a ‘model citizen’ until an extortionist forced her to adopt female identity to clear her name; labourers like James Allen and Henry Stoake heading working-class households; cross-dressing soldiers and sailors, some well-known to history and others not; the independently wealthy Albert Guelph, the frontiersman Joseph Lobdell and the disparate individuals whom the press started calling ‘female husbands’ in the late 19th century as this social category born of 18th-century property relations started to break down.
All were objects of fascination for the literary culture. None could continue their lives as men after the events that brought them into the historical record.
Writers then and now have held them up as exemplars of rebellious women, while more recently others have celebrated them as ‘trans ancestors’, or tried to reveal their ‘real’ gender. Manion, in contrast, sets cis (non-trans) people’s fascination with trans people’s identities aside. Refusing to be ‘bogged down’ in details of how female husbands and their wives took bodily pleasure "Female Husbands“ questions are instead steeped in trans and
gender-non-conforming people’s daily lives (of which Manion too has some experience) and the press, literary and legal sources that mediated their practices and relationships.
It is radical enough to sidestep, as Manion does, the ‘distraction’ of pronouncing on the logistics of couples’ sexual relations, let alone to allow that their crossing of gender boundaries might sometimes have made them objects of desire. Manion’s book is just as attentive to how these lives unfolded within systems of race, empire and domination, noting the violence of settler colonialism that enabled Lobdell’s livelihood on the frontier and the entanglements with slavery surrounding the Howes’ docklands inn. When Manion refers to the book’s subjects as ‘they’, it is not to cram them into a 21st-century non-binary identity, but to convey the boundlessness with which the 20th-century writer Leslie Feinberg wrote of gender: to force them into female categories they demonstrably rejected in life traduces their efforts, yet too many of the hus-
bands moved between male and female 10pt/14pt gender expressions for ‘he’ to apply to them all. By holding ‘the gender that people embraced, negotiated and became during their lives’ as the closest historians can come to truth, Manion’s writing is a beacon for representing gender variance in the past.
If ‘Female Husbands’ deals with a period that historians once struggled to make legibly queer, Barry Reay’s ‘Trans America’ picks up the story of sexual and gender indeterminacy when modern identity terms coalesced. Reay’s main interests are the emergence of ‘transsexual’ as a category in the 1960s and 1970s for those desiring surgical intervention, the 1990s ‘transgender turn’ when gender non-conforming people like Feinberg defined themselves outside conventional gender systems altogether, and the blurring of boundaries between sexual and gender identity that Reay worries may be forgotten if ‘trans sexual’ and ‘transgender’ become overly fixed categories themselves.
Female Husbands relies more on the author’s own archival
being crossed long before today’s identity labels emerged,
research , which covers the shifting transmasculine identities
it is Female Husbands that breaks new ground for what and
of the 1960s. While both books recover stories that should
how historians can find out about those lives.
7pt/12pt
not be forgotten and show sexual and gender boundaries
Catherine Baker/ Published in History Today Volume 70 Issue 5 May 2020. (2020, May 5). Rediscovering Trans History. Retrieved November 30, 2020, from https://webcache.googleusercontent.com
50pt
39pt
Sé y deja ser Sé y deja ser
30pt
Sé y deja ser
23pt
Sé y deja ser
20pt
Sé y deja ser
17pt
Sé y deja ser
11pt
Sé y deja ser
Vivi e lascia vivere
13pt
Vivi e lascia vivere
18pt
Vivi e lascia vivere
21pt
Vivi e lascia vivere
25pt
Vivi e lascia vivere
31pt
Vivi e lascia vivere
typographic scale
34pt
Non tapered finials emulating calligraphic strokes
Wildly varying letter widths presenting strong stroke contrast
Cap Height
Dysph < >
Baseline
Small decorative tail with very narrow arc
Sharp cut at borderline
Open aperture and calligraphic terminals
font anatomy
Smaller overshoot at x-height than at baseline
Tittle slightly higher than cap height line
<
horia
Ascenderline
double-story lowercase
X-Height
>
Descenderline (y) Descenderline (p)
Diagonal and moderate stress with axis curves inclined to the left Upturning spur
Burly curved bowl
font characteristics
pdc% Wavy details on most round letters or signs. Delicate distortion on capital letters such as A,H,K,N,R,U,X,Z. Straight lines become curves instead (for crossbars & diagonal strokes). Lowercase a,g and k are unique double-store characters, since they show their own (original) distortion.
f
% Inside-pulling distortion at bowls (d,b,p,q), g's loop, c,e and a's counter. Uppercase B, @ sign and numbers like 2,3,8 show a strong and tight curvature at the right top. Uppercase/ascender letters end up at very sharp and straight cuts, while lowercase letters present more gentle, calligraphic-lookalike cuts and terminals.
AHR
TRA TRA TRA LIV LIV LIV mat mat mat
ANS ANS ANS VES VES VES tter tter tter
BPR
Inicial P shape, manipulated to fit letters
NM
Initial stem and serifs, distorted diagonals
EF
Extra arm added to original shape
OQCGD Same roundness, size and proportions; wave creation from C to G
IJ HL Same stem, inverted serifs for H and L
S KZ Independent letter shape
font relations
oec bdpq nmhur vwy ilj tf as g kxz
"o“ shape as basis; little pull towards the inside for e and c
"b“ shape mirrored for "d“ shape; details on bowl and different line weight added afterwards to crate distinction
"n“ shape, shoulder line weight and cuts kept for m,h and u. Stem kept for r, but its shoulder became shorter and thicker
"v“ as basis for w and y‘s creation, "w“ middle arm cut off diagonally. Added tail (descender) for "y.“
"i“ stem and tittle repeats at "j“, while stem is elongated for "l“. t and f‘s crossbar is identical in proportions
unique/ independent letter shapes
k k kkk kkk k Typeface designed by Ana Cecilia Bautista
Prof. Antonino Benincasa Andreas Trenker Emilio Grazzi Font created with Illustrator & Fontself
k k k k
Faculty of Design and Art Free University of Bolzano - Bozen WUP 2020/21