Agnes
Agnès by Emma Cocco
Font anatomy of the source font Joanna Eric Gill, 1930-31 Foundry: Monotype
Double-story a with tapered finial
Ascender line Cap height x-Height
Baseline
Descender line
Imagi Square, unbracketed serifs
Double-story g with low contrast
High contrast shoulder
Apex
Overshoot
Rounded dot
nation Overshoot
Vertical stress
Uppercase Letters
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Lowercase Letters
a b c d e f g h i j k l m n o p q r s t u v w x y z
Numerals
1 2 3 456 789 0 1 2 3 4 5 6 7 8 9 0
Diacritics
à
è
é
ò
Punctuation
.
,
;
:
'
‘
’
“
”
"
Signs and symbols
+
-
/
\
(
)
€
# %
*
= [ @
™
< ]
> {
& ©
} _ §
TITOLO
A
V A TITOLO
Evolution
b b Source font -JOANNA-
Source font with middleline
Applied brushes
Brushes
0° 50% 8pt
o O
27° 50% 7,5pt
Change of the skeleton
Added serifs
b
Final letterform -AGNES-
0째 40% 7,5pt
50째 35% 8pt
50째 35% 7,3pt
45째 50% 7pt
21pt/26pt
13pt/15,5pt
10pt/13pt
7pt/8,5pt
“WHILE I LIVE, I REMEMBER”: AGNES VARDA’S WAY OF SEEING Agnès Varda was known as the Godmother of French New Wave cinema, but she charted a course unlike any other. Her wave was her own. [...]One of the things that is so moving and exciting about Varda’s way of making films is how transparent she made her own fanciful, critical, witty process of looking. Even more than other filmmakers, she made the camera her az searching, zooming, lingering on the sorts of things that other people might see as part of the background, if at all. In “Les Dites Cariatides,” a short film that Varda released in 1984, she walks the streets of Paris, looking up for the city’s caryatids, stone sculptures of nude women gorgeously imprisoned in the city’s grandest buildings, and caresses their immobilized bodies and faces with her lens. “The nude, in the street, is more often made of bronze than human skin,” she says, in voice-overand more often female than male, a point that she makes by filming a naked man walking calmly down a Parisian street in broad daylight. Last year, while at Harvard to give two Norton Lectures on her work, Varda told the audience that she often felt like she was drawing with her camera, particularly when she was shooting women. “I filmed the line of her body starting
By Alexandra Schwartz, March 30, 2019 THE NEW YORKER - Culture Desk
with her feet,” she a, of Jane Birkin, the subject of her film “Jane B. par Agnes V.” She had no use for the usual cinematic vocabulary of sexualized female bodies, she said, women cut up into parts for the viewer’s ease and pleasure. “I like to feel that women have a full body, which can be shown in integrity,” she said. Varda knew how to wait, and how to listen. [...] She also knew how to invent, to add magic to the ordinary. In a scene from “The Beaches of Agnès,” the autobiographical self-portrait that she made, ten years ago, at the age of eighty, acrobats at an impromptu circus that she has staged by the sea flip and fly through the air like fish. They serve no narrative purpose; there is no reason for them to be there, aside from the joy they give us. “That’s one side of the cinema I love: to get money to make dreams,” she said. [...] She made an art of memory without nostalgia. “It all happened yesterday, and it’s already in the past,” Varda says. “A sensation combined instantly with the image, which will remain. While I live, I remember.” Now she is gone, and that job passes to us.
Alexandra Schwartz has been a staff writer at The New Yorker since 2016. She was the winner of the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing for 2014.
Font sizes in use
Body text negative
Caption text negative
[...]One of the things that is so moving and exciting about Varda’s way of making films is how transparent she made her own fanciful, critical, witty process of looking. Even more than other filmmakers, she made the camera her eye searching, zooming, lingering on the sorts of things that other people might see as part of the background, if at all. In “Les Dites Cariatides,” a short film that Varda released in 1984, she walks the streets of Paris, looking up for the city’s caryatids, stone sculptures of nude women gorgeously imprisoned in the city’s grandest buildings, and caresses their immobilized bodies and faces with her lens. “The nude, in the street, is more often made of bronze than human skin,” she says, in voice-over- and more often female than male, a point that she makes by filming a naked man walking calmly down a Parisian street in broad daylight. Last year, while at Harvard to give two Norton Lectures on her work, Varda told the audience that she often felt like she was drawing with her camera, particularly when she was shooting women. “I filmed the line of her body starting with her feet,” she a, of Jane Birkin, the subject of her film “Jane B. par Agnes V.” She had no use for the usual cinematic vocabulary of sexualized female bodies, she said, women cut up into parts for the viewer’s ease and pleasure. “I like to feel that women have a full body, which can be shown in integrity,” she said. Varda knew how to wait, and how to listen. [...] She also knew how to invent, to add magic to the ordinary. In a scene from “The Beaches of Agnès,” the autobiographical self-portrait that she made, [...] acrobats at an impromptu circus that she has staged by the sea flip and fly through the air like fish.
By Alexandra Schwartz, March 30, 2019 THE NEW YORKER - Culture Desk
10pt/13pt
Alexandra Schwartz has been a staff writer at The New Yorker since 2016. She was the winner of the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing for 2014. 7pt/8,5pt
5 to
7
5
Cleo from
Typographic scale
80pt
visages
60pt
visages
50pt
visages
40pt
visages
30pt
visages
25pt
visages
20pt
visages
15pt
visages
10pt
visages
8pt
visages
6pt
visages
Font anatomy
Calligraphic unbracketed serif, asymmetrical, tapered and bilateral
Ascender line Cap height x-Height
Baseline
Descender line
Overshoot
Va g a Double-story g with closed loop and low contrast
Tapered rounded overhang
Double-story a with tapered and curved spur
High contrast shoulder
Oblique shading
Ascender head serif, unbracketed and round
b o nd Wide closed counter
Vertical stress
Overshoot
Font characteristics Unbracketed serifs
Ascender line
bdhkl head serif
Cap height
HIJLNU bilateral
EFMN monolateral
gkvwy bilateral
ijmnpru head serif
csz beak
fhiklmnpq rx AFHIKMNP RTXY bilateral
kuxy DKZ monolateral
z ELZ beak
x-Height
Baseline Descender line
d spur
Terminals
a Tapered rounded finial a f Also applied to the ear in r and to the apex in t
v Tapered rounded overhang vwVWMN Applied also to the apex in A
R
G
Monolateral top terminal DPRB
Rounded beak CGS
e
f
Tapered rounded finial ectC
Crossbar with rounded terminal ft Applied also to the ear in g
AGN E S V.
fleur lafleurla fleurlafl eurlafleu rlafleurl afleur
Font relations Uppercase letters
OQCG These letters share the same roundness
IHKLNM These letters share the same stem and serifs
TFEDPRB These letters share the same stem, F E also share the same arms
These letters share the same stem, P R B also share the same bowl
VAW These letters share the same diagonals
JUSZ These letters share the same serif
These letters share the same beak but mirrored
XY
Lowercase letters
oec
vwy
These letters share the same roundness
These letters share the same diagonals
These letters share the same stem n m u h share the same bowl
hbpdqkl These letters share the same stem b p d q share the same bowl
xz These letters share the same diagonals
tf These letters share the same crossbar
asg These letters are independent and share no common features with the others
DONâ&#x20AC;&#x2122;T CALL ME ARLETTE
Faculty of Design and Art Free University of Bolzano - Bozen WUP 2020/21 Typeface designed by Emma Cocco Prof. Antonino Benincasa Andreas Trenker Emilio Grazzi Font created with Illustrator & Fontself