Jean Rene
Jean René 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 e f g i j k l n o p r s t u w x y
d h m q v 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
Evolution
b b
Source font with middleline
Source font -JOANNA-
Brushes
0° 80% 8pt
Applied brushes
Change of the skeleton
25° 70% 8pt
Applied white rectangles to create angled cuts
b
Final letterform -JEAN RENE-
0° 100% 5pt
25° 70% 7pt
21pt/26pt
JR: “I realised I was giving people a voice”
12,5pt/16pt
He’s the street artist they call the ‘French Banksy’, his provocative, epic murals appearing overnight, as if from nowhere. From the Paris banlieues where he grew up to New York and Shanghai, JR has a mission - to make us see those we have made invisible.
10pt/13pt
Little more than 10 years ago, the Parisian “the French Banksy” is a description that photographer JR was what’s usually called tends to follow him around. But wherea vandal. He pasted things illegally in the as Banksy is furtive, stealthy, inward, JR street. Did you have a revelation at some couldn’t be more expansive. He works stage, I ask him, when you thought, “Ah, with a large team of people across two this is art?” “No. At the time, there was continents, collaborates constantly, and not street art,” he says. “There was no communicates relentlessly. He has a Banksy. It’s not the kind of thing you said knack for making the invisible - people, you wanted to be when you’re older.” usually, the poor, the marginalised, the What? A criminal? “Exactly.” JR still pastes forgotten - visible. It’s a sort of mathings in the street; it’s just that the gic trick, I realise, making people appear, things have got bigger. And the world making us take notice, although it’s David has an expanded idea of what’s vandaBlaine, the American street magician, lism and what’s art. JR’s canvases are who is actually the one who points this now tower blocks, whole buildings, entire out to me. Blaine is known for his feats of streets. His scale is epic, monumental. He endurance that exist somewhere at the turned the separation wall between Israel edge of art and magic and madness - he and Palestine into a giant gallery of faces: once spent 44 days in a Plexiglass box Palestinians on the Israeli side, Israelis on suspended above the Thames - and he’s the Palestinian side, though no one could a friend of JR’s. “JR sees things from a tell. He transformed a huge favela in Bra- different perspective,” Blaine tells me. “He zil into a vast artwork in which he literally pasted this figure of a person, hundreds gave the town eyes, and he displayed a of metres long, on the sidewalk at Fifth pregnant refugee on the point of giving Avenue and Madison and everybody was birth on half a mile of the Seine embankwalking over it and nobody saw it until ment in the solidly bourgeois Ile Saintit was photographed from above. It was Louis. He’s usually described as a street completely invisible but suddenly seen by artist and given that he’s from Paris, and everyone. The way he’s using his art has started out spray-painting walls and has made me think about magic in a very the semi-anonymity of those two initials, deep and personal way.” [...]
7pt/8,5pt
By Carole Cadwalladr October 11, 2015 THE GUARDIAN - The Observer
Carole Cadwalladr is a British author, investigative journalist and features writer. She is a features writer for "The Observer" and formerly worked at The Daily Telegraph. She rose to international prominence in 2018 when she exposed the Facebook-Cambridge Analytica data scandal.
Font sizes in use
Body text negative
Caption text negative
Little more than 10 years ago, the Parisian photographer JR was what’s usually called a vandal. He pasted things illegally in the street. Did you have a revelation at some stage, I ask him, when you thought, “Ah, this is art?” “No. At the time, there was not street art,” he says. “There was no Banksy. It’s not the kind of thing you said you wanted to be when you’re older.” What? A criminal? “Exactly.” JR still pastes things in the street; it’s just that the things have got bigger. And the world has an expanded idea of what’s vandalism and what’s art. JR’s canvases are now tower blocks, whole buildings, entire streets. His scale is epic, monumental. He turned the separation wall between Israel and Palestine into a giant gallery of faces: Palestinians on the Israeli side, Israelis on the Palestinian side, though no one could tell. He transformed a huge favela in Brazil into a vast artwork in which he literally gave the town eyes, and he displayed a pregnant refugee on the point of giving birth on half a mile of the Seine embankment in the solidly bourgeois Ile Saint-Louis. He’s usually described as a street artist and given that he’s from Paris, and started out spray-painting walls and has the semianonymity of those two initials, “the French Banksy” is a description that tends to follow him around. But whereas Banksy is furtive, stealthy, inward, JR couldn’t be more expansive. He works with a large team of people across two continents, collaborates constantly, and communicates relentlessly. He has a knack for making the invisible - people, usually, the poor, the marginalised, the forgotten - visible. It’s a sort of magic trick, I realise, making people appear, making us take notice, although it’s David Blaine, the American street magician, who is actually the one who points this out to me. [...]“JR sees things from a different perspective,” Blaine tells me. [...]
By Carole Cadwalladr October 11, 2015 THE GUARDIAN - The Observer
10pt/13pt
Carole Cadwalladr is a British author, investigative journalist and features writer. She is a features writer for "The Observer" and formerly worked at The Daily Telegraph. She rose to international prominence in 2018 when she exposed the Facebook-Cambridge Analytica data scandal. 7pt/8,5pt
Typographic scale
80pt
places
60pt
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50pt
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40pt
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30pt
places
25pt
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20pt
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15pt
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10pt
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8pt
places
6pt
places
Font anatomy
Mirroring angled cuts -17,5째/17,5째
Ascender line Cap height x-Height
Baseline
Descender line
Overshoot
Vag a Single-story g with open loop and overshoot Straight cut overhang with overshoot 0째
Single-story a with tapered spur and angled cut 74째
Diagonal stress 25°
Low contrast shoulder
Ascender angled cut 18°
b o nd Vertical stress
Overshoot
Font characteristics
E
M
60° angled cut
16° angled cut
Applied to horizontal strokes in z, to the arms of E F T, T to the crossbar in f t. t When mirrored it is also applied to the arm of J
Applied to uppercase letters H I K L M N. N When mirrored it is also applied to finials in lowercase letters c e
a
S
z
-17,5° angled cut
35° angled cut
60° angled cut
Applied to a g u v w x y VW
Applied specifically to the spur in S
Particular feature of z Z having angled cuts on the edges
G
l
68,5° angled cut
18° angled cut
Applied to the arm of G and to the tail of J. When mirrored it is also applied to the tail of Q
Applied to straight strokes in b d h i j k l m n p r. r When mirrored it is also applied to the arm of lowercase and uppercase k and to the apex of A and t
C
30째 angled cut
Applied to s C G and to the higher spur in S
q Horizontal cut (0째) Applied in descender cuts to p q y, y in baseline cuts to d f h i k l m n r, r v w (with overshoot), A H I K M N P RTY
r -7째 angled cut Applied to the ear of r and to the higher cut of c. When mirrored it is also applied to the open loop of g
K k High link between arm and leg in k K
-17,5
X x 째
Mirrored cuts appear in u v w x y U V W X Y. Differently from the other letters, both X x share the same feature of having mirrored cuts with overshoot on the baseline as well
i j Rounded dots
ij
O
U
T
Font relations Uppercase letters
OQCG These letters share the same roundness
IHKLNM
These letters share the same stem
mirrored
TFEJDPRB
These letters share the same stem and arms -17,5
17,5°
These letters share the same stem P R also share the same bowl
VWUXY °
These letters share the same cuts V W X Y also share the same diagonals
ASZ These letters are independent and share no common features with the others
Lowercase letters
vwyx
-17,5
° 17,5°
These letters share the same cuts v w also share the same diagonals
unmh rij
These letters share the same stem u n m h also share the same bowl
ecbpdqkl These letters share the same roundness b p also share the same bowl
tf ag These letters share the same crossbars
These letters share the same bowl
zso These letters are independent and share no common features with the others
These letters share the same bowl
YOU CAN CALL ME JR
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