q Vincent Sans
Vincent Sans by Giulia Pezzin
Cap height and Ascender
x-height
Baseline
Descender
Overshoot
Slightly angled cut
Straight cut
Font anatomy of the source font
Van
Berthold first published Akzidenz-Grotesk in 1898. Originally named “Accidenz-Grotesk” the design originates from Royal Grotesk light by royal typecutter Ferdinand Theinhardt. The name was intended as an occasional and light and not elegant use. However, unlike most of other contemporaries fonts, it managed to distinguish itself by its qualities of simplicity and neutrality.
Gogh Straight cut
Little modulation of strokes
Simple and geometric shape
Angled cut
Uppercase Letters
A B C D E F G H I J K L M NOPQRST 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
2 4 9 7 065 3 1 8
Numerals
Diacritics, punctuation, signs and simbols
. , : ; ! ? ' '' ~ * + - = @ # & _ § / \ ( ) [ ] { } « » ‹ › ‘ ’ “ ” ´ ` ..
..
ü ù ú´
..
èé
ä à á´ ö o´ ó´
"and then, i have
NATURE ART POETRY and if that's not enough, what is enough?"
evah i ,neht dna"
ERUTAN TRA YRTEOP ton s'taht fi dna tahw ,hguone "?hguone si
VGH
Vincent Sans
Akzidenz-Grotesk
Evolution
Brushes
CDGOQ -180° 65% 8pt
-180° 65% 8pt
BDEFHIJKLMN PRTUY AEFGHLTZ
-180° 65% 8pt
AKMNRVWXYZ -180° 65% 8pt
BPR -180° 65% 8pt
S -180° 65% 8pt
Brushes
-180° 65% 6pt
abcdehgmnop qru bdhiklmnpqru
-180° 65% 6pt
eftz -180° 65% 6pt
kvwxyz -180° 65% 6pt
fgjt -180° 65% 6pt
as -180° 65% 6pt
Typographic scale Self-portrait, 1889
10pt
The bedroom, 1888
12pt
The Night Café, 1888
14pt
The Starry Night, 1889
18pt
The Potato Eaters, 1885
22pt
Café Terrace at Night, 1888
26pt
Wheatfield With Crows, 1890
30pt
21pt/24pt
Letters from Vincent Van Gogh to Theo Van Gogh
12pt/14pt
Below, some passages from one of Vincent Van Gogh's last letter to his brother Theo:
9.5pt/11pt
Font sizes in use
[Arles - July 1888] [...] Is it really a strange phenomenon that all artists, poets, musicians, painters, are materially unhappy - even the happy ones [...]. This brings to the surface the eternal problem: is life all visible to us, or do we know only one hemisphere before death? Painters - to say nothing of them - when they are dead and buried speak with their works to a later generation or to several successive generations. Is this the point or is there more? Death is perhaps not the most difficult thing in a painter's life. I declare that I know absolutely nothing about it, but the sight of the stars always makes me dream, as well as the black dots that represent cities and villages on maps. Why, I say to myself, should the bright dots in the firmament be less accessible than the black dots on the map of France? If we take the train to Tarascon or Rouen, we can take death to go to a star. But what is certainly correct, in this reasoning, is that being alive we cannot get to a star, no more than, being dead, we can take the train.
6pt/7pt
However, it doesn't seem impossible to me that "diseases" can constitute means of celestial locomotion, just as boats, omnibuses and the train are means of terrestrial locomotion. To die quietly of old age would be like travelling on foot. [...]
In one of his last letters, which Vincent Van Gogh wrote to his brother Theo, before taking his own life, the painter speaks of the great attraction that the stars exert on him, the joy he feels at the mere thought of being able to get up there... and how they are unreachable unless dying...
These are the thoughts of a madman, according to the doctors, of a madman who reasons about life in philosophical and objective terms, as few normal men would do. Evidently artistic sensibility opens in the mind unique and special paths.
Font sizes in use
Van Gogh
21pt/24pt
by Jeanne Murray Walker
12pt/14pt
All right, I love him for the way he painted Vermilion! Orange! jagged as shouts, and when no one bought them, no one even heard him, he shouted louder, Sunflowers! Self-portrait! and years later, not one sold, he cut off his own ear.
9.5pt/11pt
Then he had to bring it back on canvas hundreds of times, in the brass swelling of the bell that called him to dinner, in the complicated iris at the end of the asylum path. Think how stooping at a fork in the road he might have seen a stone-shaped ear, how the human heart, once it knows what it needs, will find it everywhere, how in the curve of his delicately padded cell one starry night, he must have murmured everything he had ever wanted to say straight into the ear of God.
This poem appears in A Deed to the Light (University of Illinois Press, 2004)
6pt/7pt
Ascender x-height
Baseline
Descender
Paint Double story lowercase a
Cap height
Round dots
Same bowl used for B and R
Font anatomy
Single story lowercase g
Little modulation of stroke contrast
Angled spur
ting Very little vertical stress
Straight terminals
Font characteristics straight cutted ascendender
same bowl used for b, d, p, q
bd pq straight cutted descender
shoulders with slightly thinner joints
angle of 38°
v w y
YELLOW YELLOW YELLOW YELLOW YELLOW YELLOW YELLOW
it stands for the sun
Font relations
nmhru oec bdpq vwy iljft asgkz
same structure
round shape
same shape rotated and reflected
same angle between the two lines
straight vertical line
independent letters
mix of vertical and oblique lines
round shape
same bowl
same oblique lines
straight vertical line
independent letters
NM OQCG PRB
AVWXY IJLTHEF DKSU
? M I Q
Y
X
A TG
V
N
S AP HLWK Z B J
a Faculty of Design and Art Free University of Bolzano - Bozen WUP 2020/21 Typeface designed by Giulia Pezzin Prof. Antonino Benincasa Andreas Trenker Emilio Grazzi Font created with Illustrator & Fontself