p d Vincent Serif
Vincent Serif 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 conteporaries 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 GHIJKLM 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
Numerals
123 456 789 0
Diacritics, punctuation, signs and simbols
. , : ; ! ? ' '' ~ * + - = @ # & _ § / \ ( ) [ ] { } « » ‹ › ‘ ’ “ ” ´ ` ..
..
ü ù ú´
..
èé
ä à á´ ö o´ ó´
*
g
g
VG H
Vincent Serif
Akzidenz-Grotesk
Evolution
Brushes
CDGOQ -180° 50% 8pt
-90° 50% 8pt
BDEFHIJKLM NPRTUY AEFGHLTZ
140° 40% 8pt
-125° 55% 8pt
AKMNRVWXY Z BPR
60° 50% 9pt
S 50° 55% 8pt
Brushes
-180° 50% 6pt
abcdehgmnop qru bdhiklmnpqru
-90° 50% 6pt
eftz 140° 40% 6pt
kvwxyz -125° 55% 6pt
fgjt 60° 50% 9pt
as 50° 55% 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
Arles, Thursday, 1 or Friday, 2 November 1888
9.5pt/11pt
Vincent Van Gogh and Paul Gauguin to Emile Bernard
12pt/14pt
Font sizes in use
My dear old Bernard, We’ve done a great deal of work these past few days, and in the meantime I’ve read Zola’s "Le rêve", so I’ve hardly had time to write. Gauguin interests me greatly as a man — greatly. For a long time it has seemed to me that in our filthy job as painters we have the greatest need of people with the hands and stomach of a labourer. More natural tastes — more amorous and benevolent temperaments — than the decadent and exhausted Parisian man-abouttown. Now here, without the slightest doubt, we’re in the presence of an unspoiled creature with the instincts of a wild beast. With Gauguin, blood and sex have the edge over ambition. But enough of that, you’ve seen him close at hand longer than I have, just wanted to tell you first impressions in a few words.
6pt/7pt
Next, I don’t think it will astonish you greatly if I tell you that our discussions are tending to deal with the terrific subject of an association of certain painters. Ought or may this association have a commercial character, yes or no? We haven’t reached any result yet, and haven’t so much as set foot on a new continent yet. Now I, who have a presentiment of a new world, who certainly believe in the possibility of a great renaissance of art. Who believe that this new art will have the tropics for its homeland.
Now something that will interest you — we’ve made some excursions in the brothels, and it’s likely that we’ll eventually go there often to work. At the moment Gauguin has a canvas in progress of the same night café that I also painted, but with figures seen in the brothels. It promises to become a beautiful thing.
I’ll leave a page for Gauguin, who will probably also write to you, and I shake your hand firmly in thought. Ever yours, Vincent
Font sizes in use
Dear Lover of Light
21pt/24pt
by Abigail Carroll
12pt/14pt
Dear Lover of Light,
9.5pt/11pt
There lived a priest so in love with light it drove him mad. Paint was his thing. When he could no longer preach, he hopped a train south, took up a brush, turned zinc and lead and chrome into gaudy, wildpetaled ambassadors of the dawn. He slapped stars as big as brooches on the sky, danced crows across bowing fields of wheat, exalted a bowl of onions, a bridge, a pipe, a chair, a bed. Postmen and prostitutes were his friends— so too were irises, almond trees, windmills, clouds. Francis, if you think of a painting as a kind of song, he too canticled the sun.
A Vincent enthusiast
This poem appears in A Gathering of Larks: Letters to Saint Francis from a
Modern-Day Pilgrim (Eerdmans, 2017)
6pt/7pt
x-height
Baseline
Descender
Serif only on one side
Cap height and Ascender
Little modulation of stroke contrast
Horizontal bracketed serif
Font anatomy
Feeli
Single story lowercase g
lings Beak serif
Bracketed serif
Round dots
mR j p V s XkogapSeByQg n J
a
vc r z W rvj
d
T
mB M
k B F a
R
e
Y
xc
J
a r v j nS
wg Ct p
J
t o
L x
A
H ia
q f
q m g B f w
d
H
a
M
B F
cx
p
g tC
Y n
x
i
a
Wv jS
T
QJ LA
J
R
o
t
k
e a
y zr B e cv nS p o agkXj R m
spV
Font characteristics
VA NZ CG TE S
bracketed asymmetrical serif applied to A, K, V, Q, R, W, X, Y
bracketed symmetrical serif (double or singular), vertical or horizontal applied to B, D, E, F, G, H, I, K, L, M, N, P, R, T, U, Z
teardrop terminal applied to C, G
bracketed singular serif applied to E, F, T
beak serif applied to S
bracketed asymmetrical serif applied to k, v, w, x, y,
bracketed symmetrical serif (double or singular) vertical or horizontal applied to b, d, f, g, h, i, k, l, m, n, p, q, r, t, u, z
teardrop terminal applied to a, c, f
bracketed singular serif applied to g, j
beak serif applied to s
wx ql ac gj s
?
]
7 oo
I dream my painting and I paint my dream
Font relations same shape but different serif to improve readibility
bd pq
vwy angle of 38°
iljtf entire letters or part of letters made with a straight line
nmhru same structure and same baseline and x-height serif
o gc e round letters, same counter
aksuxz independent letters
Font relations
EF same structure and serifs
PRB same structure and counter
NM same structure and serif, letters made with a mix of vertical and oblique lines
AVW same angles and serifs, letters made with oblique lines
OQCG same round structure, same counter
YX same upper part and angle
ILJHT entire letters or a big part of letters made with vertical lines
SDZKU independent letters
S
? M I Q
Y
X
A TG
V
N
AP HLWK Z B J
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