Midnight serif by sarasieff

Midnight

Midnight Serif by Sara Sieff

FONT ANATOMY

No stress

Open aperture

Spar Bowl continues horizzontally at the top

Source font: Avenir, by Adrian Johann Frutiger. Released in 1988.

OF THE SOURCE FONT

Straight

Squared

crossbar

terminals

rkles Arm and leg meet into a single point, before the stem

Small open counter

Ascender line Cap-Height x-Height

Baseline Descender line

UPPER CASE LETTERS

ABCDE FGHIJK LMNOP QRSTU VWXYZ

LOWER CASE LETTERS

abcde fghijk lmnop q r s t u vwxyz

9 0123 4 5 6 7 89 0 123 4 5 67 89 0123 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

NUMERALS 9 0123 4 5 6 7 89 0 123 4 5 67 89 0123 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

9 0123 4 5 6 7 89 0 123 4 5 67 89 0123 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

9 0123 4 5 6 7 89 0 123 4 5 67 89 01230123456789 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

9 0123 4 5 6 7 89 0 123 4 5 67 89 0123 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

0123456789

9 0123 4 5 6 7 89 0 123 4 5 67 89 0123 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

0123456789

9 0123 4 5 6 7 89 0 123 4 5 67 89 0123 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

0123456789

9 0123 4 5 6 7 89 0 123 4 5 67 89 0123 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

9 0123 4 5 6 7 89 0 123 4 5 67 89 01230123456789 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

9 0123 4 5 6 7 89 0 123 4 5 67 89 0123 45 67 89 012 34 56789 01 2 34 56789 01 2 34 56789

DIACRITICS, PUNCTUATION, SIGNS AND SYMBOLS

‘

“

. , : ; ! ? “

" '

# % & @ ™ © * \ / [ ] ( ) { } «» + - × ÷ < > § € _

ÀÁÄ ÈÉ ÌÍ ÒÓÖ ÙÚÜ áàä èé ìí òóö ùúü

EVOLUTION

G k m Source font Avenir,

Applied brushes and

with inline skeleton

modified angulated shoulders

The serifs are added.. Round shapes get cut diagonally

Final letter form

BRUSHES

List of the letters each brush is applied to

B, C, D, E, F, G, K, N

Angle Roundness Size

-63°

39%

7pt

118°

28%

11pt

-100°

27%

11pt

106°

39%

7pt

13°

28%

11pt

-49°

39%

7pt

64°

28%

11pt

99°

27%

11pt

O, P, Q, R, S, X

B, D, E, F, H, I, J, K, L, M, P, R, T, U a, b, d, f, h, i, j, k, l, m, n, p, q, r, t, u A, K, M, V, Y, Z v, w, y

R, N x

L, Z z

Brush shape

idnigh

Midnight

FONT SIZES IN USE

24pt

The Starry Night

12pt/16,8pt

“Through the iron-barred window,“ he wrote to his brother Theo, around 23 May 1889, “I can see an enclosed square of wheat, above which, in the morning, I watch the sun rise in all its glory “

9,5pt/13,3pt

In the permanent collection of the

paintings is the diagonal line

Museum of Modern Art in New

coming in from the right depicting

York City since 1941, is widely

the low rolling hills of the Alpilles

regarded as Van Gogh‘s magnum

mountains. In fifteen of the

opus. The view has been identi-

twenty-one versions, cypress trees

fied as the one from his bedroom

are visible beyond the far wall

window, facing east, a view which

enclosing the wheat field. The

Van Gogh painted variations of

Starry Night is the only nocturne

no fewer than twenty-one times,

in the series of views from his

including The Starry Night. Van

bedroom window. In early June,

Gogh depicted the view at different

Vincent wrote to Theo, “This

times of the day and under various

morning I saw the countryside

weather conditions, including

from my window a long time

sunrise, moonrise, sunshine-filled

before sunrise with nothing but

days, overcast days, windy days,

the morning star, which looked

and one day with rain. While the

very big“. Researchers have

hospital staff did not allow Van

determined that Venus was indeed

Gogh to paint in his bedroom, he

visible at dawn in Provence in the

was able there to make sketches in

spring of 1889, and was at that time

ink or charcoal on paper; eventually,

nearly as bright as possible. So the

he would base newer variations on

brightest “star“ in the painting, just

previous versions. The pictorial

to the viewer‘s right of the cypress

element uniting all of these

tree, is actually Venus.

The Starry Night is an oil on canvas painting

view from the east-facing window of his

by Dutch Post-Impressionist painter Vincent

asylum room at Saint-Rémy-de-Provence, just

van Gogh. Painted in June 1889, it depicts the

before sunrise.

7pt/9,8pt

TYPOGRAPHIC SCALE

56 pt

48 pt

40 pt

32 pt

24 pt

16 pt

12 pt 8 pt

Vinc

cent van Gogh

Vincent van Gogh Vincent van Gogh Vincent van Gogh Vincent van Gogh Vincent

van Gogh

Vincent

van Gogh

Vincent

van Gogh

Tapred beak

FONT ANATOMY

Unbracketed tapered monolateral serifs

Spar 116Â° diagonal stress

Unbracketed tapered bilateral serifs

Ascender much

Closed aperture

higher than Cap-Height

rkles Leg meets the arm before the stem

23,5Â° angled crossbar

Ascender line Cap-Height x-Height

Baseline

Descender line

FONT CHARACTERISTICS

A, B,D, E, F, M, N, P, R, V a, b, d, g, h, i,

Monolateral serif used on ascenders and at Cap-Height

j, k, l, m, n, p, r

Vertical monolateral C, E, F, G, L, S, T, Z a, c, f, z

serif used both for upwards and downwards terminals

E, F

Symmetrical bilateral vertical serif

A, F, H, I, K, L, M, N, P, R, T, U, V, W, X, Y f, h, i, k, m, n, r, u, v,

Asymmetrical serif used on the baseline and Cap-Height

w, x, y

a, d, p, q, u

Monolateral serif used on descenders

Diagonal shape to match the diagonal

A, G, H, Q b, d, e, f, p, q, t

cut, used as bridge, tail, loops start or end, crossbar

Ascenders much

b, d, f, h, k, l

higher than Cap-height

20°

20° angled cut on rounded letters

B, C , D, G, J, O, P, Q, R, S, U a, b, c, d, e, g, h, m, n, o, p, q, s, u

Rhomboid points

i, j, ä, ö, ü

my vow.

of black quartz,

FONT RELATIONS

B J R a o h

C D G O P Q S U c e g s m n u INDEPENT LETTERS

â&#x20AC;&#x153;Be clearly aware of the stars and infinity on high. Then life seems almost enchanted after allâ&#x20AC;? - Vincent Van Gogh

Faculty of Design and Art Free University of Bolzano - Bozen WUP 2020/21 Typeface designed by Sara Sieff Prof. Antonino Benincasa Andreas Trenker Emilio Grazzi Font created with Illustrator & Fontself