The constraints that Tschichold had to work within, in designing Sabon, didn’t bother him (it was “no effort at all,” he claimed, to make it work with three different systems), but they certainly influenced the shape of the type. More after the jump! Continue reading below↓įree and Premium members see fewer ads! Sign up and log-in today. Tschichold designed very few typefaces, but Sabon was his masterwork it has become a modern classic. He was certainly one of the finest book designers of the 20th century-not just of “beautiful books” for connoisseurs but also of mass-market paperbacks like those published by Penguin (he redesigned the whole line and set new standards for it after the Second World War). A one-time radical modernist who fled from Nazi Germany to Switzerland, he eventually turned his practice 180 degrees and became an outspoken advocate of classical typography. The new typeface was to look for its roots and inspiration to the 16th-century types of the French typecutter Claude Garamond, but to be a practical modern-day text face. It was commissioned by a consortium of the German printing industry, who wanted a new text typeface that would work equally well on both Linotype and Monotype machines (the two dominant hot-metal typesetting systems) and as handset type (to be issued by the Stempel foundry). Now Linotype Library, as part of its program of refining the digital forms of older typefaces and issuing updated versions, has commissioned Jean François Porchez to create a new Sabon: Sabon Next. It is frequently used in books, because it’s classic in form but sturdy and practical in execution. Sabon has been one of the most useful text typefaces ever since its introduction in 1967. You can find more from John at his website. If you’d like to read more from this series, click here.Įventually, John gathered a selection of these articles into two books, dot-font: Talking About Design and dot-font: Talking About Fonts, which are available free to download here. Barry (the former editor and publisher of the typographic journal U&lc) for CreativePro. Dot-font was a collection of short articles written by editor and typographer John D.
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