![]() This project started ten years ago, while Cristóbal was studying the Extended Program at New York City. This gorgeous typeface can be used successfully in headlines, subheads and short passages of text from 12 points onwards, in applications such as fashion magazines, soft news, advertising, poetry, albums, and book covers. ![]() The sources that Cristóbal used for Mon Nicolette were the original sketches by WAD as well as printing trails kept at the Boston Public Library, and a copy of the 1946 edition of The Song-Story of Aucassin and Nicolette. However, it was used to set a specimen in 1942 and a short novel in 1946. While Dwiggins worked on this project from 1937 to 1955, he only completed the lowercase and a few other characters. It is an upright italic, unconnected script typeface, whose main features are a pronounced contrast, condensed forms and exaggerated ascenders. ![]() This is a digital revival by Cristóbal Henestrosa based on an experimental typeface named Charter, designed – yet never fully accomplished – by the prominent William Addison Dwiggins.
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