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  2. Localized handwriting

    I’m fairly certain that there are local idiosyncrasies in writing |˜| (tilde) too.
  3. Localized handwriting

    In handwriting, there are certain language-specific ways of writing accented letters/special letters. • In Norway and Denmark, the ‘ø’ is often written with a short slash on top of the letters (similar to ‘ó’) or – arguably more relevant in lettering contexts than in handwriting – with the slash only crossing the top of the letter. Norwegians and Danes also have a particular way of writing ‘æ’. • German handwriting (and, by extension, Norwegian and Danish too) often marks the u with a gesture above, spanning everything from acute-like shapes to lightning-bolt zigzags . This is likely a remainder of Kurrentschrift, where the ‘u’ and ‘n’ look very similar. A dieresis is often times rendered more similar to the hungarumlaut. The uppercase letters with dieresis sometimes tuck the diacritical marks into the letter, and they may even be rendered as a line. • Polish-writers write the lowercase ‘ł’ with a curl above. A ‘łł’ ligature will have the curl spanning both letters. • Latvians write the lowercase ‘ģ’ with a tilde instead of the reversed comma. • The Dutch accented ‘IJ’ and ‘ij’ ligatures sometimes omit one of the acutes. • Both ogoneks and cedillas I’ve seen reduced to a short stroke below the letters, sometimes also crossing over the lower part of the letter. Are there other examples of this kind of language-specific handwriting?
  4. Last week
  5. Help identifying a font (The Waterfall)

    Thank you for your help
  6. Dutch Alphabets

  7. What are the 2 fonts on this glass?

    Thank you so much, Ralf! Have a great day!
  8. Typographics Conference

  9. What are the 2 fonts on this glass?

    The two lines at the top are probably handwritten. The two lines at the bottom are Archer by Hoefler & Co. http://www.typography.com/fonts/archer/overview/
  10. I would like to know if these are two different fonts and if so what they are. Thank you for any help.
  11. Merry Christmas Font

    I was hoping for some help please with identifying this font or something close to it. Thank you.
  12. Font from WIRED mag

    Commercial Type’s Canela.
  13. Font from WIRED mag

    Hi, I've been trying to figure out what font was used on the "Frontiers" edition of WIRED magazine. Heres a screen shot. Thanks!!
  14. Hand-engraved text from music score 1943

    Thanks, Ralf.
  15. Poster Bazar - font ID

    I would say it’s lettering, not a font. Or, especially looking at the |R|s, at least two different fonts.
  16. Poster Bazar - font ID

    Hey guys, Just curious what this bold font is..? Many thanks..! Paul
  17. Hand-engraved text from music score 1943

    Not a perfect match either, but digital versions with a multi-storey italic g do exist as well. download at MyFonts
  18. Help to Identify this blackletter font

    “Iron-on Blackletter”.
  19. What are the two fonts used in this barbershop logotype?

    Thank You, that helps!
  20. I just received this email from element and I really like this type. I had absolutely no luck trying to identify it. I was hoping someone here might know. Reminds me a little of : download at MyFonts
  21. Hand-engraved text from music score 1943

    I think I may have answered my own question. I think this may be another instance of the Scotch family. It's close, but not identical (notice the different italic lower-case "g" than in the source image): download at MyFonts download at MyFonts download at MyFonts download at MyFonts
  22. Any ideas? Historically, the Century family was used quite often as the typeface for plain text in music scores, so that might be a starting place, but I'm wondering if there's something different shown in this hand-engraved (into metal plates) copyright text. Thanks!
  23. Antiqua in the 19th Century in Germany (Book/Newspaper)

    And just as a side historical note: throughout the 19th century, a "unified nation" of Germanic peoples was in the process of birth. The German Confederation did not come into existence until 1815 and the German Empire in 1871. If the Antiqua types were anything like the sans serif types in their development, then various cultural centers throughout the 39 different regions/states had their own flavors & knockoffs of type design, a substantial number of them simply numbered, not named as they are today... and a "family" of fonts was rare for that time period throughout all of Europe... Akzidenz-Grotesk, as an example, was a hobbling together of several knockoff and original designs (perhaps this is what makes AG so unique in the type world). Again, I can only assume that Antiqua or Egyptienne types had very similar beginnings... Overall, whether relating to history or typography, there rarely is a "simple" truth... but indeed, a great number of wandering, colorful, and complex paths. For me, as a philosopher, typography provides a wonderful insight into history and humanity. Type is not simply a "tool" to be classified; it is the spirit of of the times encapsulated into letterforms...
  24. Letters · Poster series

    This is a beautiful piece! I'm curious, what are your sources for the earlier letters?
  25. Antiqua in the 19th Century in Germany (Book/Newspaper)

    Almost all of the typefaces made in Germany during the 19th century are not available in digital versions today. I am sorry to disappoint you. By “Walbush,” I assume you mean Walbaum! Walbaum was used in the early 19th century, but quickly fell out of use after the 1840s, when Walbaum and his son were no longer alive, and the other typefoundries selling their typefaces developed newer products that the market was more interested in. After the 1840s, it was only around 1920 that Walbaum became a popular typeface again. Didot’s types were used in German in the very early 19th century. Unger in Berlin was selling them. But I don’t think that other foundries picked them up exactly after Unger’s death. As Ralf mentioned, Prillwitz (and Walbaum) were used by a few publishers in the early 19th century. Prillwitz especially is a “German” Didot typeface. But both Prillwitz and Walbaum are early 19th century typefaces, not typefaces used throughout the century. This is really silly! Baskerville’s types were primarily used during his lifetime by Baskerville himself. After his death, they achieved some notoriety in late eighteenth-century France. But Baskerville’s types were not being used in Germany in the 19th century; they were probably not being used anywhere else, either. In the 20th century, several foundries – in the US, the UK, Germany, and elsewhere – made revivals of Baskerville’s types. Just because a typeface was used in print in the eighteenth and twentieth centuries does not mean it was used in the 19th as well. Bembo is a typeface that was produced at Monotype in the UK in the 1920s, based on pages from a late-fifteenth century book printed by Aldus Manutius in Venice. There was no “Bembo” typeface being used in the 19th century, either in Germany or anywhere else. In his lifetime, Giambattista Bodoni cut hundreds of typefaces. Surely some printers in Germany must have bought some and used them occasionally. But this would have been very rare. Didot’s types, as well as those of Prillwitz and Walbaum surely got much more use in Germany in the 19th century. Typefaces that have the word “Bodoni” in their name are 20th century revivals, not products used in the 19th century, or in fact typefaces made or designed by Giambattista Bodoni himself. Beginning in 1844, William Caslon’s 18th century types experienced a revival in the UK. It is theoretically possible that some German printers had purchased fonts of this old-fashioned Caslon type in the mid-19th century. But “Caslon” as a brand-name typeface would not be common in Germany until the 20th century. What I have written about Caslon above is basically also true for Clarendon. Well, a typeface from 1901 can’t be from the 19th century, now can it? Seriously, this is an American typeface. Surely some 20th century German printers might have imported it, but its use would have been rare, and it would not qualify as a German typeface by your definition. As I mentioned above, Unger in Berlin was selling typefaces from Didot in the 1790s. This would have continued into the early years of the 19th century, but not for a very long time. Also, the Didots were French, so even when their types were used in Germany, that doesn’t really make them German typeface. This is a category or typefaces, not a specific typeface. Of course there were typefaces of this variety in use in Germany in the 19th century. But, as Ralf mentioned above, they did not have unique names. They had rather generic descriptive terms, followed by a number. Sometimes many typefoundries sold the same typeface under different names, too. “Garamond 1530” is a digital typeface that was designed by Ross Mills in Canada in the 1990s, so it can’t be a German typeface from the 19th century, now can it?! Claude Garamond’s 16th century typefaces were still being used in 18th century France, but I don’t think they were being used in 19th century Germany. However, in the 20th century, German typefoundries started reviving Garamond’s type, just like typefoundries in France, the UK, the US, Italy … Well, Walbaum’s typefaces are legitimately German products of the 19th century! See my comment at the very top of this comment.
  26. What are the two fonts used in this barbershop logotype?

    I cannot find an exact match but did find one font that is extremely close to the small type: Raw Denim Audacity by Out Of Step Font Company at dafont.com.
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