 Good morning. This is an animation made by a student of mine at the plant and society and He is making revival of the double pica roman of Cronjol and actually applying some of the Outcomes of my research on the matrices. I must honestly say it's it's not completely correct But it's it's nice to view and that's the reason that I show it to you I Have to do it all a little bit in a very 55 slide so Let's see if I manage This is not a title of my research the title is actually I'm on experience and dynamics informal typographic Representations of the Latin script the record I use station standardization systemization unitization from an italic type system They're Renaissance origin until the Romander what the point is most designers are not interested anymore when I Show this title so I made it more popular on the origin of Latin type phases and this seems to work actually And hopefully your Institute to what I basically do. I investigate whether the proportions of type Vertically and horizontally are not directly the result of handwriting but handwriting molded on a system that was Originally made for texture type so it was introduced in Italy. There was a fixed-width system and on this system Humanistic minuscule was placed and then we got Roman time So this is the opposite of saying there was handwriting you put a rectangle on it and there you have time So I investigate Original material especially at the plant them the museum plenty more a to sin and work where also lecture These this is a matrix of the crocano Romain by Garamon and I use a digital Microscope which is actually made for investigating computer boards This is basically the key this is 16th or 70th century cast type originally it's 16th century This is the Moyen canon Romain on top from from van de Keer. He was a punch cutter who worked in Antwerp and at the bottom You see new cast type in 1959 from the grow canon, which is related to the Moyen canon. I can explain you but that's not the right moment here the point is what was cast in 1959 you can see it has different width and I Found standardized width in the original type So that's the opposite of the idea. They did it on the eye. No, they used a Systematization for the production of type and actually the cast that didn't need any knowledge for producing time The information the intelligence the spacing intelligence was in the type itself in the matrices Measuring of course also with a digital caliper What's the point hand writing in hand writing you make a rhythm of strokes and you divide the white space with black strokes in type You divide the space with side bearings, which is something completely different a calligrapher doesn't mind where a character or the space of a character starts or ends he just rides in a flow and a topographer at the end Restores the system that is made by the punch cutter originally and then the type is produced by the cost Vertically there are no boundaries in calligraphy as you can see here. This is 15th century humanistic Miniscule this is Roman type by the on soul. This is the famous Roman style Roman type by on soul you recognize this this is Gutenberg and I Measured prints what I found out was that there was a limited system with only seven or eight and This way they could either use fix with moods or adjustable moods, but then with fixed registers a register with a register of Moods you position the offset of the characters And if you put the intelligence in the matrices you have to do this once for complete lowercase or either lowercase with uppercase So I'm and punnards. This is from 1472 and it looks irregular, but here you can see the same standardization this is already in Italy and Of course, I Found it too in the type of your own song a limited number of width and Actually, the system is quite simple. You can simply place Simply place Xura on a grid The system is quite simple you can have standardized width And to show you the morphological relationship between Textura and humanistic minuscule this is textura and you can see here standardized width I can easily go from the Renaissance into text here. So I'm make the And with larger I Decrease the ascender and Descend the length and then I condense it a bit and I flatten the curves And I enter The Gothic type world so it's directly related it looks different, but it has the same Structure So I applied this on the work of Janssen and at the end I found also out that they had unit the Raven system And this system is actually based on an infant so you see this rhythm throughout all the lines also between the words And you all recognize this time I will proceed in the meantime No It's working Okay This is the It is tied made by Griffo for Aldous Manusius in 1499 and you can see the same structure The griffel based on style faces on the work of Janssen. So it's not not the It's deliberately actually and and Griffo used also the structures of Janssen for the production What I did I looked at Systematization also a unitization and this is the Grogona Grogano Romain by Garamon and I could place it on 16 units and in case of Janssen I could place it on 8 units. So all the characters all the proportions I could place on 8 units And what is the advantage of such a system? You can easily make lines and justification of lines is also quite simple because of these units and Units is I'm not very special you are used or familiar at least to the units of the monotype system which used 18 units on the M and When you look on your computer either a Mac or a Windows system You will find out that the times and times in Roman but also a couple of other type faces still are placed on this System and still show this simple rhythm, and I think this was possible to do this at monotype because The original type from the Renaissance had the system already. So type was molded in such a system What I'm trying to do now is to apply these units into Digital version in this case it's a double at the bottom and see if I can Reproduce the irregularities of the original type and you can see here on top. There are some Combinations which are more tight and I was more wide and here also with the QU. This is a difficult one anyway but At the bottom you can see that with Space gone eight units. I come quite close and basically you don't need to have you don't need any knowledge for this So you don't need to be a type designer. This is purely artificially applying the unit system unit system on the letters This is what I did. This is what I distilled and also could find Actually in engravings of moxon is a mechanic exercises, which he produced in the 17th century I took the distance from stem to stem and that's not strange because when you have an amp fence you have this rhythm of all these stems and This is the distance a and I Defy this distance into more units in case of Yon strong eight units in the case of the larger type where I got them all 60 units You can refine this you can make it Fine on a finer and at the bottom you will find more units and that gives you also the opportunity to make Small adjustments like here with the B On top and here you can see it's one unit less and just a little bit tighter On top fence posting just on the rhythm of amps at the bottom the original spacing by Robert Simbach for Adobe and in between fence posting Refined with 60 units and with 32 units and you can see that in the third line It comes very close to what slimmer did so this is artificially spacing no optically Corrections Doesn't work also with capitals Yes, I think so because when you look at the type by the answer and also minutious You can see that the proportions of the capitals are made on the proportions of the lower case I looked at your song I distilled the system and I made actually a table system with The refined system of units or more units and actually leveling So even if the type is is not exactly made on a grid system by leveling it I can apply it on any typeface, which is related to the type of the answer On top The original Adobe the answer on at the bottom artificially spaced on top originally Adobe Garmore at the bottom artificially spaced Bumble with cadence and factory spacing Swift and my own documentary How can you use it? Perhaps you know magic program by Pippin and He applied some of my theories and combined with his theories in come magic and The development is supported by by Dave Crossland, you know them all and It supports the table system and you can read in a table You can read in a UFO file and it will space the type. There's a bug here. Of course, there's a bug with the FG So you need to do some corrections manually in this case, but but in general it works very well To show you on top the time to run Standard spacing as it is on your Mac at the bottom the spacing bike a magic and this is done in the split second There are some problems here with the IGA, but you can adjust the table It's just a table with numbers which you apply and if you say I want to have A less tighter spacing you can add some units somewhere But the units are distilled from your typeface itself. So they are organic. So you are in the rhythm of your typeface when you space it This is all at the end a very simple system. It looks at the extreme It now looks only at the extreme on the x-height and on top at the end that will have several levels from the center to a Center or vice versa Very fast now the relationship between horizontal measures and vertical dynamics so in this case you can see that I marked the distance between the lines and actually I Found out that the m-square which Gutenberg used was a golden section and I Applied the same system to the type of your song and also to gar more and at the end I also could distill a relationship between the height of the x-height The ascent as these centers and the capital height and this this is a dynamic system. So you change one Parameter and you can change them all so you can put this in a type design You make your time design more condensed the ascent as these centers will become smaller and the capital Will become smaller too and in the other direction. It's also possible this LeBae Yeah, it works too a little bit different and then you could say it's it's a bit arbitrary But at the end you can always find this unit system behind it And in case of LeBae if he has larger a centers and these centers and a larger be and he used not the units between the stems, but he also Used an m-square based on the units between the stems Plus the lengths of the stairs and the lengths of the stairs are part of the same unit system from the gear Looks different, but it's very much related the system behind it so you can play with this and at the end you can see that when you make letters more condensed like in textual you get shorter a centers and these centers and When you make your letters wider you get large a centers and these centers This is the first thing you will learn when you start designing type What happens with an existing type is this is times times With the system applied you get some longer a centers and these centers It's a little bit more in balance more elegant and that's not strange because these proportions come from the rate Renaissance So what is type design at the end? It's a combination of all these factors It's an harmonic system, which you define all the Rules for all the elements within the letters. It's a proportional system where you define the width of the characters, but all the relations also the relationship in vertical direction Relational system is defining actually contrast and weight and then you have the rhythmic system Which I explained and at the end is formalization and idiom and that's type design so you can apply all these elements in a phone program at the end and I showed you read the letter modeler. It's a small program program that you would double you Based on my models and we are working on it still with Dave. I'm discussing to make it open source So that others can play with it, too And it's based on on fairly simple math What can you do with it? This is another example from a student of the plaintiff's Society. He first made the rhythm the structure and the weight and the contrast He looked at the The image and at the end he applied details on it I think that's a very good way to design typeface So you first make the structure and then at the end you apply the details and you're much more versatile than if you first start designing a shape and then look what that will do in a word And that's it So we have time for two three questions anyone Yes Your typeface modeler program what operating system does it run on? Mac windows and Linux Mac windows and Linux it's written in Qt