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[8] => <p>The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the <strong>blackletter</strong> letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middleground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462.</p>
<p> </p>
<p><strong>Keratine</strong> is the result of <strong>Cosimo Lorenzo Pancini</strong>'s exploration of that territory. Like our <strong>Kitsch</strong> by <strong>Francesco Canovaro</strong> it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, <strong>Keratine</strong> developes a "digitally carved", quasi-pixelated appearance (clearly stressed in <em>Keratine's</em> <em>italics</em>) that allows an unexpected balance between small-size readability and display-size personality.</p>
<p> </p>
<p>Keratine also relies heavily on a <strong>variable identity</strong> as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of<strong> 8 weights</strong> with italics. <strong>Open type features</strong> and <strong>glyph alternates</strong> further enrich the usage possibility of this typeface that embodies our contemporary <strong>swap culture</strong> by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.</p>
[desc1] => <p>The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the <strong>blackletter</strong> letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middleground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462.</p>
<p> </p>
<p><strong>Keratine</strong> is the result of <strong>Cosimo Lorenzo Pancini</strong>'s exploration of that territory. Like our <strong>Kitsch</strong> by <strong>Francesco Canovaro</strong> it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, <strong>Keratine</strong> developes a "digitally carved", quasi-pixelated appearance (clearly stressed in <em>Keratine's</em> <em>italics</em>) that allows an unexpected balance between small-size readability and display-size personality.</p>
<p> </p>
<p>Keratine also relies heavily on a <strong>variable identity</strong> as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of<strong> 8 weights</strong> with italics. <strong>Open type features</strong> and <strong>glyph alternates</strong> further enrich the usage possibility of this typeface that embodies our contemporary <strong>swap culture</strong> by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.</p>
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[20] => zetafonts
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[49] => design developement by Mario De Libero, Andrea Tartarelli, Francesco Canovaro
[dato10] => design developement by Mario De Libero, Andrea Tartarelli, Francesco Canovaro
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[60] => ss01:-; ss02:-; ss03:-; ss04:-; ss05:-; ss06:-; ss07:-; ss08:-; ss01-gothic letterforms:Away; ss02-single story a:Maman; ss03-single story c:Gagging; ss04-alternate r:Horror; ss05-medieval letterforms: THIEF; ss06-alternate y:yoyo; ss07-alternate ampersand:C&G; ss08-alternate numbers:237; lnum:-; case:-;
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[72] => Pannartz & Sweynheym
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[73] => Type design is mostly re-inventing something that both is already there and has never existed.
[dato34] => Type design is mostly re-inventing something that both is already there and has never existed.
[74] => The Subiaco Press was a printing press located in Subiaco, Italy. The Press was established in 1464 by the German monks Arnold Pannartz and Konrad Sweynheim in the Abbey of Santa Scolastica, Subiaco. Sweynheim had worked with Johannes Gutenberg, the inventor of the mechanical movable-type printing press. Making use of the invention, Subiaco Press was the first printing press in Italy. The first book printed at Subiaco was a work by 4th century writer Aelius Donatus; it has not been preserved. This was followed by Cicero's 1st century BC work De Oratore, printed at Subiaco in September 1465, a copy of which is preserved in the Buchgewerbehaus at Leipzig. The next book was the Lactantius 4th century work The Divine Institutes, printed in October 1465. In 1467, Augustine of Hippo's 5th century The City of God was printed. These early books are notable for their typography. Unlike earlier German books, they were not printed in blackletter type. Instead, they were printed in a "half Roman" type, as in Italy there was a desire to use Roman characters. Furthermore, Lactantius's The Divine Institutes contains the world's first Greek printed characters. These were used for the extensive quotations in Greek which employed mobile letters now called "Subiaco type". In 1467, Pannartz and Sweinheim left Subiaco and settled in Rome.
[dato35] => The Subiaco Press was a printing press located in Subiaco, Italy. The Press was established in 1464 by the German monks Arnold Pannartz and Konrad Sweynheim in the Abbey of Santa Scolastica, Subiaco. Sweynheim had worked with Johannes Gutenberg, the inventor of the mechanical movable-type printing press. Making use of the invention, Subiaco Press was the first printing press in Italy. The first book printed at Subiaco was a work by 4th century writer Aelius Donatus; it has not been preserved. This was followed by Cicero's 1st century BC work De Oratore, printed at Subiaco in September 1465, a copy of which is preserved in the Buchgewerbehaus at Leipzig. The next book was the Lactantius 4th century work The Divine Institutes, printed in October 1465. In 1467, Augustine of Hippo's 5th century The City of God was printed. These early books are notable for their typography. Unlike earlier German books, they were not printed in blackletter type. Instead, they were printed in a "half Roman" type, as in Italy there was a desire to use Roman characters. Furthermore, Lactantius's The Divine Institutes contains the world's first Greek printed characters. These were used for the extensive quotations in Greek which employed mobile letters now called "Subiaco type". In 1467, Pannartz and Sweinheim left Subiaco and settled in Rome.
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