John Sans was created by František Štorm and released by Storm Type Foundry. John Sans consists of 32 styles and household bundle choices. The typeface is presently # 14 in Best Sellers. p > The idea of a new grotesk is definitely rather silly-- there are currently great deals of these typefaces in the world and, rather simply, absolutely nothing is more gorgeous than the original Gill. The sans-serif chapter of typography is now nearby numerous technically ideal imitations of Syntax and Frutiger, which are, nevertheless, for the most part based upon the cool din-aesthetics. The only chance, when searching for motivation, is to go very far ...

A grotesk does not afford such a variety as a serif typeface, it is dull and can quickly tire the eye. This is why books are not set in sans serif faces. A grotesk is, nevertheless, always welcome for revealing various degrees of emphasis, for headings, minimal notes, captions, registers, simply put for any service accompaniment of a book, including its titlings. We also often come throughout a text in which we want to identify the private speaking or writing individuals by the use of different typefaces. The condition is that such grotesk ought to mix in completely with the percentages, colour and above all with the expression of the fundamental, serif typeface. In the area of non-fiction typography, what we value in sans-serif typefaces is that they are clamorous in inscriptions and financial in the setting. John Sans is to be a modest servant and at the very same time an initial loudspeaker; it wants to live in libraries of informed individuals and to shout from billboards.

A year ago we completed the transcription of the typefaces of John Baskerville, whose heritage still stands apart strongly in our memory. Baskerville cleverly integrated certain constructional components in the style of the specific letters of his typeface. These elements include above all the alternation of softand sharp stroke endings. The frequency of these endings in the text and their rhythm produce a balanced impression. The anchoring of the letters on the surface area differs and they do not look tedious when they read. We attempted to utilize these techniques also in the production of a sans-serif typeface. Except that, if we wished to produce a real "Baroque grotesk", all the decorativeness of the original would have to be duplicated, which would result in a parody. On the contrary, to attain a simple contrast with the soft Baskerville it is sufficient to select any other hard grotesk and not to take a good deal of time over developing a brand-new one. Between these 2 extremes, we chose a path beginning with the construction of a practically monolinear skeleton, to which the aspects of Baskerville were carefully connected. After numerous tests of the text, nevertheless, a few of the flourishes needed to be eliminated again. Anything that is unneeded or decorative is against the substance of a grotesk typeface. The monolinear character can be impinged upon in those locations where any consistency would end up being a problem. The great shading and softening is for the advantage of both legibility and aesthetics. The more marked incisions of all crotches are a characteristic function of this typeface, specifically in the bold designs. The colour of the Text, Medium and Bold styles is commensurate with their serif equivalents. The White and X-Black designs currently go beyond the framework of book graphics and appropriate for use in advertisements and magazines.

The initial idea of the italics copying consistently Baskerville's morphology ended up being a blind street. This style would restrict the independent usage of the grotesk typeface. We, therefore, started to design the brand-new italics only after the completion of the upright styles. The functions which these new italics and Baskerville share are the angle of the slope and the softened sloped strokes of the lower case letters. There are also specific reminiscences in the information (K, k). More complex are the signs & & and @, when it comes to which regard is paid to identifying, in the style, the upright, sloped @ little caps kinds. The one-storey lower-case g and the lack of a descender in the lower-case f adds to the open and basic expression of the design.

Also the addition of non-aligning figures in the standard styles and of aligning figures in little caps serves the function of harmonization of the sans-serif households with the serif families. Non-aligning figures link much better with lower-case letters in the text.

If John Sans looks like numerous other modern typefaces, it is simply as well. It certainly is not to the detriment of a Latin typeface as a means of communication, if various typographers in different places of the world arrive in various methods at a similar outcome.

Font Family:
· John Sans White
· John Sans White Italic
· John Sans Lite
· John Sans Lite Italic
· John Sans Text
· John Sans Text Italic
· John Sans Text Bold
· John Sans Text Bold Italic
· John Sans Med
· John Sans Med Italic
· John Sans Heavy
· John Sans Heavy Italic
· John Sans Heavy Bold
· John Sans Heavy Bold Italic
· John Sans Black
· John Sans Black Italic
· John Sans Cond White
· John Sans Cond White Italic
· John Sans Cond Lite
· John Sans Cond Lite Italic
· John Sans Cond Text
· John Sans Cond Text Italic
· John Sans Cond Text Bold
· John Sans Cond Text Bold Italic
· John Sans Cond Med
· John Sans Cond Med Italic
· John Sans Cond Heavy
· John Sans Cond Heavy Italic
· John Sans Cond Heavy Bold
· John Sans Cond Heavy Bold Italic
· John Sans Cond Black
· John Sans Cond Black Italic

Tags: 1970s, baskerville, grotesk, grotesque, humanist, magazine, necrocock, personal text, sans-serif, text, workhorse