Punchcutters (when types had actually to be cut, and not simply drawn), were working with steel, a strong metal they needed to sculpt. They underwent physical contingencies: each type cast was inscribed independently and, as we move down into the smaller type sizes, the drawing was adapted to brand-new particular information come across-- fine hairlines-- thus vulnerable-- need to be reinforced, the curves streamlined and the width spacing somewhat increased to avoid the ink from congesting the composition. So, each body size had its own illustration, mostly provided by merely physical limitations connecting to the dexterity and eyesight of the punchcutter ... and of the reader, too.

Whereas nowadays it is easier to move from one type size to another, most digital fonts offer us just ONE style, irrespective of the selected type size. Although computers complimentary us from a great deal of the restrictive physical elements of lead structure, will we not be throwing the baby out with the bathwater and losing a vital subtlety? Where the cutter's corrections not an integral part of making sure that a text was effectively readable-- of its appeal-- rather of disappearing than a technical flaw with which the computer has actually successfully done away?

The Stuart font style brings back links to this lost way of doing things by using 3 designs for a single font style. First off the Stuart caption, which is ideal for usage with type sizes of listed below 8 points; it has the characteristics of little sizes types: downstrokes and hairlines not particularly marked, wider spacing and solid shapes. On the contrary, at the other end of the scale the Stuart entitling, designed for type sizes of over 12 points, has actually marked downstrokes and hairlines, a narrower width spacing and a certain lightness of shape. In between the 2, for type sizes in between 8 and 12 points (the most typically used) there is the Stuart text.

Stuart is developed for graphic style with great resistance for long (in theory literary) texts. Based on a venetian design, with "latin" curves moderated by a rigorous modernist regularity, it is available for all european languages, and provides a very wide range of indications, like 3 designs of figures and mathematical signs, small capitals, ligatures, exponent, fractions, etc.

It is offered in regular, medium and vibrant weights, each of them broken down into roman and italic styles.

For general users, it can be purchased in "standard" version, divided in OSF (Old style figures) for long texts, TLF (Tabular Lining Figures) for tables, PLF (Proportional lining figures) for titles completely in capitals, and SC (Little capitals) with lower case changed by small caps.

For the unique requirements of accuracy, subtleties and improvements for graphic and book designers, there is also a more total "pro" variation. All the ranges of the standard variation are here folded in one single font style. It likewise offered additional ligatures, superiors, inferiors, and fractions that the basic variation do not.


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Tags: book, book text, clean, contemporary, directional serif, elegant, expert, heavy, humanist, latin, legible, news, old-style numerals, optical sizes, print, serif, text, venetian