Welcome to the web-site of Simon Pascal Klein, concept, graphic, and interface designer.

Proudly bending beziers since 2006

Comic Jens: no more excuses

Found this via ILT’s latest Sunday Type from font​blog.de:

Comic Jens mini specimen.

Comic Jens is a looser and more aes­thetic alter­na­tive to Comic Sans by Jens Kutilek. With a whole­some set of 303 char­ac­ters in regular and bold, all avail­able freely under a Cre­ative Commons license in Open­Type format no one has an excuse to use Comic Sans anymore.

Reds under the bed!
Character: Fraction

Check out the cute extra glyphs:

Characters: keyboard and UI elements
Characters: further cute extras

The font also takes advan­tage of Open­Type lig­a­ture fea­tures:

OpenType features: ligatures
Down­load it from the Inter­tubes today!

Sup­ported lan­guages include Alban­ian, Basque, Catalan, Cornish, Danish, Dutch, English, Eston­ian, Faroese, Finnish, French, Gali­cian, German, Greek, Ice­landic, Indone­sian, Irish, Italian, Malay, Manx, Nor­we­gian Bokmål, Nor­we­gian Nynorsk, Oromo, Por­tuguese, Somali, Spanish, Swahili, Swedish and Turkish.

Addendum

In ret­ro­spect I have to say that when setting body copy (even for only a poster) the follow-​through of the cross/strikes on the “f” and “t” come to irri­tate reading slightly, par­tic­u­larly notice­able in the bold weight.

Biblia anno 1736

Turning the pages of a 250-year old book has a unique­ness to it that makes it quite dif­fer­ent to flip­ping through what nor­mally sits on my bedside table. Last week a friend kindly gave me the oppor­tu­nity to peruse a German Lutheran bible, hand made for a Thomas CI Aussen (the “A” could poten­tially be another char­ac­ter) and com­pleted in 1736.

Ornate metal cover proection
Owner of the bible
Opening title page
Footer noting date of printing.

Condition

The bible belongs to my friend’s col­lec­tion of various antiq­ui­ties, many of which hold within their covers (and some­times even outside) scores of typo­graphic trea­sures. The book itself is still in fairly good con­di­tion. It looks to have suf­fered some light water damage, wearing and folding of pages, namely the opening and closing pages. Further into the book are a few burn marks. I’d hazard that these were prob­a­bly caused by a stray flying ember that landed on the page whilst its owner would have been reading it by fire­light.

Burn mark on a page.

Some of the ink has faded, less in body text and more so in the versals and other ink-​heavy areas. This is likely to be caused by the heavier sat­u­ra­tion of ink on a rel­a­tively small area of the page and the sub­se­quent weak­en­ing of the paper on that spot. This is usually exac­er­bated by pages not drying prop­erly but in this case prob­a­bly more the cause of just its age.

The binding is in good order, but careful han­dling never goes astray with older texts. The book is enclosed by wooden covers and pro­tected by imprinted leather.

Typography

Type in mind, the first thing that stands out is the heavy black­let­ter. The bible would have been printed with a let­ter­press, undoubt­edly not much dif­fer­ent to that the one Guten­berg invented roughly two cen­turies earlier. I tried to iden­tify the type­face or at least the type of black­let­ter used but was thrown off; the main body copy fea­tures dif­fer­ent type­faces in its composition—I have a feeling the printer ran out of sorts. A sort is a single metal glyph of a given point size and style using in let­ter­press print­ing. This is most obvious in the most used char­ac­ters, note par­tic­u­larly the char­ac­ters “d”, “o” and “v”:

Bible body text 1
Bible body text 2

The two faces include a bas­tarda and a fraktur (see the rounded bowl of the “d” and shape of the “o”).

Capital letters amongst the body text are set quite ornately. Nouns and oth­er­wise words that syn­tac­ti­cally func­tion as nouns are in the German orthog­ra­phy cap­i­talised and this makes for a larger pres­ence of capital letters in the running body of text than com­pared to, say modern English. Setting all of these ornately amongst a fairly thick and strong black­let­ter seems to inter­rupt rather than aid reading.

Margins are ruled (I’m not sure whether by hand or by the press), which today is quite unusual. I noticed also that the the versals are quite exquis­ite, and vary through­out the book in com­plex­ity and size.

A large versal and ruled margins in the bible body text.
Versal in title text.

Draw­ings and other large-​scale artwork all received pages of their own and are incred­i­ble pieces of work. These would have most likely been woodcut relief printed printed from a copper plate carving, meaning the entire piece would have to be “negatively” carved into a block of wood plate of copper at full size. The draw­ings were also, prob­a­bly by some mistake, printed on slightly smaller paper and in many cased pre­served better than those the larger sur­round­ing ones.

Intricate lettering in the middle of a drawing.
Drawing of a figure holding up a plaque.
Pages featuring drawings are smaller than body text pages.

And that’s it. Have a great weekend (und viele grüße)!

Versal letters on the web

Because it’s type-​related I couldn’t resist waiting another day before pub­lish­ing this…

…Yesterday I was going through an old un-​named sketch book. Right at the back were these beau­ti­ful hand-​drawn versal letters and an entire page of weaving orna­ments:

Photograph of some hand-drawn versals
Close-up photograph of an R versal

Versals, drop cap­i­tals or raised cap­i­tals are large and often ornately dec­o­rated capital letters marking the opening of a running body of text or a verse.

Modern typog­ra­phy has dis­carded much of these clas­si­cal dec­o­ra­tions in favour of a more clin­i­cal page; these par­tic­u­lar orna­ments above aren’t as mul­ti­cul­tural and cer­tainly not as neutral as modern typog­ra­phy which aims to better cater for a larger and more mul­ti­cul­tural audi­ence.

I would like to see a revival of this form of dec­o­ra­tion; I think a lot can be done with typog­ra­phy that cur­rently scores of artists—particularly web designers—are trying to achieve with stock pho­tog­ra­phy and ever popular vibrant, reflec­tive and glossy ele­ments.

Setting versals in CSS isn’t par­tic­u­larly hard. A common method is to use the pseudo-​selector :first-letter to refer to the first letter of an element. You can combine this with other selec­tors to refer to the first letter of the first para­graph of a page, heading, or what­ever else strikes your fancy (uti­liz­ing the DOM struc­ture prop­erly is helpful in making this work prop­erly). Note Inter­net Explorer doesn’t recog­nise many of the CSS 2.1 selec­tors (IE does however under­stand :first-letter).

Another common method is to just man­u­ally wrap the first letter in span tags with a spe­cific class of desired styling. What­ever you choose, the styling might look some­thing like this:

div#content h2.entry-title + p:first-letter {
font-size: 4.2em;
float: left;
display: in-line;
text-transform: uppercase;
}

You may also want to set margins and line-height to better place the versal amongst the rest of the para­graph. The float: left; is optional—it wraps the para­graph around the versal—if you want the versal to stand on the base­line of the opening line of the para­graph then don’t set the float.

Tar­get­ing the first letter and styling it was simple; browser con­sis­tency is the hair-​pulling part. Inter­net Explorer in par­tic­u­lar com­pli­cates things because it doesn’t under­stand the pre­ced­ing selec­tor (element + first-child). If your versals are vital to the page, see Bill Weaver’s article, Wran­gling Drop Caps, which goes into closer detail on the subject includ­ing a JavaScript method.

When print­ing a page in Inter­net Explorer fea­tur­ing a versal spec­i­fied using the pseudo-​selector :first-letter IE bizarrely dis­places other floated ele­ments in prox­im­ity to the para­graph. See Nicholas Rougeux’s article Drop caps in the wild for an example.

Finding versal letters with further dec­o­ra­tion done other than through size and place­ment is a rarity on the web. Replac­ing the first letter entirely with a graphic isn’t impos­si­ble but you’re bound to run into many acces­si­bil­ity issues using image replace­ment on the fly (and getting the right letter—that means design­ing twenty four versals and some script­ing). I did however see a simple method last week of adding a bit more to versals by a bright Polish designer:

designr.com opening versal

Piotr Fedor­czyk drew ornate back­ground images and placed them behind the versal giving a them that extra love. The only issues here would be vis­i­bil­ity of the back­ground image depend­ing on the letter size—an “I” is smaller in width than a “R” or “Q”, and of course text resiz­ing. The CSS now would look some­thing like this:

div#content h2.entry-title + p:first-letter {
font-size: 4.2em;
float: left;
display: in-line;
text-transform: uppercase;
background-image: url(../images/versal-bg.png);
background-repeat: no-repeat;
background-position: center center;
}

You can see them in action at Piotr’s site.

Finding new things amongst the old

I’ve arrived in Germany.

I was pleas­antly sur­prised to find the partner of the friend I am staying with to be a col­lec­tor and dealer in printed and drawn antiquities—everything from post­cards, news­pa­pers, books of course and orig­i­nal draw­ings. He has rep­utable col­lec­tion and much of it happens to live next door to my bedroom.

He recently acquired a large set of post­cards and letters dated early 1900–1960’s and today gave me the chance to peruse a German Lutheran bible com­pleted in 1736. There is a whole bag of for­got­ten inspi­ra­tion that can be drawn from these mate­ri­als. In par­tic­u­lar I’m finding them a won­der­ful source for things typo­graph­i­cal as the stuff is so old, having long passed “out of fashion”.

German Lutheran bible, completed in 1736

Typeset mate­ri­als aside, the hand­writ­ten post­cards and letters put my hand­writ­ing to shame. It’s made me realise how much we use a com­puter for any­thing written nowa­days. It has me con­tem­plat­ing start­ing a hand­writ­ten per­sonal journal to get back in the habit putting a pen in my hand and giving the key­board a break.

Script handwriting
German postcard, dated 06.06.1930
German newspaper excerpt, dated late 1800– early 1900.

I’ve been snap­ping a lot of photos of the various pieces. I’m going to be start­ing a pho­to­blog shortly to give them a proper place of their own to live in; I’ll reserve noting them here when I run across some­thing par­tic­u­larly inter­est­ing.

The Lutheran bible will have a post for itself in the coming days. Oth­er­wise, stay turned for the pho­to­blog and have a great week!