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Perpetua Font is serif typography that was designed by the English sculptor and the Stonemason Eric Gill for the British monotype corporation. Perpetua was commissioned at the request of Stanley Morison, an influential print historian and monotype adviser around 1925, at a time when Gill's reputation as an artist-craft leader was high. Perpetua was designed as a crunchy and contemporary design that does not follow any specific historical model, with a structure influenced by Gill's experience of carving letters for monuments and memorials. Perpetual is commonly used for covers and headed and also sometimes for body text; It has been particularly popular in the fine printing of books. Perpetua was launched with characters for the Greek alphabet and a set of titration capitals for headers.

Perpetua Font information

Name Perpetua Font
Style Serif
Designer Eric Gill
File Format OTF, TTF
Font Licence Free For Personal use.
Type Free Font.

Perpetua Font Uses

Mosley, in an article about the development of perpetual, comments that the design:
The opening and the small height X make it away from being economic in use, and delicacy, even altamism, of its court is a severe handicap. It reveals its qualities better in the specimen text of the first specimen mechanized richly in inking and crispy.
Perpetua in the New Zealand Broadcasting Corporation concert program from 1962. An example of the type of niche printing on high quality paper with which it has always been perpetual associated.
Ultimately, despite the great hopes of Morison for perpetual, it has remained as a niche face, particularly popular for high quality printing projects and uses, such as headlines. Morison late in life granted that
The question of whether the sizes of 8 to 14 points are fully realized from the ambition with which they started, that is, creating an original type type for all types of books, does not allow a response in the unskilled affirmative. Perpetual, can be said immediately, is eminently suitable for certain types of books ... with which a certain obvious degree of "style" is desired, such as the semiprivated impression with which Gill was for a long time. intimately associated.
Comparison between the titration of perpetual (above) and perpetual (below). The type of screen has much finer details.
The Appeal of Perpetua to fine book printers has been long-of-date since its launch, both in the United Kingdom and abroad. Christopher Sandford wrote as a perpetual and the similar type of Gill for the Golden Cockrel press that "is important that the type in combination with the finely cut engravings is not so" bold "as to" kill "the work of the artists, It is also important that it should not be too clear to make a comfortable combination. While Gill's life is probably more suitable to combine with copper, engraved, mezzotints, or watercolor paints, the 'Golden Cockrel' type, Undoubtedly, he complied with Gill's intention to combine with the greater impression of the surface of the wooden blocks ". Vivian Ridler, some years later to become printers from the University of Oxford, was so inspired by Gill's work at this time that he named his lateral printing project La Perpetua Press after the source in 1933. Onup Designer Hugh Williamson, In your reservation methods. The design (1956), however, warned that the 12-pt size of perpetual was smaller than "any other serial now in general use", but said that Gill had shown that "the design of the alphabets to print has more achievements To offer artists from the height for reach. "
Two connected designs created around and after the time of the project in Morison's instruction became the most popular types that were designed. Morison was consulted to advise on a custom type of typography for the time around the end of the convoluted perpetual development. One of the various proposed options was a modified version of perpetual, increased in bulk for newspaper printing conditions. (Robin Kinross has indicated that the basic design of perpetual is "just strongly robust for the printing of newspapers". In the end, the monotype created a new source, Times New Roman, for that project, based on a previous typography called Plantin, but One of the key modifications was to sharpen the serifs of the times, similar to the design of perpetual; the reason cited by Morison for the change was to look like the previous sources used. Times New Roman when it is released to general use quickly became one of a The most popular sources in the history of printing. On the monotype sales table until 1984 the best of all, with perpetual eighteen forty-three. The times used the titration of perpetual for some sections in the metal type period .
While working on the Morison project deceive Gill, also to start working on a SANS-Serif project, which became extremely successful Gill Sans series, classifying the fifth in Monotype's sales table. MOSLEY describes this as "a newest design whose sales record must have compensated the monotype for many good sense failures."

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