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nations. trial Greek and Cyrillic forms are currently going through their first review with these In addition to the large number of Latin cycles diacritic, phonetic and non-European letters, the ‘Brill’ fonts include support for Greek and Cyrillic text. In this expert advisors.
we are fortunate to have the expert advice of Gerry Leonidas, head of the MA programme in type design at the University of Reading (UK) and acknowledged expert on Greek typography, and of Maxim Zhukov, former typographic advisor to the United Nations.

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NOPQRSTUVWXYZ abcdefghijklmnopqrs NOPQRSTUVWXYZ tuvwxyzàǣḅçéə��ǵ��ǰ tuvwxyzàǣḅçéə��ǵ��ǰ abcdefghijklmnopqrs abcdefghijklmnopqrs ƙłṁŋǫɔ�ʠɾ�ŧǖṿŵẍẙ� ƙłṁŋǫɔ�ʠɾ�ŧǖṿŵẍẙ� tuvwxyzàǣḅçéə��ǵ��ǰ �ðþʌɥ��ɯʃ�AEHILO AHILO tuvwxyzàǣḅçéə��ǵ��ǰ �ðþʌɥ��ɯʃ� ƙłṁŋǫɔ�ʠɾ�ŧǖṿŵẍẙ� abcdehijlmnopqrsu abcdehijlmnopqrsu ƙłṁŋǫɔ�ʠɾ�ŧǖṿŵẍẙ� �ðþʌɥ��ɯʃ� AHILO Γ∆ΛΠΦαβγεζθιλνξοπρ nations. trial Greek and Cyrillic forms are currently �ðþʌɥ��ɯʃ� AEHILO going through their first review cycles with these σςτυφψωϕ abcdehijlmnopqrsu expert advisors. abcdehijlmnopqrsu
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3 Trial Greek and Cyrillic letters.

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type design is an iterative process, involving frequent review and revision, making what are often minute adjustments to the weight of a stroke or other feature, or a tiny adjustment to the width of a letter. Digital font technology certainly makes this much easier and less costly than it was in the 3process Trial Greek and Cyrillic letters. 4. Greek and Cyrillic letters. days of metal type manufacture, but the attention Type design in is an iterative process, involving frequent review and revision, to detail the development of a typeface for setting type design is an iterative process, involving making what are often minute adjustments to the weight of a continuous text is the same. All the forms shown stroke or other feature, or a tiny adjustment to the width of a letter. Digital font frequent review revision, making here are subject to and further review and testing.what By theare often technology certainly makes this process much easier and less costly than it summer of 2009, the roman and italic designs will minute adjustments to the weight of a stroke orin the was in the days of metal type manufacture, but the attention to detail development of a typeface for setting continuous text is the same. be finalised, andor work will be underway on bold other feature, a tiny adjustment tothe the width of a and bold italic types.

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letter. Digital font technology certainly makes this process much easier and less costly than it was in the days of metal type manufacture, but the attention to detail in the development of a typeface for setting continuous text is the same. All the forms shown 4 The design progresses by testing, revision, more heretesting, are subject to further review and testing. By the more revision. Red outline: the initial trial 5. The design progresses by testing, revision, more testing, more revision. Red summer of 2009, the roman and italic designs will form of the lowercase a,the aslowercase presented Brill duroutline: the initial trial form of a,to as presented to Brill during project planning in the spring of 2008. Blue outline: an intermediate revision ing project and planning in the spring of 2008. Blue be finalised, work will be underway on the bold after the first press test in late 2008. Black outline: the current version. On the outline: an intermediate revision after the first press and bold italic types. right, the three letters are superimposed, revealing their subtle but important
test in late differences. 2008. Black outline: the current version, likely close to the final form. On the right, the three letters are superimposed, revealing their subtle but important differences.

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4 The design progresses by testing, revision, more testing, more revision. Red outline: the initial trial form of the lowercase a, as presented to Brill dur-

John Hudson Tiro Typeworks, www.tiro.com

Announcing Bst £ ðñ ĝ ‰ ĬŊœŮ𐅕 The “Brill” Typeface ƕ Ʃ⁙rƪǎ ǫ ǣǾȖȢȰɃɊ ɐɚⓩ�ɣɿʘʬʪͶͽΔƉΨ θ ϐ ϡ ϼ Д Ў i Ф Э л ξ ф 𝔐 ѕ ђѴᴂ ᴟ ᵺ ᶈ Ḥ ḿ ffl � ṳẌ Ẩ ễ Ỻ ἅ Ἤ lὡᾋ ƈĝ ꝣ‰ĬŊœ Bs £ ðñ ῇΰ �⁜Ꝙ⅏� ⅚ ↂ 𐅮ǫ ǣǾȖȢ ƕ Ʃ⁙rƪǎ ↇ↚⁇δ Ḑ ☧♑Ɱⱸ ɬ Ꜷ⸙l ʪͶͽ ɐɚⓩ�ɣɿʘʬ Bst £ ðñ ĝ ‰ ĬŊœŮ𐅕 θϐ ϡ ϼД Ў iФЭ л ξ . ƕ Ʃ⁙rƪǎ ǫ ǣǾȖȢȰɃɊ ѕ ђѴᴂ ᴟ ᵺ ᶈ Ḥ ḿ
brill.nl/brill-typeface

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even if these might be very rare in publications. Brill has taken the initiative of designing a typeface. began to experiment with a new style of lettering. However. italic. It is now called.com) You can download the font on our website brill. the ‘Brill’ letters are more robust than their historical antecedents. we shall offer it as a free download for individuals for non-commercial purposes. and to of do and depending on the length and arrangement ABCDEFGHIJKLMNOPQRSTUV WXYZabcdefghijklmnopqrstuvwxyz paid to these forms early in the design process. for instance. Di process m days of m to detail i continuo here are s summer o be finalise and bold 4 The d . Note the relative same of nominal size.ĬŊœŮ𐅕 ǾȖȢȰɃɊ Ͷ ͽΔƉΨ Э л ξ ф 𝔐 Ḥḿffl� l ὡᾋ ƈ ꝣ .’ �̧ ̂ ̀ ̱ и̊ ɛ ̃ Ɔ̧� ̣ к̯̏ ꝓ̉ δͅ 𝔄𝔄𝔄 ȝ̐ Ǝ� 1. Introduction Aims and benefits. Consequently. or other small matter. spacing and mark positioning of characters. σςτυφψωϕ The companion italic design is in its first stages of ������������ development. the new ‘Brill’ types should honour that heritage. well-known for his multilingual fonts.as Note the relative of robustness the new type. over the print run of an edition. editors. Thus. The idea is that users will be able to throw pretty much any text at these fonts and get back a legible and aesthetically pleasing display. specialist systems of notation. ing standards such as this can we reliably and easily exploit multimedia output of our multilingual texts. and the expansion model of the split nib is systematically applied. it was not until half a century later that type founders began to create types in this new style. which therefore does not fall in the ‘Open Source’ category. so that there can be no providers such as typesetters – with the fullest support imaginable confusion and corruption as text is moved of the more Latin script. whose neoclassical types have remained popular down to the present day. integrity is maintained throughout the publication and smart font and layout technologies such as OpenType – provide process and beyond that. to pay for itself in two years). the publishing house of Luchtmans and its Use of the ‘Brill’ typeface will streamline the publicamodern successor.tiro. attention has been forms early in the design process. top. trial forms have been made and now need to be press tested alongside the roman. with initial trial forms of italic letters. and Web –tion the works of many thousands of scholars working in various branches of the humanities. with its characteristic stroke expansion in reaction to writing pressure. two English writing masters. non-standard orthography. with some italic letters. There is an inherent stability in this style that makes it more easily adaptable to a wide variety of shapes than. Technically.nl/brill-typeface once the Brill is available. and it seemed fitting that the new ‘Brill’ types should honour that heritage. with all necessary punctuation marks and a wide assortment of symbols. including Unicode. these gains may more robust than their historical antecedents. allowing Brill to reduce its environmenƙłṁŋǫɔ�ʠɾ�ŧǖṿŵẍẙ� confidence down to 9 cicero points in footnotes tal footprint. more prosaically. In a typeface for such a wide range of languages. tuvwxyzàǣḅçéə��ǵ��ǰ ƙłṁŋǫɔ�ʠɾ�ŧǖṿŵẍẙ� �ðþʌɥ��ɯʃ� AEHILO abcdehijlmnopqrsu 2 ‘Brill’ roman: the basic alphabet and a selection of Γ∆ΛΠΦαβγεζθιλνξοπρ diacritic and ‘exotic’ letters. ABCD ABCD WXY WXY ABC ABC WXY WXY ABCDEFGHIJKLMNOPQRSTUV WXYZabcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUV WXYZabcdefghijklmnopqrstuvwxyz 2. the mostly vertical contrast axis and expansion stroke model of the Brill types were chosen because they favour the mirrored letters of the International Phonetic Association alphabet. contributing to a recognisable ‘Brill’ look and feel. �ðþ going thr ab expert ad ab Γ∆Λ About the design At the very end of the 17th Century. Named “the Brill”. At a later stage. is close to vertical. tions of Brill publications. ‘Brill’ roman: the basic alphabet and a selection of diacritic and ‘exotic’ letters. Over the length of a book and. Diacritics can be stacked at will. Brill. The forms are simpler. Consequently. with the new ‘Brill’ design at the same nominal size. It will be especially welcomed by humanities scholars quoting from texts in any language. Over to the length of a book and. “The Brill” complies with all international standards. have had long service in Brill publications – most Brill books in recent years have been set in a digital revival of Baskerville –. This indispensable tool for scholars will become freely available later this year for non-commercial use. cumulatively.John Hudson. the relationship of thin to thick strokes. and service a unique numeric identifier. It is slightly narrower overall. The OpenType Layout programming in the fonts includes smart contextual rules affecting the shape. but instead are based on cursive written forms contemporary with the neoclassical letters on which the roman is based. which will ensure that textual processing – notably the Unicode Standard for character encoding. It slightly narrower overall. John Hudson of Tiro Typeworks. Only by adoptor on any other diacritic: diacritics can be stacked at will. 3. or even uncertainty the content of manuscript sources. withfont theused new ‘Brill’ design at thetop. the ‘Brill’ fonts may be generally classified as neoclassical in inspiration: the stress axis. ‘A custom typeface enables a publisher to take control of typography in a way that isn’t possible with off-the-shelf fonts. ‘Brill’ is also designed to be more efficient in its use of horizontal space than the old Baskerville font. allowing Brill to reduce its environmental footprint. and the sciences. notably John Baskerville. Tiro Typeworks (www. on-screen rendering in our online products will be tested. recent of years. do not have the typical serifs. the ‘Brill’ letters are over the print run of an edition. These types. ‘Brill’. The ��������������� design of the ‘Brill’ italic is somewhat unusual: the ascenders on b d etc. ABCDEFGHIJKLM the new type.⅚ ↂ 𐅮 Ɱⱸ ɬ Ꜷ⸙l ĬŊœŮ𐅕 ǾȖȢȰɃɊ The ‘Brill’ typeface: the future in progress brill. There are over 5. we shall provide our authors with aover valuable tool. the basic characteristics of the design need to accommodate ‘worst case’ characters. “The Brill” is available in roman. the ‘Brill’ fonts may be generally classified as neoclassical in inspiration: the stress axis. You will be able to download the font package after agreeing to the End User License Agreement. to write a formal roman letter similar to typographic forms but unlike any types existing at that time. Comparison the Baskerville by Brill in recent years. it presents complete coverage of the Latin script with the full range of diacritics and linguistics (IPA) characters used to display any language from any period correctly. cumulatively. . as well as its superior space efficiency. ancient or modern. to better respond to the print conditions of Brill publications. and the expansion model of the split nib is systematically applied. NOPQRSTUVWXYZ However. better respond to the print condiabcdefghijklmnopqrs page. including sequences of combining diacritic marks above and below letters. and the more dynamically extreme romantic or ‘modern’ types of the 19th Century that derive from the same stroke expansion model. the new typeface was to be named ‘Brill Minerva’. Recent developments in computerised text at no cost to them. ���� Γ∆ΛΠΦαβγεζθιλνξοπρ σςτυφψωϕ ABCDEFGHIJKLM ������������ NOPQRSTUVWXYZ ��������������� abcdefghijklmnopqrs ���� ��� ��� 3 Trial type desi frequent minute ad other feat letter. Unicode assigns each character of each script The Brill typeface provides its users – authors. Indeed. designer. and to be able to do so in typographically sophisticated ways involving smallcaps etc. At the same time. the Brill fonts have to be able to legibly display any combination of the supported characters that might be encountered in text. output conditions.100 characters in all. abcdehijlmnopqrsu WXYZabcdefghijklmnopqrstuvwxyz and signs used in academic publishing. and depending on the length and arrangement of paragraphs can result in 1–3 more lines of text per page. allowing the font to be used with confidence down to 9 points in footnotes or other small matter. not only modern but also historical. The design of the ‘Brill’ italic is somewhat unusual: the ascenders on b d etc.nl/brill-typeface After careful consideration. The typographic increasing productivity (the investment is expected needs of these scholars frequently go beyond those of everyday text. editors and seproduction staff. Not only do data the fonts contain nearly every Latin character defined in the Unicode Standard. because of the languages involved. and bold italic. is the Brill’s designer. attention has been paid to these typography set for regular text. andthat to doconforms so in a way that conforms to the high standards soparagraphs in a way to more the high standards of can result in 1–3 lines of text per of typography set for regular text. Since one of the goals of the ‘Brill’ fonts is to support the great variety of specialised diacritic letters and signs used in academic publishing. curity. these gains may amount to a significant reduction in the amount of paper used. 1. using the steel split nib pen. One of the principal benefits is the harmonisation of text across multiple languages. far into the needs. and Greek and Cyrillic are also covered. the relationship of thin to thick strokes. When announced in the 2007 report. law. bold. The tuvwxyzàǣḅçéə��ǵ��ǰ amount to a significant reduction in the amount of forms are simpler. John Seddon and George Shelley. future. using a framework for addressing scholarly typographic and at thetime Unicode Standard to achieve maximum data the same streamlining the workflow of authors. books and series. a renaissance style type with an oblique axis and broadnib modelling. but they also allow for between different computer systems and programs. ‘Brill’ is also designed to be Since one of the goals ofof the ‘Brill’ AHILO fonts is than to sup�ðþʌɥ��ɯʃ� more efficient in its use horizontal space the ABCDEFGHIJKLMNOPQRSTUV port great variety ofis specialised diacritic letters oldthe Baskerville font. do not have the typical serifs. GPOS <mark> and <mkmk> attachment While Brill reserves all rights to the typeface. the correct placement of any diacritic on any base (Latin) character vastly simplifying data exchange. allowing the font to be used with paper used. Comparison of the Baskerville font used by Brill in AB AB NO NO abc abc tuvw tuvw ƙłṁ ƙłṁ �ð nations. is close to vertical. licensing policy For over 325 years. have brought to print – and now to the process. reducing costs and time-to-market. well as its superiorrobustness space efficiency.

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