![]() ![]() Soon, another motivation arose: Almost all creators of blackletter fonts seemed to go for quantity rather than quality, and I wanted the world to have at least one good and free blackletter font that allowed to do everything that one could reasonably want to do with it. Unfortunately, most blackletter fonts that allowed for such an authentic typesetting did not support Unicode or OpenType, and so I had to find out where special characters were located for each font and manually insert them into the texts. Unifraktur Maguntia was an exception to this, but-like most blackletter fonts-was based on a dissatisfying digitalisation, e.g., words like Luftfahrt featured bars of f and t at three different heights, and the J and I were just scaled versions of each other. As the font was open, I began with fixing some prominent issues, discovered more issues, fixed them, decided to throw away everything and to re-digitialise the historic source, and so on. In the beginning, my motivation was that I could eventually create a brief guideline for historic blackletter typesetting, which would not require the user to use some esoterically placed special characters, but rely on OpenType features or similar. I always had an interest in computer graphics, which was intensified when it became useful for creating scientific illustrations and when Bézier curves, splines and similar were part of my elective numerics courses. Moreover, type design is an appealing art form to me due to its mathematical nature. But that’s not what actually lead me to working on blackletter fonts.Īs a physicist, I naturally belong to the target audience of roleplaying games, and my roleplaying game of choice was Call of Cthulhu, whose main arena is our world in the 1920s and which features a lot of investigations. Thus people like me who want to create scenarios for this game often need to create fictive newspaper clippings and similar from that period and older. Being somewhat perfectionistic, I learnt a bit about blackletter typesetting and produced texts reproducing historical typesetting, in particular the long s and blackletter ligatures. In this interview he gives us some background information about this project.Īs a physicist, what fascinates you about typography and type design? And what was your motivation to create such a feature-rich blackletter font? Gerrit Ansmann is a physicist from Germany, who worked on the freely available blackletter font Unifraktur Maguntia, which now has a large character set and makes extensive use of smart font technologies such as OpenType. In this interview he gives us some background information about this project. Gerrit Ansmann is a physicist from Germany, who worked on the freely available blackletter font Unifraktur Maguntia, which now has a large character set and makes extensive use of smart font technologies such as OpenType. ![]()
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