Influenced by the early sans-serif typefaces of the 19th century and developed for todays highest standards, we created a functional family optimized for maximum legibility. Basic Gothic has a functional, basic look, being willful but pleasant at the same time and scores with an eye-catching appearance in screen or editorial designs.
SIGNIFICANT IMPACT
Working environment
INDUSTRIAL METAL
Preheating principles
CULTURAL STUDIES
Complexity of trades
SCIENTIFIC INQUIRY
Including the Classics
BLAST FURNACES
Modern literature 25
PUBLIC AUDIENCE
Non-fictional books
PRINTING PRESS
Aesthetic qualities
DEVELOPMENTS
Romance & Novel 3
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When we began to design Basic Gothic we planned to create an uncompromising, characterful a typeface with a focus on perfect legibility. Feeling inspired by the highly creative approach of Gill Sans or Antique Olive we began to search for exceptional yet legible proportions stripped down to their basic forms, with precise curves and straight lines. With its functional, basic look, it is willful but pleasant at the same time and and developed for today’s highest standards.
One of the design approaches was to develop character through the architecture and not through curly or floral details. Some letterforms like the “F” or “E” are crafted in a unique way – the slightly longer bar is an iconic feature in the Basic Gothic alphabet.
While designing the typeface we always double-checked printed proofs in 6pt – 8pt making design decisisions. The result was that stroke endings and details are extroverted and being recognized in all sizes. A strong and characterful appearance in big sizes meets great legibilty in reading text.
Be Basic! We decided to the design all letterforms as plain and precise as possible. Pointed corners and sharp angles give an edgy and willful look to the alphabet.
A font of today’s needs has to include more than just the alphabet and some punctuation. Besides a big number of accented letters, making sure that the typeface has a good language support, a font should include several features for excellent typographic work joining forces with the layout applications of the time and of course the user. Here is a selection of what this font family has to offer under the hood.
Good Excellence
Small Caps are uppercase characters set at the same height and weight as the lowercase characters or text figures. They are used in text emphasize or typographically differentiate passages beside the italics. Professional designed Small Caps are not simply scaled-down versions of the capital letters – they are designed to work with the lowercase letters and have the same stroke weight.
Tuff Carpet
Besides the standard letters a font sometimes contains several versions of a letter called alternates. You can exchange the alternate with the standard letter by selecting it through the Opentype feature panel and every letter of the stylistic set will be exchanged. Often this results in a totally different optical appearance of the typeface.
In 1782 we found new letterforms
When lining figures are used in a reading text they often produce a visual stretch in the text and disturb the grey value. It has the same effect if you use ALL CAPS in a text. One solution could be to make the numbers slightly smaller and give them some more space in-between. The other, more elegant way is to use the old style figures, they have ascenders and descenders like the lower case letters and will fit seamlessly in the text. In Brix Sans there are also tabular oldstyle figures available.
1.871,09€
2.645,87€
In addition to the normal lining figures, the fonts contain a set of tabular figures. This means that all numbers have the same width, which is useful for setting up invoices, tables or every other task where the figures should have a structured appearance among themselves.
1/4 is knowledge. 3/4 are attitude.
If fractions are needed anywhere an OpenType code makes sure that if you type any numbers combined with a slash between a fraction will automatically be substituted.
Fe2O3
A subscript is a character that is set slightly below the normal line of type. They are used in formulas, mathematical expressions, and specifications of chemical compounds and isotopes, but can have many other uses as well. These characters are not simply ordinary characters reduced in size – to keep them visually consistent with the rest of the font, they are slightly heavier than a reduced-size character would be.
Every new day2
A superscript is a character that is set slightly above the line of type. It has the same weight and size like a subscript character. They are also used in formulas, mathematical expressions and text references, but can have many other uses as well.
Afar, Afrikaans, Albanian, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic, Gagauz, German, Gikuyu, Gilbertese/Kiribati, Haitian-Creole, Hawaiian, Hungarian, Icelandic, Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi, Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish, Malagasy, Malay, Maltese, Maori, Marquesan, Moldovan/Romanian, Montenegrin, Nauruan, Ndebele, Norwegian, Oromo, Palauan/Belauan, Polish, Portuguese, Quechua, Romanian, Romansh, Sami, Samoan, Sango, Serbian, Sesotho, Setswana, Seychellois-Creole, Swazi, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swedish, Tahitian, Tetum, Tok-Pisin, Tongan, Tsonga, Tswana, Turkish, Turkmen, Tuvaluan, Uzbek, Wallisian, Walloon, Welsh, Xhosa, Zulu
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