Hybrid font

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A hybrid font is a font that combines fundamentally different principles of font design and therefore cannot be clearly assigned to any category of font classification . In the classification according to DIN 16518 , hybrid forms of Antiqua belong to the group of Antiqua variants, along with other deviating forms . The term hybrid font is also synonymous with hybrid font family used and can synonymous with bastard script to be understood.

Hybrid as a patchwork

Many innovative typeface designs in contemporary typeface design combine elements of several opposing type design styles and should therefore be referred to as hybrid fonts. However, a clear definition refers to designs whose hybrid appearance is clearly perceptible as inharmonious or which differs strongly from reading habits. The Rotis Serif (Aicher) combines z. B. Glyph constructions like the dynamic e of a Renaissance antiqua with a static a of a classical antiqua. The parity (Shinn) can also be referred to as patchwork , as it combines as a unicamerale (unicase alphabet) "a mixture of uppercase and lowercase letters of the same height composed by the font designer".

Hybrid font concepts

In order for new typeface designs to have a degree of innovation, it is common in contemporary typeface design to combine various conventional shapes or functions in a new typeface. The emphasized serifs of the Museo (Buivenga) merge into the trunk, like the smear in an italic. The concept of the Ode (Wenzel) represents a visual intersection of the formal principles of Fraktur and Antiqua. The writing system of Instant (Knebusch) shows a change in the letter construction from italic to Roman over the course of the font weights from Light to Black. One advantage of hybrid writing systems can be that they enable exciting typography instead of appearing too uniform.

Individual evidence

  1. ↑ Wolfgang Beinert: "Antiqua -variants" , in: Typolexikon.de, Das Lexikon der West European Typographie , Wolfgang Beinert, Berlin, July 5, 2007. (Accessed July 5, 2014)
  2. ^ Mazal, Otto: Paläographie und Paläotype: On the history of writing in the age of the incunabula , Anton Hiersemann Verlag, Stuttgart, 1984.
  3. ↑ Albert-Jan Pool: “An industrial look does not have to be over-engineered”, in: Slanted No. 19, autumn 2012, 126ff.
  4. ↑ Ralf Herrmann: "Unikameral - the new translation for Unicase?" , In: Typografie.info: Fachartikel , Roßbach & Herrmann GbR, December 21, 2011. (Accessed June 25, 2013)
  5. ↑ Jürgen Siebert: "Star of the Week: Parity Family OT" , in: Fontblog: In our own business. , FontShop AG, March 13, 2012. (Accessed June 25, 2013)
  6. ↑ Jakob Runge: "Modern hybrid fonts wanted" , in: Typografie.info: Forum , Roßbach & Herrmann GbR, October 25, 2012. (Accessed June 25, 2013)