The strength of the capitals distinguishes these types from those of another “optimizing” era, the 1970s and ’80s, when puny caps made for monotonous text. None of the caps are exceptionally narrow, and both cases have an evenness of width that makes for a no-nonsense, orthodox appearance. Designed for optimum clarity, readibility, and word count, these types have a pronounced angle of stress in the lower case, which is quite large and fairly narrow in relation to the caps. , via the French Oldstyles, or Elzevirs, to In proportion, the basic Beaufort is in the vein of the classic oldstyle types that descend from In particular, the bold romans recall a kind of “grotesque with small serifs” style popular with sign painters and package lettering artists in the early 20th century, and still going strong.
In style, Beaufort has a number of affinities. This means that small sizes of Beaufort will combine a high word count with good legibility, while large sizes will always display very fine detail. Its pointed serifs introduce a sharpness of reproduction that was difficult to achieve, at any size, prior to PostScript. While many types, old and new, benefit from this level of definition, few designs specifically exploit it. It has legibility proportions, and a very large, useful family with specially adapted condensed and extended sub-families.Ĭompared with type set by older technologies, PostScript type, imageset and printed by high-resolution offset lithography, has a remarkable clarity – at any size. Beaufort contains 10 styles and family package options. Beaufort was designed by Nick Shinn and published by Shinntype.
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