A big part of attaining this goal is the, uncommon for a sans serif, relatively high contrast between thick and thin strokes. Ocean Sans was conceived out of a goal to create a highly distinctive, yet simple, sans serif typeface. To this day, Centaur is generally considered to be one of the most handsome roman typefaces. Rogers considered himself “an indifferent calligrapher” and persuaded Frederic Warde, who had a earlier produced a chancery italic called “Arrighi,” to permit its use as the italic for Centaur. As part of the process, an italic needed to be created to accompany the roman design. And, in 1928, he moved to England to work on the adaptation of Centaur to machine–set type. Although first called “Museum Press Capitals,” the commercial version of Centaur was named after Guérin’s book.Īfter years of continued requests by several foundries to make Centaur available to the printing trade, Rogers agreed to license the design to Monotype. The first use of the Centaur was for a small translation of Maurice de Guérin’s, The Centaur. Primarily intended to be a titling face, 14 point was the only size that contained a lowercase alphabet. Bruce Rogers drew the design, based on the type of the famous Renaissance printer Nicolas Jenson. Centaur was originally designed in 1914, for the Metropolitan Museum, which was part of New York’s Grolier Club.
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