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The cover of a 1950 Museum of Modern Art angles shifting from generally diagonal to horizontal, bracketed book, designed by Jack Dunbar, prominently displays its title, serifs beginning to suggest the graver more than the pen, and “What Is Modern Design?” in Bodoni, as if the question it asks by the end of the seventeenth century, printing types began to is answered by the typeface, rendered in stark white letters on evidence a distinct and autonomous visual vocabulary.
WEB CAP HEIGHT LINE Bowl Crossbar Vertical bar Tie The contrast of strokes is low, serifs are bracketed, the axis of curved strokes shifts to the left and the x-height is relatively small.
3 Akzidenz-Grotesk Medium Akzidenz-Grotesk Super Grotesque Occasionally confused with Helvetica, Akzidenz differs from the Swiss typeface in a few crucial points, one of it being AG’s slightly larger x-height - a typical attribute of early grotesque sans-serifs.
retracted or backed articulation • glyph may have small end-serifs → 02D7 ˗ modifier letter minus sign COMBINING PALATALIZED HOOK BELOW • IPA: