Caflisch Script: a one-axis multiple master typeface

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Caflisch Script Caflisch Script is a contemporary italic script, designed by Robert Slimbach and based on the handwriting of renowned Swiss typographer Max Caflisch. At first glance, it evokes a friendly and informal quality. But closer inspection reveals that it owes its character to a seasoned craftsperson with respect for classic handwriting traditions. The typeface assumes the calligraphic flourishes of the chancery hand and transposes them into the present day. Caflisch Script speaks directly to the reader and produces striking word images that enliven any communication. It is ideal for use on its own, for informal correspondence and advertising, or in conjunction with more static types for strong contrast. The Caflisch Script Weight Axis Before multiple master technology, typeface families were limited to a fixed selection of weights. With Caflisch Script, type users can fine-tune typeface weight to best suit the job at hand. The Caflisch Script weight axis spans from light to bold, and works much like a pen selector. The user can choose a pen style that ranges from fine-point to broad-felt-tip. Caflisch Script Swash Capitals shown in a progression of weights, from light to bold.
Designing Caflisch Script The project began when Slimbach received a handwritten note from Caflisch. The clarity and virtuosity of his script so impressed Slimbach that he considered transforming Caflisch’s handwriting style into a typeface design. Months later, during a visit to Adobe, Caflisch agreed to write out several sample pages of his handwriting for Slimbach to experiment with. From these samples, written with a fibre profipen, Slimbach enlarged and cataloged a variety of letterforms, none of which, having been written by the human hand, were exactly the same. Eventually, he derived a working character set with several alternates. These letterforms were scanned and digitized to establish a basis for the type design. During this early phase, Slimbach worked to retain the subtleties and detailing of the original handwritten samples, while making the necessary weight, shape, and spacing adjustments so that the font would perform well in all letter combinations and join in a natural manner as a connecting script. To make Caflisch Script into a multiple master font, Slimbach used the original test weight as a basis from which to design light and bold master designs for the weight axis. Later, alternate lowercase and swash capital fonts were developed to further represent Caflisch’s handwriting and provide users with a more exuberant version of the regular design. Throughout the creative process, Caflisch reviewed test proofs and provided valuable feedback on the developing type. This collaboration produced a script face that pleased both designers.
Page 1 and 2: a one-axis multiple master typeface
Page 3 and 4: Oh! Nature’s noblest gi My grey g
Page 5: Multiple Master Typefaces These new
Page 9 and 10: Primary Fonts A set of primary font
Page 11 and 12: Handwriting For 6,000 years, man ha
Page 13 and 14: Figure 8. The late 16th century bro
Page 15 and 16: Figure 13. Examples of everyday han
Page 17 and 18: Character Samples As a typographer
Page 19 and 20: 8.10 light To the writer’s mind,
Page 21 and 22: 14.16 light To the writer’s mind,
Page 23 and 24: 24.26 36.37 42.43 light, regular, s
Page 25 and 26: Role Call! THE COMMUNITY PLAYERS ar
Page 27 and 28: MENU Soup of Spinach and Cream Tour
Page 29 and 30: Kristen Weerhahn Illustrations at t
Page 31 and 32: Type Development at Adobe Type is d
Page 33 and 34: Further Reading Fairbank, Alfred.

Caflisch Script: a one-axis multiple master typeface

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