Stored as a bitmap, interpreted by a machine. Digi Grotesk was released in 1968, but I'd say it holds up pretty well.
Before Arial and Segoe, before Comic Sans and Courier, there was Digi Grotesk. Designed by a German guy named Rudolph Hell (or more probably his employees), this is the first true digital typeface.
Digi Grotesk wasn't exactly intended for display on computer screens, which didn't exist as we know them in 1968. Instead, it was designed for use in Hell's pioneering cathode ray typesetting machines, which set text by projecting a CRT image — basically a TV image — onto photosensitive paper through a lens. The machines looked like this:
Digitizing this part of the typesetting process was a huge boon to typesetters, because it meant they could set hundreds, or even thousands, of letters per minute. The machines were the first to store fonts as bitmap images, and this was the first font designed specifically for digital use. Here's the heavier version, which looks a bit like Helvetica:
It holds up well because most fonts hold up well; if they weren't designed decades or even centuries ago, they're probably based on typefaces that were. Segoe, the font used all over Microsoft Windows, is a riff (or maybe rip) on Frutiger Next, the parent font of which was released in 1968. Times New Roman was developed in 1931. Digi Grotesk was released in the '60s, but apparently mimics a typeface called Neuzeit Book, which was first designed in 1928. I wouldn't blink if I saw this font on a website today.
On the other end of the spectrum, take this font, which was designed in 2011 and is used for reading on ultra-high-resolution gadget screens. It could've been carved out of wood in 1750, right? But it wasn't. Fonts are timeless.
(You can take a closer look at the Digi Grotesk font family here.)
Contact John Herrman at john.herrman@buzzfeed.com.
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I'm a seasoned typography enthusiast with a profound understanding of the historical evolution and technical aspects of fonts. My expertise is grounded in the intricate details of typeface design, digital typography, and the pivotal role that fonts play in the world of visual communication. I don't just scratch the surface; I delve deep into the nuances that define each typeface, unraveling their stories and impact.
Now, let's break down the concepts mentioned in the article, "TechStored as a bitmap, interpreted by a machine. Digi Grotesk was released in 1968, but I'd say it holds up pretty well."
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TechStored as a Bitmap:
- This refers to the storage of digital information in a bitmap format. Bitmaps are grids of pixels, where each pixel represents a single point in an image. In the context of fonts, storing them as bitmaps involves representing each character as a collection of pixels, forming a rasterized image.
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Interpreted by a Machine:
- The process of interpreting, in this case, involves the machine's ability to understand and render the digital information stored as bitmaps. The machine, presumably a cathode ray typesetting machine mentioned later in the article, interprets the digital typeface and projects it onto photosensitive paper through a lens.
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Digi Grotesk (1968):
- Digi Grotesk, designed in 1968 by Rudolph Hell or his employees, is highlighted as the first true digital typeface. It was not initially intended for display on computer screens but was designed for cathode ray typesetting machines, pioneering devices that projected CRT images onto photosensitive paper to set text.
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Cathode Ray Typesetting Machines:
- These machines utilized cathode ray tube (CRT) technology to project images onto photosensitive paper. They played a crucial role in typesetting, allowing rapid and efficient creation of text by storing fonts as bitmap images. Digi Grotesk was specifically created for use in such machines.
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Helvetica and Segoe:
- The article briefly mentions Helvetica, comparing the heavier version of Digi Grotesk to it. Segoe, a font extensively used in Microsoft Windows, is mentioned as a derivative or inspiration from Frutiger Next, whose parent font was released in 1968.
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Font Timelessness:
- The article suggests that fonts, especially those designed decades or centuries ago, tend to hold up well. It draws attention to the enduring quality of fonts like Digi Grotesk, which apparently mimics Neuzeit Book, a typeface designed in 1928.
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Modern Fonts:
- The article contrasts Digi Grotesk with a font designed in 2011 for ultra-high-resolution gadget screens, emphasizing the timeless nature of fonts. The implication is that, despite being modern, certain fonts can evoke a historical aesthetic.
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Typography Influences:
- The article briefly touches on the influence of earlier typefaces on newer ones, highlighting how fonts like Segoe are riffing on or possibly ripping off designs from their predecessors.
In conclusion, the article navigates through the history of Digi Grotesk, placing it in the context of technological advancements, the evolution of typography, and the enduring quality of fonts across time periods. My extensive knowledge allows me to appreciate the intricacies and significance of each concept presented in the article.
