Dover Serif Text Regular
ABSURDITY, n. a statement or belief manifestly inconsistent with one’s own opinion.
Dover Serif Text Italic
DEBAUCHEE, n. one who has so earnestly pursued pleasure that he has had the misfortune to overtake it.
Dover Serif Text Bold
DECIDE, v. i. to succumb to the preponderance of one set of influences over another set.
Dover Sans Text Regular
RATIONAL, adj. devoid of all delusions save those of observation, experience and reflection.
Dover Sans Text Italic
ECCENTRICITY, n. a method of distinction so cheap that fools employ it to accentuate their incapacity.
Dover Sans Text Bold
SELF-ESTEEM, n. an erroneous appraisement.
Dover Text is the natural companion to Dover Display: where Display is best used big, Dover Text shines at sizes down to 8 points, or 12 pixels. The six styles work together in ways that Caslon and Gill Sans – Dover’s grandparents, you might say – never could.
While commonly people label sans and serif grouped styles as a ‘superfamily’, in the case of Dover Text, sans and serif are direct companions. The sans can be used as an emphasis style for the serif, for example, and all the functionality of the fonts is identical. Small caps, tabular numbers and language support are matched completely.
Dover Serif Text is based off of Haas Caslon, a German interpretation of Caslon’s smaller types. But where the reference material is a bit stuffy, Dover cleans it up. Historic reference is indispensable for understanding some of the stranger decisions, and with a thousand glyphs per font, it helps that Caslon goes far, far back. However, the many Caslon interpretations that exist may stand on a few centuries of history, but there is no need for a new version to look old.
Dover Sans Text is an attempt at channeling Gill Sans, but applying the design principles to the proportions, letter skeletons and functionality of Dover Serif Text. Certain details from Eric Gill’s work shine through, but Dover Sans Text references more of the sketches and lettering than the final fonts he delivered for Monotype. Notable examples of Gill designs that were cut from the production are the lowercase a tail, which is much more in line with the overal alphabet, and the flowier italic, best exemplified by the e.
Two other meaningful differences are the increased x-height of the fonts, matching the bookishness of the serif, and the low contrast of the bold weight. Together, these three styles do what most book typefaces need.
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While bathing, Antinous was seen by Minerva, who was so enamoured of his beauty that, all armed as she happened to be, she descended from Olympus to woo him; but, unluckily displaying her shield, with the head of Medusa on it, she had the unhappiness to see the beautiful mortal turn to stone from catching a glimpse of it. She straightway ascended to ask Jove to restore him; but before this could be done a Sculptor and a Critic passed that way and espied him.
“This is a very bad Apollo,” said the Sculptor: “the chest is too narrow, and one arm is at least a half-inch shorter than the other. The attitude is unnatural, and I may say impossible. Ah! my friend, you should see my statue of Antinous.”
“In my judgment, the figure,” said the Critic, “is tolerably good, though rather Etrurian, but the expression of the face is decidedly Tuscan, and therefore false to nature. By the way, have you read my work on ‘The Fallaciousness of the Aspectual in Art’?”
PREVAILING WINDS SOUTH-WEST
The weather report for Tuesday, March 15: Light rain in the early morning makes way for clear skies and sunshine.
RADIO HISTOGRAM Handgloves bargain