?

Nick is here. Just you wait and see.

Thanks for the kind words. I do indeed spend some time at Typophile every day (have been doing so for the best part of a decade) and am not averse to a little show and tell. I can send you the Modern Suite specimen book, which has an essay on Figgins Sans, with illustrations—contact nick“at”shinntype.com.

In my estimation of the original 1836 bold caps face by Vincent Figgins, the style had not yet settled into the typical 19th century grotesque mode, i.e. fat and furled curves, but had geometric elements. Therefore I did not give my extrapolation the “funky grotesque” treatment which is the norm in neo-Victorian sans serifs. This also made it a better companion for my revival of the contemporary Scotch Modern, which is packaged with Figgins as the Modern Suite.

That accounts for the styling. For the lower case letter shapes, generally speaking I made them correspond to the Scotch. So the “a” and “r” are a bit awkward. I suppose I should have made the arm of the “f” similarly wide, but that would have been impractical for a multi-lingual 21st century font.

The italic is quite strange, but really just a straightforward sansification of the Scotch italic.

Ok, well where did you get the scotch from? Hopefully it was Johnny Walker Black....

Does anybody know for sure what the first sans serif with lowercase letters was?

http://www.typophile.com/node/46184

Too bad there are no images showing in that thread at the moment—they’re really good!

Here’s one of them (1858), courtesy of James Mosley:

> Too bad there are no images showing in that thread at the moment—they’re really good!

Have a look at this pirate copy

Damn no lowercase till the 1890s? The Grotesks were around by then. I really like the earlier English/Scoch/Irish whatever sans'. There is something so refined about them. Though I do love the standard German Grotesks as well.

Another “unborn” typographic taboo was rag right (or rag left, for that matter).

Even when the sans started to come into its own, in mixed case, in Modernist layouts, it was justified. See Lissitzky’s The Isms of Art:

Now have a look at this beauty:

LOL!

Those Isims look completely modern. Seriously, that could have been designed yesterday. Crazy.