There are several sorts of Hammers
used by Black-Smiths, as first the Hand-hammer, which is sometimes bigger,
or less, according to the Strength of the Work-man, but it is a Hammer of such weight, that it may be weilded, or governed, with one hand at the Anvil.
Secondly, the Up-hand Sledge, used by under-Workmen, when the Work is not of the largest, yet requires Page 4 help to batter, or draw it out, they use it with both their hands before them, and seldom lift their Hammer higher than their head. Thirdly, the About Sledge is the biggest Hammer of all, and is also used by under-Workmen, for the battering, or drawing out of the largest Work, and then they hold the farther end of the Handle in both their Hands, and swinging the Sledge above their Heads, they at Arms end let fall as heavy a Blow as they can upon the Work. There is also another Hammer used by them, which they call a Rivetting-hammer. This is the smallest Hammer of all, and very rarely used at the Forge, unless your Work prove very small, but upon cold Iron it is used for rivetting, or setting straight, or crooking small work. In Fig. 5. A the Face, B the Pen, C the Eye, D the Handle. Joseph Moxon.
Over the last hundred years or so, utilitarian typefaces have shed most of their quirks and eccentricities on the way to becoming more versatile and universal. That makes some sense, but there’s no reason type can’t be both steadfast and peculiar. Drawing from an early German sans serif used for catalog text, Proto Grotesk revives an era when clunkiness was a virtue. Its pedigree is varied, vacillating between Egyptian and Modern, round and edged, even sans and slab. Despite these contradictions, its posture is nothing less than sturdy and forthright. Proto Grotesk is strange but steady.
Awards & distinctions
Type Directors Club New York Certificate of excellence 2015
Type Directors Club Tokyo Selection 2015
Hiii Typography Merit Award 优异奖 2014
Typecache best of 2014
Typo365 best of 2014
Typographica's favourite of 2014
Typefacts Best of 2014
Fontwerk Die besten Schriften 2014
Design: Jean-Baptiste Levée. Team: Yoann Minet.