In retrospect, it can be argued that whilst this type certainly reflects the pure art of Shakespeare’s plays, the light and space and the softer, smoother tones which the typeface presents are contrasted by the tragedy which occurs in the plays, themselves. It can be argued that the tragedies, Romeo and Juliet and Anthony and Cleopatra, would have been written in this typeface reminescent of the love and passion which Shakespeare wrote in his stories. Foot serifs became more adnate (smoothly flowing) as opposed to abrupt.
It is thought that from 150o, Renaissance letterforms became ‘softer, smoother and more self-contained in subtle ways’ (Bringhurst, 2004). The light and space is created through the use of large apertures as previously mentioned. We know how hard it is to read books like that, so we use a standard size 11. Much like the beauty of Renaissance art, music and literature, ‘Renaissance letterforms are full of sensuous and unhurried light and space’ (Bringhurst, 2004). Comes with size 11 text- some companies like to scrimp a bit and use small text.
The aperture (opening in letters such as a, c, e, s) is large. The type bares that of a typical Renaissance font used during the 15th and 16th centuries. First published in 1623 after Shakespeare’s death, The First Folio, is considered to be the first collective edition of Shakespeare’s works:
