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Snell Roundhand Scriptâ„¢
A font family tree displays different foundries’ versions, or a foundry’s different cuts, of basically the same typeface design.
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Snell
Late in the seventeenth century, the English writing master, Charles Snell, decried all flourishes in the Puritan tradition and stood for a plain and efficient form of roundhand. The large x-height of these unadorned forms suited the purpose of the English roundhand, the standard commercial hand of the developing economic revolution, the typewriter face of its day. The overhangs on these letters were too large to cast in metal, blocking evolution to typography. Flourishes on the more elaborate forms could be adapted to fill body space, reducing or eliminating overhangs, allowing flourished scripts to appear in type. In 1966 Matthew Carter translated Snell’s script for photocomposition, later adding two more weights. With its large x-height and severely graceful texture, Snell, impossible in metal, appears as the most typographic of photocomposition scripts.
Snell Roundhand Script
Some words from Linotype:
Snell Roundhand Script was designed in 1965 by Matthew Carter. Conception and design were both based on the 18th century round hand scripts. The font has an elegant and festive feel and its capitals can also be used as initials mixed with other alphabets. Snell Roundhand Script is well-suited to middle length texts and headlines.
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