|Of Thomas Christensen, ABCedminded Typesetter|
The roman capitals were designed as a titling font by Bruce Rogers for the Metropolitan Museum 1912–14. Subsequently lowercase letters were added, and the font was released by Monotype in 1929 (the same year it released Bembo). Based on roman type by Nicolas Jenson, Venice, 1469
The italic (called Arrighi) was designed by Frederic Warde, 1925, based on Ludovico Arrighi’s chancery font, Venice, 1520.
The typeface is
named after the publication it was first used in, Maurice de Guérin's
Digital Centaur’s lining figures are not particularly attractive and if they are needed (for example, with an all-caps head) consider substituting figures from another Venetian font.
If Centaur’s small caps appear too small, consider making them slightly larger.
Note that Centaur’s regular hyphen (-) is different from its italic hyphen (-). This can look odd in end-line stacks.
Centaur is at its best when set with generous (25–50%) leading.
Centaur and Arrighi are unrivalled in their power to evoke the typographic
spirit of the Venetian Renaissance, but in the two-dimensional world
of digital composition and offset printing, this power is easily lost.”
of a typeface.”
For all-time most
beautiful face, I nominate Bruce Rogers' Centaur. It's not a general-purpose
face at all, like the usual Times or Helvetica (the latter still has
a beauty that is underappreciated); but Centaur lives nobly on a page
and yet invites its readers to honor both it and its message with their
own intelligence and understanding.