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![]() This enabled an exact definition of details such as the amount of overshoot of round characters (e.g. In 1980, the DIN typefaces were redrawn by Adolf Gropp (1911–1996), a lettering artist from Frankfurt. Also, the Berthold type foundry adopted the DIN typefaces for their optomechanical phototype setting systems such as Staromat. The transferable-lettering-sheet company, Letraset made several variants available in the 1970s. Note the different structure of the 'a' and how curved strokes do not thin as they connect, as at the join of the 'h'. Releases Ī sign in an older version of DIN Mittelschrift. In a similar vein, the International Standards Organisation developed its own derivative, Isonorm, in 1980. ![]() The sans-serif is similar to Gill Sans and to Johnston the serif reflects the classical Renaissance humanist model. Created by a group of designers that included Jan van Krimpen, the design has no similarity to the DIN standard: it is a humanist family with serif and sans-serif styles. Inspired by the DIN standard, a consortium of Dutch organisations created an equivalent lettering standard, NEN 3225. Although of a similar design, the DIN typefaces did not incorporate the elegance of this stylistic trend. ![]() At the Bauhaus, the use of coarse grids for designing typefaces was advocated by Herbert Bayer and Joost Schmidt during the Dessau period. Sans-serif lettering and typefaces styled around geometric shapes, along with Art Deco in general, was very popular in the 1920s and 1930s. The 1943 version of DIN 1451 added a set of Cyrillic characters, although their design did not match the weight and proportions of DIN Mittelschrift. During World War II, DIN 1451 was also adopted in the Protectorate of Bohemia and Moravia. They were released as celluloid lettering stencils for smaller applications, as larger metal stencils for application to machinery, vehicles and airplanes, and as cast metal lettering for street and building signage nevertheless, printing type conforming to DIN 1451 have never been produced. Within the scope of public and technical lettering, the use of the DIN 1451 typefaces spread rapidly once they were adopted. Stencils for lettering technical drawings to DIN standards The DIN Committee of Typefaces was headed by the Siemens engineer, Ludwig Goller (1884–1964), who also led the central standardization office at Siemens & Halske in Berlin, between 19. ![]() Then, as a byproduct of the 1920 consolidation of all German railway companies into the Deutsche Reichsbahn, the Prussian railway's typeface quickly became a de facto national standard, even before the DIN Committee of Typefaces took up its work on DIN 1451 a few years later. Ten years later, the company – by then, renamed Prussian-Hessian Railways – additionally required that signage lettering on railway platforms and station premises also be rendered according to the 1905 master template. This specification was published in a document known as Musterzeichnung ('master template', literally: 'pattern drawing') IV 44. The origins of DIN 1451 Engschrift ('condensed face') for hand lettering date back to 1905, when the Prussian state railways prescribed a standardized lettering style for use on all of its rolling stock. These were to be used in the areas of signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. It contained several standard typefaces for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. In 1931, the DIN institute published DIN 1451. Where a seasonal lag of half a season or more is common, reckoning based on astronomical markers is shifted half a season. Midsummer takes place over the shortest night of the year, which is the summer solstice, or on a nearby date that varies with tradition. Reckoning by hours of daylight alone, summer solstice marks the midpoint, not the beginning, of the seasons. Photo of midnight sun in Inari, Finland.ĭays continue to lengthen from equinox to solstice and summer days progressively shorten after the solstice, so meteorological summer encompasses the build-up to the longest day and a diminishing thereafter, with summer having many more hours of daylight than spring. In the middle of summer, the sun can appear even at midnight in the northern hemisphere. By the Irish calendar, summer begins on 1 May ( Beltane) and ends on 31 July ( Lughnasadh). In Ireland, the summer months according to the national meteorological service, Met Éireann, are June, July and August. It is also used by many people in the United Kingdom and Canada. The meteorological reckoning of seasons is used in countries including Australia, New Zealand, Austria, Denmark, Russia and Japan. This meteorological definition of summer also aligns with the commonly viewed notion of summer as the season with the longest (and warmest) days of the year, in which daylight predominates. Under meteorological definitions, all seasons are arbitrarily set to start at the beginning of a calendar month and end at the end of a month. ![]() The meteorological convention is to define summer as comprising the months of June, July, and August in the northern hemisphere and the months of December, January, and February in the southern hemisphere. ![]() ![]() A variable seasonal lag means that the meteorological centre of the season, which is based on average temperature patterns, occurs several weeks after the time of maximal insolation. By solar reckoning, summer instead starts on May Day and the summer solstice is Midsummer. Further information: Meteorological seasonsįrom an astronomical view, the equinoxes and solstices would be the middle of the respective seasons, but sometimes astronomical summer is defined as starting at the solstice, the time of maximal insolation, often identified with the 21st day of June or December. |