Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version. -
Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
Afgbaskerville (The Type Face)
gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo. -
Type ID and History
History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface -
Serif Fonts Vol 2
Name Chaparral Pro Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Italic Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Italic Basic Latin ! " # $ % & ' ( ) * + , - . -
Suitcase Fusion 8 Getting Started
Copyright © 2014–2018 Celartem, Inc., doing business as Extensis. This document and the software described in it are copyrighted with all rights reserved. This document or the software described may not be copied, in whole or part, without the written consent of Extensis, except in the normal use of the software, or to make a backup copy of the software. This exception does not allow copies to be made for others. Licensed under U.S. patents issued and pending. Celartem, Extensis, LizardTech, MrSID, NetPublish, Portfolio, Portfolio Flow, Portfolio NetPublish, Portfolio Server, Suitcase Fusion, Type Server, TurboSync, TeamSync, and Universal Type Server are registered trademarks of Celartem, Inc. The Celartem logo, Extensis logos, LizardTech logos, Extensis Portfolio, Font Sense, Font Vault, FontLink, QuickComp, QuickFind, QuickMatch, QuickType, Suitcase, Suitcase Attaché, Universal Type, Universal Type Client, and Universal Type Core are trademarks of Celartem, Inc. Adobe, Acrobat, After Effects, Creative Cloud, Creative Suite, Illustrator, InCopy, InDesign, Photoshop, PostScript, Typekit and XMP are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apache Tika, Apache Tomcat and Tomcat are trademarks of the Apache Software Foundation. Apple, Bonjour, the Bonjour logo, Finder, iBooks, iPhone, Mac, the Mac logo, Mac OS, OS X, Safari, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc. App Store is a service mark of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Elasticsearch is a trademark of Elasticsearch BV, registered in the U.S. -
Surviving the TEX Font Encoding Mess Understanding The
Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24. -
Vision Performance Institute
Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs. -
Chapter 13, Using Fonts with X
13 Using Fonts With X Most X clients let you specify the font used to display text in the window, in menus and labels, or in other text fields. For example, you can choose the font used for the text in fvwm menus or in xterm windows. This chapter gives you the information you need to be able to do that. It describes what you need to know to select display fonts for use with X client applications. Some of the topics the chapter covers are: The basic characteristics of a font. The font-naming conventions and the logical font description. The use of wildcards and aliases for simplifying font specification The font search path. The use of a font server for accessing fonts resident on other systems on the network. The utilities available for managing fonts. The use of international fonts and character sets. The use of TrueType fonts. Font technology suffers from a tension between what printers want and what display monitors want. For example, printers have enough intelligence built in these days to know how best to handle outline fonts. Sending a printer a bitmap font bypasses this intelligence and generally produces a lower quality printed page. With a monitor, on the other hand, anything more than bitmapped information is wasted. Also, printers produce more attractive print with variable-width fonts. While this is true for monitors as well, the utility of monospaced fonts usually overrides the aesthetic of variable width for most contexts in which we’re looking at text on a monitor. This chapter is primarily concerned with the use of fonts on the screen. -
Download Futura Font Word
1 / 5 Download Futura Font Word Futuristic Fonts Download Free futuristic fonts at UrbanFonts.com Our site carries ... '80s generator gives your words a neon retro tribute Oct 07, 2016 · Well, if you ... Futuristic Logos Futura Fonts generator tool will let you convert simple and .... Download Futura fonts from UrbanFonts.com for PC and Mac. Futura EF Fonts Free ... Futura Lt Font. How to Install Futura Font in Adobe, Ms Word, Mac or Pc?. 11 Free Chrome Graphics Generators Welcome to MyFonts, the #1 place to download great @font-face webfonts and desktop fonts: classics (Baskerville, Futura, .... Mar 12, 2020 — Want to use beautiful custom fonts in your WordPress theme? ... First thing you need to do is download the font that you like in a web format.. Download Futura PT font (22 styles). Futura PT FuturaPTBold.otf 126 Kb | Futura PT Bold Italic FuturaPTBoldOblique.otf 125 Kb | Futura PT FuturaPTBook.otf ... Download Futura PT Font click here: https://windows10freeapps.com/futura-pt-font-free-download .... Free Font for Designers! High quality design resources for free. And helps introduce first time customers to your products with free fonts downloads and allow .... I'll use Futura PT Heavy which I downloaded from Adobe Typekit, but any font will work: ... This Font used for copy and paste and also for word generator.. Sep 23, 2011 — This is the page of Futura font. You can download it for free and without registration here. This entry was published on Friday, September 23rd .... ... the text it generates may look similar to text generated using the HTML or tags or the CSS attributes font-weight: bold or font-style: italic , it isn't. -
Class Characteristics of Foreign Typewriters and Typefaces David A
Journal of Criminal Law and Criminology Volume 59 | Issue 2 Article 15 1968 Class Characteristics of Foreign Typewriters and Typefaces David A. Crown Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation David A. Crown, Class Characteristics of Foreign Typewriters and Typefaces, 59 J. Crim. L. Criminology & Police Sci. 298 (1968) This Criminology is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. THE JOURNAL OF CRIMINAL LAW, CRIMINOLOGY AND POLICE SCIENCE Vol. 59, No. 2 Copyright © 1968 by Northwestern University School of Law Printed in U.S.A. CLASS CHARACTERISTICS OF FOREIGN TYPEWRITERS AND TYPEFACES DAVID A. CROWN David A. Crown, M. Crim., is a Questioned Document Analyst, U. S. Postal Inspection Service and is currently assigned to the Washington Identification Laboratory. During the time that this article was in preparation Mr. Crown was Assistant Director of the San Francisco Identification Laboratory. He received his Master's degree in Criminology from the University of California, Berkeley where he has continued his graduatestudies toward his D. Crim. Hehas published severalpapers in this and other technical journals and is a fellow in the American Academy of Forensic Sciences and serves as the Secretary of the Questioned Document Section of that Academy.-Enrron. The ever increasing number of foreign made situation did not always obtain. -
P Font-Change Q UV 3
p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia .......................................................................................