Softmaker Megafont XXL 2002 Key to the Original Trademarks
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Inventaris Letterproeven 2013-10-11 1 Inventaris Nummer Land Van
Inventaris Land van Bedrijf Plaats van Titel Opmerkingen Omvang Aantal Datering nummer vestiging vestiging letter- proeven van tot 0001 [onbekend] [onbekend] [onbekend] [Tiervignetten] Ongeïdentificeerde, Duitstalige proef met 32 p. 1890 1910 vignetten van dieren, van gewervelden tot protozoa. 0002 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Diverse formaten. Bevat Mediaeval 10 1900 land, gieterij. Egyptian/Roman/Italic; Eirenne; 0003 [onbekend] [onbekend] [onbekend] Messingschriften für Handvergoldung aus Viertalige catalogus van letters voor 82 p. 1932 Instrument und Matern gegossen boekbinders. 0004 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Inhoud: Intertype Arabic (4); 13 [onbe land, corporatie. Caslon+Locarno (1); Splendor+Splendor kend] Vet+Excelsior (3); cijfers(1), Garamont sierletters cursief, romein, kapitalen cursief (3); Acropolis (1). 0005 Argentinië Curt Berger y Buenos Aires Titulares Series Económicas / Fundidas con 16 p. 1920 Cía metal especial importado direcamente de Alemania 0006 Argentinië Curt Berger y Buenos Aires Letras Inglesas rondas y cursivas / Tipos Bijlage: 3 losse toepassingen. 36 p. 1930 Cía imitación máquina de escribir 0007 Argentinië Curt Berger y Buenos Aires Tipos para textos y titulares / últimas 72 p. 1930 Cía creaciones / series artísticas y modernísmas / matrices originales de la gran fundición de J.G. Schelter & Giesecke 0008 Argentinië Curt Berger y Buenos Aires Tipos para texto / Bastardillas, Negritas y 24 p. 1935 Cía Versalitas ... [...] 0009 Argentinië Curt Berger y Buenos Aires [zonder titel] Brochure. Bijlage: 2 ex van een proef, 2 19 p. 1935 Cía S.R.L. p., van de Silphide. 0010 Argentinië Curt Berger y Buenos Aires Tipos Modernos / Pincel Silfide Vouwblad, met toepassingen en proeven 8 p. -
Century 100 Years of Type in Design
Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister -
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. -
NEWSLETTER 43 Antikvariat Morris · Badhusgatan 16 · 151 73 Södertälje · Sweden [email protected] |
NEWSLETTER 43 antikvariat morris · badhusgatan 16 · 151 73 södertälje · sweden [email protected] | http://www.antikvariatmorris.se/ [dwiggins & goudy] browning, robert: In a Balcony The Blue Sky Press, Chicago. 1902. 72 pages. 8vo. Cloth spine with paper label, title lettered gilt on front board, top edge trimmed others uncut. spine and boards worn. Some upper case letters on title page plus first initial hand coloured. Introduction by Laura Mc Adoo Triggs. Book designs by F. W. Goudy & W. A. Dwiggins. Printed in red & black by by A.G. Langworthy on Van Gelder paper in a limited edition. This is Nr. 166 of 400 copies. Initialazed by Langworthy. One of Dwiggins first book designs together with his teacher Goudy. “Will contributed endpapers and other decorations to In a Balcony , but the title page spread is pure Goudy.” Bruce Kennett p. 20 & 28–29. (Not in Agner, Ransom 19). SEK500 / €49 / £43 / $57 [dwiggins] wells, h. g.: The Time Machine. An invention Random House, New York. 1931. x, 86 pages. 8vo. Illustrated paper boards, black cloth spine stamped in gold. Corners with light wear, book plate inside front cover (Tage la Cour). Text printed in red and black. Set in Monotype Fournier and printed on Hamilton An - dorra paper. Stencil style colour illustrations. Typography, illustra - tions and binding by William Addison Dwiggins. (Agner 31.07, Bruce Kennett pp. 229–31). SEK500 / €49 / £43 / $57 [bodoni] guarini, giovan battista: Pastor Fido Impresso co’ Tipi Bodoniani, Crisopoli [Parma], 1793. (4, first 2 blank), (1)–345, (3 blank) pages. Tall 4to (31 x 22 cm). -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
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 -
The Graphie Latine Movement and the French Typography Manuel Sesma Prieto
UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE CENTRE DE RECHERCHE HiCSA (Histoire culturelle et sociale de l’art - EA 4100) UNE ÉMERGENCE DU DESIGN FRANCE, 20e SIÈCLE Sous la direction de Stéphane Laurent Université Paris 1 Panthéon-Sorbonne THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Pour citer cet article Manuel Sesma Prieto, « The Graphie Latine Movement and the French Typogra- phy », dans Stéphane Laurent (dir.), Une émergence du design. France 20e siècle, Paris, site de l’HiCSA, mis en ligne en octobre 2019, p. 126-143. THE GRAPHIE LATINE MOVEMENT AND THE FRENCH TYPOGRAPHY MANUEL SESMA PRIETO Associate professor, Facultad de Bellas Artes, Universidad Complutense de Madrid Introduction Most works dealing with the history of typography, many of Anglo-Saxon authors, reflect the period covered by the two decades after World War II practically dominated by neogrotesque typefaces. However, there were some reactions against this predominance, mainly from traditionalist positions that are rarely studied. The main objective of this research is thus to reveal the particular case of France, where there was widespread opposition to linear typefaces, which results into different manifestations in the field of national typography. This research wants therefore to situate the French typographical thought (which partially reflected the traditionalism of British typographical reformism led by Stanley Morison 1) within the history of European typography, and in a context dominated by the modern proposals arising mainly from Switzerland. This French thought is mostly shown in a considerable number of articles published in various specialist and professional press media, which perfectly reflected the general French atmosphere. -
Hebrew Type Design in the Context of the Book Art Movement and New
Philipp Messner Hebrew Type Design in the Context of the Book Art Movement and New Typography "New Book Art" ("Neue Buchkunst") was the motto under which efforts were made, in the spirit of the English Arts and Crafts Movement, toward the revival of book and type design in turn-of-the-twentieth century Germany. This revival movement perceived itself as a reaction to the country's accelerated industrialization, especially since the founding of the Reich in 1871. The replacement of traditional craft by increasingly industrial production lines effected a variety of everyday consumer products, including the manufacturing of books. According to contemporary commentators this led to deterioration in the material and aesthetic quality of books. Similarly to other industrially manufactured products around the turn of the century, an expectation emerged for books to have a contemporary, functional, and materially sound form. This demand encompassed all aspects of the book, including printing types. Consequently, visual artists were now engaged to design typefaces. Early examples were still heavily influenced by Art Nouveau, but after World War I there was a turn to historical forms with a bias toward handwritten scripts. This was influenced largely by the English calligrapher and type designer Edward Johnston, who taught at the Central School of Arts and Crafts in London. His calligraphic method, which he based on old handwriting forms, became famous in Germany, in part thanks to the work of his pupil and translator, Anna Simons. Type design issues thus received a notably traditional treatment, defined above all by intensive engagement with historical forms. This tendency largely defined the personal styles of Franzisca Baruch and Henri Friedlaender. -
Patrick Reagh Printers Note: the Number Following the Name Indicates the Monotype Series
Monotype typefaces available for fonts and composition at Patrick Reagh Printers note: the number following the name indicates the Monotype series. An e or an a after the number indicates either English- or American-manufactured matrices. R-roman / I-italic / SC-small caps / B-boldface lc-large composition* Antique 26a R 8 10 12 Baskerville 353a R/I/SC 7 8 10 11 12 Bembo 270e R/I/SC 8 10 11 12 13 14 (16 & 18 lc R/I) Narrow Bembo Italic 194e 10 12 13 (16 lc) Bodoni Medium 375a R/I/SC 8 10 12 Bodoni Book 875a R/I/SC 6 8 10 12 Bookman 98a R/I/SC 6 8 10 12 Bulmer 462a R/I/SC 6 8 9 10 12 (18 lc R) Centaur 252a (16 lc roman only) Cochin 61a R/I/SC 6 8 10 12 Deepdene 315a R/I/SC 6 8 10 12 Ehrhardt 453e R/I/SC 10 12 14 Fournier 185e R/I/SC 10 12 13 Franklin Gothic 107a R 6 8 10 12 Futura Light 606a R/I 6 8 10 12 Futura Medium /Extra Bold 605a & 603a R 6 8 10 12 Garamont 248a R/I/SC 8 10 12 Garamond Bold 548a R/I 6 8 10 12 Gill Sans 262e R/I/B 6 7 8 10 12 Goudy Bold 294a R/I 8 10 12 Goudy Modern 249e R/I/SC 8 10 11 12 Goudy Old Style 394a R/I/SC 6 8 10 12 Janson 401a R/I/SC 8 9 10 11 12 (14 & 18 lc R/I) Jenson Old Style 58a R 8 10 12 Sans Serif 329a (Kabel) R/B 8 10 12 Sans Serif Light/Bold 329a & 330a R 8 10 12 Univers Light 45e R/I 6 8 10 12 14 Univers Medium 55e R/I 6 8 10 12 14 Univers Bold 65e R/I 6 8 10 12 14 Univers Extra Bold 75e R/I 6 8 10 12 14 *Large composition can only be composed in roman or italic separately 1 Monotype display typefaces available for fonts at Patrick Reagh Printers note: the letter d following the size on English matrices indicates Didot which is the European standard for type sizing and is generally a point or two larger than the American point system. -
Gourmet Typography Training
presents GOURMET TYPOGRAPHY TRAINING Take control of your type instead of letting it control you! Gourmet Typography Training teaches and demonstrates the expert-level typographic skills and aesthetics that are rarely taught in schools or fully understood by professionals. Fill in the gaps in your typographic know-how and learn how to “see” type like you’ve never seen it before. Why Gourmet Typography Training? Every creative professional, regardless of specialty, can benefit from learning to communicate more effectively with type. Whether you are a beginner or seasoned pro, Gourmet Typography Training will sharpen your eye and give you practical, usable skills that will visibly improve the beauty, clarity and effectiveness of all your typographic projects. Subjects covered include: Who will benefit? What makes a good typeface Visual communicators of all kinds, including: OpenType demystified Graphic designers Type crimes: Are you a type criminal? Art directors Fine-tuning type, including alignment, Creative directors hyphenation, hung punctuation, etc. Creative services directors Tracking, kerning, and word spacing Web designers Tips for more professional typography Package designers Type on the Web, Web fonts Production specialists Type in motion Typographers Keyboard shortcuts and time-saving tips Web programmers and developers Every creative professional regardless of specialty can learn to communicate more effectively with type! For more information, call The Type Studio at 203.227.5929 or email us at [email protected]. www.thetypestudio.com (page 1 of 2) What they are saying about Ilene’s Gourmet Typography Training... “Your course was great! Since taking it, “I recently attended your Gourmet “As a working professional in the advertis- I can’t help but look at every book title, Typography workshop and wanted to ing industry with 10 years of creative magazine headline, and even company thank you again for an amazing day. -
Design One Project Three Introduced March 21. Due April 11. Typeface
Design One Project Three Introduced March 21. Due April 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used or the evolving fashion of design. Type designers often have imagery in mind while they are designing faces. Eurostile, designed by Aldo Novarese in 1962, was inpsired by images of the 60s Italian streetcar windows and televisions. An analogy is a similarity in some respect between thngs that are otherwise dissimilar. Type is not a picture but the letter o of Eurostile shares a strong visual relationship with the window of a streetcar. And more importantly, it’s design reflects the modernism of the 1960s. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. -
TEX Support for the Fontsite 500 Cd 30 May 2003 · Version 1.1
TEX support for the FontSite 500 cd 30 May 2003 · Version 1.1 Christopher League Here is how much of TeX’s memory you used: 3474 strings out of 12477 34936 string characters out of 89681 55201 words of memory out of 263001 3098 multiletter control sequences out of 10000+0 1137577 words of font info for 1647 fonts, out of 2000000 for 2000 Copyright © 2002 Christopher League [email protected] Permission is granted to make and distribute verbatim copies of this manual provided the copyright notice and this permission notice are preserved on all copies. The FontSite and The FontSite 500 cd are trademarks of Title Wave Studios, 3841 Fourth Avenue, Suite 126, San Diego, ca 92103. i Table of Contents 1 Copying ........................................ 1 2 Announcing .................................... 2 User-visible changes ..................................... 3 3 Installing....................................... 5 3.1 Find a suitable texmf tree............................. 5 3.2 Copy files into the tree .............................. 5 3.3 Tell drivers how to use the fonts ...................... 6 3.4 Test your installation ................................ 7 3.5 Other applications .................................. 8 3.6 Notes for Windows users ............................ 9 3.7 Notes for Mac users................................. 9 4 Using ......................................... 10 4.1 With TeX ........................................ 10 4.2 Accessing expert sets ............................... 11 4.3 Using CombiNumerals ............................