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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. -
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 -
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. -
Tv38bigelow.Pdf
Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950. -
Type Classifications Are Useful, but the Common Ones Are Not
Indra Kupferschmid Veröffentlicht am:31. MÄRZ 2012 http://kupferschrift.de/cms/2012/03/on-classifications/ This is an article I wrote for the publication accompanying the conference Research in Graphic Design at the Academy of Fine Arts Kattowice where I gave a talk on the subject in January 2012. Please excuse the lack of illustrations. I will try to add some later, but usually those are empty promises as you can see in other posts on this site.Reading time ca. 16 minutes Type classifications are useful, but the common ones are not t is a recurring phenomenon that we tend to sort what comes in large amounts, to be able to grasp it, for quicker reference, and to find it again more easily. Once Iorganized you don’t have to look at everything all the time but only consult the parts of your current interest. The vast world of type is a prime case. Grouping typefaces also breaks down the process of identifying them into a less challenging task. Any categorization covers three aspects: 1. sorting into groups (this is what scholars and historians do, also type manufacturers), 2. referencing (educating) and 3. “taking out” or finding (this is what the user usually does). The aspect of finding a typeface though is crucial to many more people, every day, than the act of classifying them. You sort your CDs once and then only look at the respective shelf when you want to listen to Jazz for example. This is why I think a (more) useful classification is one that helps the user to find and select typefaces and which is structured accordingly. -
„Bitstream“ Fonts
Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts. -
: : S C H R I F T : T Y P O G R a F I E : G R a F I K : : : D a S 2 0 . J
::: S c h r i f t : T y p o g r a f i e : G r a f i k ::: D a s 2 0 . J a h r h u n d e r t ::: S c h r i f t : T y p o g r a f i e : G r a f i k i m 2 0 . J a h r h u n d e r t ::: und die IndustrielleAnfänge::: der WerbegrafikRevolution 1 8 9 0 – 1 9 1 0 : : : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: Frühe Plakatkunst :::um1900:: : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: :::1890–1914:: Art Nouveau/ J u g e n d s t i l : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: Sachlichkeit Informative : : : 1 9 1 0 : : : ::: :::1890–1910:: : 1894 Century Lim Boyd Benton a h r h u n d e r t 1896 Cheltenham Bertram Goodhue 1898 Akzidenz Grotesk (Berthold) 2 0 . J 1900 Eckmann Otto Eckmann D a s 1901 Copperplate Frederic Goudy 1901 Auriol George Auriol G r a f i k 1907 Clearface Morris Fuller Benton : 1908 News Gothic Morris Fuller Benton g r a f i e o T y p : S c h r i f t ::: ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . -
Clasificación Tipográfica
Clasificación tipográfica Existen diferentes clasificaciones, ya que categorizar la gran cantidad de tipos existentes es complejo. Además algunos tipos no se ajustan completamente a ninguna clasificación, hay tipos híbridos, mixtos y tipos que presentan diversas variantes adaptables a varias clasificaciones a la vez. romanas serif humanistas Agen Jenson antiguas Agen Garamond transicionales Agen Baskerville modernas Agen Didot egipcias Agen Clarendon grotescas Agen | Franklin gothic sans serif neogrotescas Agen | Helvética humanistas Agen | Gill Sans geométricas Agen | Futura manuales script Agen | Brush script caligráficas Agen | Luminari ornamentales Agen | Saphir romana humanista veneziana Inspiradas históricamente por los tipos venecianos de finales del s.xv Eje de inclinación marcado, moderado contraste entre finos y gruesos Caja de x baja, e minúscula con la barra inclinada, panza de la a minúscula baja, serifs irregulares con rasgos caligráficos Aptas para lectura de textos extensos Jenson Nicholas Jenson (s.xv)| Jenson Pro (1995-2000) Robert Slimbach Centaur Bruce Rogers (1914) Schneidler Fiedrich Hermann Schneidler (1936) Horley old style Frank Hinman Pierpont (1925) Cloister old style Morris Fuller Benton (1913) Golden type William Morris (1890) romana antigua garalda Inspiradas históricamente por los tipos venecianos que utilizó en su imprenta Aldo Manuzio y los tipos franceses de principios del s.xvi Eje de inclinación marcado, moderado contraste entre finos y gruesos Caja de x baja, e minúscula con la barra horizontal, panza -
Bitstream Font Name Aliases Fontotéka 3.0 Compiled by Petr Somol, Based on Jon A
Bitstream Font Name Aliases fontotéka 3.0 Compiled by Petr Somol, based on Jon A. Pastor‘s list from http://cgm.cs.mcgill.ca/~luc/jonpastor.txt. E-mail: [email protected] The list should not be considered complete, nor accurate. It is more a work in progress than anything else. Bitstream Name Common Name Designer(s) Date(s) Orig. Remarks/Attributions Vend. (all) (M.Macrone/J.Pastor,P.S.) (M.M,P.S.) (J.P., P.S.) Aachen Aachen Colin Brignall, Alan Meeks 1969-1977 17 Ad Lib Ad Lib Freeman Craw 1961 6 Aldine 401 Bembo Stanley Morison after Francesco 1929 after 1,4 Griffo / Giovanni Tagliente 1495 / 1520 Aldine 721 Plantin Frank Hinman Pierpont after ~1930 after 1,4 Robert Granjon‘s type used by 16th ~1550 / 16h century printer Christophe Plantin cent. Alternate Gothic No. 2 Alternate Gothic Morris Fuller Benton 1903 6 Amazone Amazone Leonard H. D. Smit 1958 12 Amelia Amelia Stanley Davis 1967 18, 2 American Text American Text Morris Fuller Benton 1932 6 Americana Americana Richard Isbell, Whedon Davis 1965 6 Aurora Aurora ? 1928 (c.) 11 Baker Signet Baker Signet Arthur Baker 1965 18 Balloon Balloon Max R. Kaufmann 1939 6 Bank Gothic Bank Gothic Morris Fuller Benton 1930-33 6 Baskerville Baskerville George W. Jones after John 1929 after 2 Baskerville ~1754-1775 Baskerville No.2 Baskerville No.2 ? ? 19 Bauer Bodoni Bauer Bodoni Heinrich Jost, Louis Höll after 1926 after 8 Giambattista Bodoni ~1800 Bell Gothic Bell Gothic Chauncey H. Griffith 1938 2 Belwe Belwe Georg Belwe before 1950 20 Bernhard Bold Con- Bernhard Bold Con- Lucian Bernhard -
PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/75096 Please be advised that this information was generated on 2021-09-27 and may be subject to change. Internationale boekkunst in de universiteitsbibliotheek Nijmegen Catalogus van een bijzondere collectie samengesteld door Robert Arpots Inleiding De verzameling Verbeek “Verder is dit jaar binnengekomen het legaat van mr. Verbeek uit Veghel” Aldus het “Jaarverslag van de bibliotheek” in het Jaarboek Katholieke Universiteit 1966-1967. Summierder kan het haast niet, terwijl de verslaglegger hier toch doelt op een van de aardigste aanwinsten van dat jaar. Wie was deze Verbeek? Eduard D.H.M. Verbeek werd geboren op zondag 8 april 1894, in Veghel, als zoon van de chirurg en dorpsdokter dr. Joannes H.H. Verbeek (1863-1950) en Jonkvrouwe Maria Th.H. de Kuyper (1868-1932), dochter van een notaris, die in juli 1891 in het huwelijk waren getreden. 1 Zijn oudste broer, Alphons Verbeek (1893), gepromoveerd in de geneeskunde in Groningen en chirurg in Eindhoven, publiceerde in 1951 zijn jeugdherinneringen onder de titel Dorp in de Meierij2. Het boek, dat de periode van rond de eeuwwisseling tot 1918 bestrijkt, biedt een aardig beeld van de gelukkige jeugdjaren van de broertjes en zusjes Verbeek. Zij groeiden op in Huize Rustplaats in een niet onbemiddeld gezin, met verschillende dienstmeisjes die toen nog Servantes werden genoemd en die onder meer hielpen bij het aan- en uitkleden van de kinderen. “Mijn moeder”, aldus de auteur, “was zacht en beminnelijk”. -
The Social Network the Font Eurostile® Typeface Is Still an Iconic, Contem Eurostile® Typeface Is Still an Iconic, Eurostile, Was Introduced in 1962
ì íîïðñòó ôõöøù Xx YyZz Uu VvWw Pp QqRrSsTt Ll MmNnOo Ff GgHhIiJjKk Aa BbCcDdEe À ÁÂÃÄÅ ÆÇÈÉ á âãäåæ ç èéêë Ê ËÌÍÎÏÐÑ ÒÓÔÕ ˛ ˜ ˝ – — ‘ ’ ‚“ ”„ † ‡ ¯ ° ± ²³´ µ¶· ¸¹º» Ö ØÙÚÛÜ ÝÞßà • … ‰ ‹ › ⁄ ™ − fi fl ¤ ¥° ¦ §¨©ª«¬ ® ¼ ½ ¾¿ ƒˆ ˇ ˘˙˚ ú ûüý ×þÿıŁłŒ œ Šš ŸŽž¡÷¢ £ Eurostile About the Designer and Linotype: The day Ottmar Mergenthaler demonstrated the first linecasting machine to the New York Tribune in 1886, About Eurostile: Whitelaw Reid, the editor, was delighted: “Ottmar,” he Designed in early 1950s as a modern in- said, “you’ve cast a line of type!” The editor’s words terpretation of sans serif letterforms, the formed the basis for the company label, and marked the Eurostile Medium Eurostile® typeface is still an iconic, contem- beginning of Linotype’s success story. Four years later, porary design. First drawn as a cap-only face the ingenious inventor founded the Mergenthaler Linotype by Alessandro Butti, with help from his young Company. With more than 100 years of successful busi- assistant, Aldo Novarese for the Nebiolo ness to its credit, Linotype operates today as a wholly type foundry, this all-cap (or titling) typeface owned subsidiary of Monotype Imaging Holdings. became the Microgramma™ design. Linotype GmbH provides superior quality typographic Although intended for short lines of display products and services to brand managers, designers, copy, Microgramma was popular for the publishers, IT administrators and product developers. better part of 10 years before Novarese Home to legendary typefaces including the Helvetica®, decided to add the missing lower case to the Frutiger® and Univers® families, Linotype provides trusted, typeface. The completed design, renamed global design expertise and is committed to serving the design community. -
Aution of Serif Type
evolutionevolution of ofserif serif type type e p y t if r se of on ti u aol evolution of serif type For Katherine evolution of serif type contents history of old-style serif type history of transitional serif type history of modern serif type history of slab serif type § evolution of serif type timeline old-style serif transitional serif modern serif slab serif 1540 1757 1798 1815 evolution of serif type introduction to serif type Serif fonts are a category of typeface characterized by small details in the form of tiny lines or hooks at the tops and bottoms of certain letters. These details are called serifs. One of the most commonly recognized serif fonts is Times New Roman. The four types of serif fonts are old style, transitional, modern and slab serif. Serif fonts are often recognized as easier to read than sans serif fonts; the term for the kind of font that does not have serifs. Therefore, serif fonts are considered somewhat better than sans serif fonts for body text. A common rule of thumb when selecting typography is to use a sans serif font for the header text and a serif font for the body text. evolution of serif type an introduction to old style serif type evolution of serif type Old style serif fonts are the oldest type of serif font. Old style serif fonts are charac- terized by only moderate transitions between the thinner and thicker parts of the stroke with a diagonal stress, meaning that the thinnest parts of strokes are on a diagonal.