DOCSLIB.ORG

Typography SBCC.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Typography SBCC.Pdf LET’S TALK ABOUT TYPOGRAPHY Typography can really enhance or kill a design PEOPLE STILL READ People may not participate in sustained reading the way they used to but people read. they text, tweet and post on Facebook. they search for things they need or want to know. People read what is important to them. Truth is there are different ways to read and they are all valid and important. As typographers, or designers working with type, we can support them all. Our first responsibility is to help readers find, understand and connect with the word, ideas and information. Our second responsibility is to honor the content! This is true for both print and web. TYPE ON THE WEB The web is really just weird paper. The way we design is the same. We give content form. When it comes to website typography, it’s hard to nail down what works best because typographical preference is both subjective and relative to the individual website. The deciding factor for any major web-based typographical decisions in the end, come down to the client and what they want to see happen. In working with the client, any talented web designer understands that good typography accomplishes the goal of readability. USING FONTS OTHER THAN WEB-SAFE FONTS FONT SQUIRREL has a converter that takes your font and converts it into the 3 types of file extension necessary for all major browsers and mobile devices. [ You upload the font and it will spit out the file you need. Then you upload those files to the host server.] FONT FACE gives you the command that you put in your css file that tells the browser what the font is and where it can find it. [ This is incase the users doe NOT have the font on their computer.] And even this cannot guarantee that the font will show up properly... this is a process that is still under development WATCH THIS brilliant interview with Erik Spiekermann COMMON STUDENT MISTAKES Lenghty lines of text Too much centered text Not enough tracking Not enough leading Not knowing the difference between tracking and kerning Learn to kern Leam to kem Confusing typeface and font A typeface is not a font. A font is not a typeface. A typeface is designed by a typographer. TYPEFACE Arial, Georgia, Cochin as well as Serf typeface, sans serif typeface, monospaced typeface etc. FONT Font=one member of a type family. Georgia bold, Cochin italic. FIRST THINGS FIRST... Whether we are teaching InDesign, Photoshop, Illustrator or Dreamweaver students must learn the principles of good design and typography. It is not enough that they earn to use these powerful and complicated programs... that is just our first hurtle of teaching. If they hope to be designers in a competitive landscape, our students must master the concept of SMALL, MEDUIUM, and LARGE elements to establish a basic hierarchy and proper use of Typography. Amen. FUN WITH TYPOGRAPHY! http://cheeseorfont.com/ http://ilovetypography.com/ifontgame/ http://www.typeconnection.com/.
Load more

Recommended publications
  • 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 ! " # $ % & ' ( ) * + , - .
    [Show full text]
  • 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.
    [Show full text]
  • A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
    Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .
    [Show full text]
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces
    M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije.
    [Show full text]
  • Coreldraw 9 Fonts Vs. Coreldraw 11 Fonts
    CorelDraw 9 Fonts vs. CorelDraw 11 Fonts In this document, we compare the Western Europe Encoding PostScript Type 1 fonts of CorelDraw 9 (also offered by Corel as TrueType fonts) with the Western Europe Truetype fonts of CorelDraw 11. Source (as per Notice) CorelDraw 9 PS Fonts CorelDraw 11 TT Fonts 1. Unknown Source 20 4 2. Corel Corporation 70 6 3. Esselte Letraset Ltd. 33 0 4. URW Software 95 0 5. Bitstream Inc. 852 841 Total Number of Fonts 1070 851 CorelDraw 9 includes 219 additional fonts, especially those by Corel, Esselte Letraset and URW, which are missing in CorelDraw 11. Both versions of CorelDraw include nearly the same number of Bitstream fonts with minor differences. For instance, CorelDraw 9 contains 2 Weidemann font cuts, whereas CorelDraw 11 contains 4 Weidemann fonts. Font comparisons on the basis of font names are not possible, since Bitstream Inc., presumably after having been sued, changed many names. E.g. "Elegant Garamond", Bitstream's forgery of "Granjon", was later renamed to "ElegaGarmnd". However, Bitstream made a mistake. It did not change the TrueType unique identification record which still contains the old name "Elegant Garamond" and also another fancy name "Aldine 424" used elsewhere for Bitstream's forgery of the "Granjon" font designed by George W. Jones in 1924, at a time when Bitstream did not yet exist, so that the copyright year "1990" has also been forged. To the left: "Elegant Garamond BT" of 1998 Below: "ElegaGarmnd BT" of 2001 with the old TrueType ID of 1998: For Bitstream's "Type Odyssey 2" fonts see below page 34 seq.
    [Show full text]
  • Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
    Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress.
    [Show full text]
  • Alphabet Fonts
    R Y MO Q BI KS LV A C U GX TDJH ZE NFW P Alphabet Fonts Coded by Guodu 60-212, Fall 2016 Professor Golan Levin Charter Roman A Adobe Devanagari Bold Bebas Neue Thin AA Lucida Fax Regular B Hiragino Kaku Gothic Std W8 STIXGeneral-Regular BB Onyx C Arial Narrow Bold Italic Avenir Light CC Imprint MT Shadow D Roboto Black Futura Condensed Medium DD *CP\K2GP6%$QNF Arial Unicode MS ' Adobe Caslon Pro EE Adobe Gurmukhi Bold Roboto Regular MrsEavesAllSmallCaps FFF Adobe Garamond Pro Bold Italic Cochin Italic Tekton Pro Bold Extended GG H Haettenschweiler H Bookman Old Style Italic Avenir Next Demi Bold Italic H Trebuchet MS Bold II Slim Joe Seravek Medium I Roboto Medium Italic J Bodoni 72 Book Italic Cambria Bold JJ Apple Chancery Roboto Light Italic Kozuka Gothic Pro R KKK Savoye LET Plain:1.0 . *CP\K2GP5%$QNF Seravek Light Italic LL Corbel Nueva Std Bold Condensed Italic M Orator Std Slanted MM MeninBlue Tekton Pro Bold Oblique N Superclarendon Light NN Minion Pro Bold Italic Kohinoor Devanagari Bold Avenir Next Condensed Ultra Light Italic OOO Book Antiqua Bold Italic Seravek ExtraLight Italic P Nanum Pen Script P Bukhari Script Songti SC Light Bebas Neue Thin QQQ Malayalam Sangam MN Roboto Bold Italic RR Menlo Bold R Frutiger LT Std 65 Bold OCR A Std Orator Std Medium SSS Courier New T Source Sans Pro TT U Times New Roman Italic Gill Sans SemiBold U RBNo2 Light U Bodoni 72 Oldstyle Book Italic Bell MT Italic V Palatino Bold Italic VV MS PMincho W MetaCondOT-ExtraBold Trajan Pro WW X MrsEavesRoman Regular X XX Century Hoefer Text Italic NanumMyeongjoExtraBold YYY Bukhari Script Century Schoolbook Italic Z Constantia Bold ZZ C U B H X P W M KF S L O I T V R J Y A Q G E D N.
    [Show full text]
  • Iphone Fonts Chart
    Fonts From Mac OS X Included With iPhone F Full font family included P Partial font family included (see notes) S Not included, but name is special-cased (notes) N Not included P American Typewriter abcefgijop 123 ABC abcefgijop N Andale Mono abcefgijop 123 ABC abcefgijop F Arial abcefgijop 123 ABC abcefgijop N Arial Black abcefgijop 123 ABC abcefgijop N Arial Narrow abcefgijop 123 ABC abcefgijop P Arial Rounded MT Bold abcefgijop 123 ABC abcefgijop N Baskerville abcefgijop 123 ABC abcefgijop N Big Caslon abcefgijop 123 ABC abcefgijop N Brush Script MT abcefgijop 123 ABC abcefgijop N Chalkboard abcefgijop 123 ABC abcefgijop N Cochin abcefgijop 123 ABC abcefgijop N Comic Sans MS abcefgijop 123 ABC abcefgijop N Copperplate abcefgijop 123 ABC abcefgijop S Courier abcefgijop 123 ABC abcefgijop F Courier New abcefgijop 123 ABC abcefgijop N Didot abcefgijop 123 ABC abcefgijop N Futura abcefgijop 123 ABC abcefgijop N Geneva abcefgijop 123 ABC abcefgijop F Georgia abcefgijop 123 ABC abcefgijop N Gill Sans abcefgijop 123 ABC abcefgijop F Helvetica abcefgijop 123 ABC abcefgijop S Helvetica Neue abcefgijop 123 ABC abcefgijop N Helvetica Neue Light abcefgijop 123 ABC abcefgijop N Helvetica Neue UltraLight abcefgijop 123 ABC abcefgijop N Helvetica Neue Condensed Bold abcefgijop 123 ABC N Helvetica Neue Condensed Black abcefgijop 123 ABC N Herculanum abcefgijop 123 ABC abcefgijop N Hoefler Text abcefgijop 123 ABC abcefgijop N Impact abcefgijop 123 ABC abcefgijop N Lucida Grande abcefgijop 123 ABC abcefgijop F Marker Felt abcefgijop 123 ABC abcefgijop
    [Show full text]
  • Ios 7 Font List
    MILAN PANCHAL [email protected] iOS 7 Font List There are total 235 fonts available in iOS 7. Following is the full list of fonts with font families name. Family name: Marion Font name: Marion­Italic Font name: Marion­Bold Font name: Marion­Regular Family name: Copperplate Font name: Copperplate­Light Font name: Copperplate Font name: Copperplate­Bold Family name: Heiti SC Font name: STHeitiSC­Medium Font name: STHeitiSC­Light Family name: Iowan Old Style Font name: IowanOldStyle­Italic Font name: IowanOldStyle­Roman Font name: IowanOldStyle­BoldItalic Font name: IowanOldStyle­Bold Family name: Courier New Font name: CourierNewPS­BoldMT Font name: CourierNewPS­ItalicMT Font name: CourierNewPSMT Font name: CourierNewPS­BoldItalicMT Family name: Apple SD Gothic Neo Font name: AppleSDGothicNeo­Bold Font name: AppleSDGothicNeo­Thin Font name: AppleSDGothicNeo­Regular Font name: AppleSDGothicNeo­Light Font name: AppleSDGothicNeo­Medium Font name: AppleSDGothicNeo­SemiBold Family name: Heiti TC Font name: STHeitiTC­Medium Font name: STHeitiTC­Light Family name: Gill Sans Font name: GillSans­Italic Font name: GillSans­Bold Font name: GillSans­BoldItalic Font name: GillSans­LightItalic Font name: GillSans Page No : 1 MILAN PANCHAL [email protected] Font name: GillSans­Light Family name: Thonburi Font name: Thonburi Font name: Thonburi­Bold Font name: Thonburi­Light Family name: Marker Felt Font name: MarkerFelt­Thin Font name: MarkerFelt­Wide Family name: Avenir Next Condensed Font name: AvenirNextCondensed­BoldItalic Font name: AvenirNextCondensed­Heavy
    [Show full text]
  • Garalde/Venetian Transitional Slab Serif Q
    Garalde/Venetian univeros Slab Serif bergamo 5uorx7t University Old Style cheltenh 5borx7t Bergamo 5uorix7t University Old Style Italic 5ctr7t Cheltenham 5borix7t Bergamo Italic 5uobx7t University Old Style Bold 5ctri7t Cheltenham Italic 5borcj7t Bergamo SC OsF 5uobix7t University Old Style Bold Italic 5ctr7tc Cheltenham Condensed 5bobx7t Bergamo Bold vendome 5ctri7tc Cheltenham Italic Condensed 5bobix7t Bergamo Bold Italic 5ver7t Vendome 5ctb7t Cheltenham Bold 5bobcj7t Bergamo Bold SC OsF 5veb7t Vendome Bold 5ctbi7t Cheltenham Bold Italic caslon 5ctb7tc Cheltenham Bold Condensed 5carx7t Caslon Transitional 5ctbi7tc Cheltenham Bold Italic Condensed 5carix7t Caslon Italic antiqua 5ctl7t Cheltenham Light 5cabx7t Caslon Bold 5aqrx7t URW Antiqua 5ctli7t Cheltenham Light Italic 5cabix7t Caslon Bold Italic 5aqrix7t URW Antiqua Italic 5ctl7tc Cheltenham Light Condensed garacond 5aqbx7t URW Antiqua Bold 5ctli7tc Cheltenham Light Italic Condensed 5gdr7t Garamond Condensed 5aqbix7t URW Antiqua Bold Italic clarendo 5gdri7t Garamond Condensed Italic baskervi 5cdr7t Clarendon 5gdb7t Garamond Condensed Bold 5bvrx7t Baskerville 5cdb7t Clarendon Bold 5gdbi7t Garamond Condensed Bold Italic 5bvrix7t Baskerville Italic 5cdh7t Clarendon Heavy 5gdl7t Garamond Condensed Light 5bvbx7t Baskerville Bold 5cdl7t Clarendon Light 5gdli7t Garamond Condensed Light Italic 5bvbix7t Baskerville Bold Italic egyptian garamond centuros 5eer7t Egyptian 5gmrx7t Garamond 5curx7t Century Old Style glytus 5gmrix7t Garamond Italic 5curi7t Century Old Style Italic 5glr7t Glytus
    [Show full text]
  • Macintosh OS X 10.6.4 - Hawaiian Font Support Fonts Highlighted in Light Green Contain All of Vowel-Macron Combinations and the ‘Okina in Its Preferred Location
    Macintosh OS X 10.6.4 - Hawaiian Font Support Fonts highlighted in light green contain all of vowel-macron combinations and the ‘okina in its preferred location. Those highlighted in yellow have all vowel-macron combinations but lack the ‘okina in its preferred location. All others have missing vowel-macron combinations. 02BB 0100 0101 0112 0113 012A 012B 014C 014D 016A 016B (ʻ) (Ā) (ā) (Ē) (ē) (Ī) (ī) (Ō) (ō) (Ū) (ū) .Helvetica LT MM no no no no no no no no no no no .Keyboard no no no no no no no no no no no .Times LT MM no no no no no no no no no no no Abadi MT Condensed Extra Bold no no no no no no no no no no no Abadi MT Condensed Light no no no no no no no no no no no Academy Engraved LET YES YES YES YES YES YES YES YES YES YES YES Al Bayan Bold no no no no no no no no no no no Al Bayan Plain no no no no no no no no no no no American Typewriter YES YES YES YES YES YES YES YES YES YES YES American Typewriter Bold YES YES YES YES YES YES YES YES YES YES YES American Typewriter Condensed YES YES YES YES YES YES YES YES YES YES YES American Typewriter Condensed Bold YES YES YES YES YES YES YES YES YES YES YES American Typewriter Condensed Light YES YES YES YES YES YES YES YES YES YES YES American Typewriter Light YES YES YES YES YES YES YES YES YES YES YES Andale Mono no YES YES YES YES YES YES YES YES YES YES Apple Braille no no no no no no no no no no no Apple Braille Outline 6 Dot no no no no no no no no no no no Apple Braille Outline 8 Dot no no no no no no no no no no no Apple Braille Pinpoint 6 Dot no no no no no no no no no no
    [Show full text]
  • Type Catalog & Specimen Ebook
    Swamp Press Letter Foundry MONOTYPE CATALOG & SPECIMEN BOOK S WAMP P RESS MMX . he Monotype Keyboard, which puches a Tpaper ribbon that governs the caster so that a text may be cast to your specifi cations, and ready for the press. Swamp Press 15 Warwick Road Northfi eld MA 01360 [email protected] 413­498­4343 © 2010 by Swamp Press • iii • Swamp Press Type Catalog and Specimen Book NOTE No catalog is ever complete. If you do not see what• you• want, INQUIRE. Sometimes I can borrow matrices for sizes and faces not listed here. The specimens SOMETIMES show characters which• are NOT AVAILABLE. If you have specific requirements, let me know. If you are MIXING new type into your drawers send• me a cap H so that my type will align with yours. “COMPOSITION” means machine typesetting can• be done to your specifi cations. Your manuscript can be set with spacing, justifi cation etc. performed in the keyboarding and casting process. When done with your printing, you may return the metal for a REFUND of the metal charge or you may keep some or all of the type to put into cases for future hand setting. DISPLAY or an asterisk ‘‘*’’ means that one character• is cast until it is done and then a new character is cast, and so on, allowing only fonts, sorts and hand composition to be available. IN GENERAL machine composition runs 6 to 12 point although comp up to 24 point is possible. Many of the classic and newer designs run “small comp” to 14 point and “large comp” to 24 point.
    [Show full text]