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Image Carrier Poster
55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1 The Museum of Printing, North Andover, MA and the Image Carrier www.museumofprinting.org Relief printing Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing. A wood engraving uses the end grain, where a wood cut uses the plank grain. Polymer plates are made from digital files which drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints. Metal relief cylinders were used to print repetitive designs, such as those on wrap - ping paper and wall paper. In the 1930s, the invention of cellophane led to the development of the anilox roller and flexographic printing. Today, flexography prints most of the flexible packaging film which accounts for about half of all packaged products. Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces. Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut Foundry type began with Gutenberg and evolved through Jenson, Garamond, Moveable type Caslon and many others. Garamond was the first printer to cast type that was sold to other printers. By the 1880s there were almost 80 foundries in the U.S. One newspaper could keep one foundry in business. Machine typesetting changed the status quo and the Linotype had an almost immediate effect on type foundries. Twenty-three foundries formed American Type Founders in 1890. -
Design One Project Three Introduced October 21. Due November 11
Design One Project Three Introduced October 21. Due November 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. 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. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer. -
Opentype Outline Flavour
OpenType outline flavour: CFF - PostScript-Outlines Contained fonts: Akhbar™ Light Akhbar™ Regular Akhbar™ Bold Albany® Std Regular Albany® Std Italic Albany® Std Bold Albany® Std Bold Italic Albertina™ Std Regular Albertina™ Pro Regular Albertina™ Pro Italic Albertina™ Std Italic Albertina™ Std Medium Albertina™ Pro Medium Albertina™ Pro Medium Italic Albertina™ Std Medium Italic Albertina™ Std Bold Albertina™ Pro Bold Albertina™ Pro Bold Italic Albertina™ Std Bold Italic Albertus® Pro Light Albertus® Pro Roman Albertus® Pro Italic Albertus® Std Light Albertus® Std Roman Albertus® Std Italic Alisal™ Std Regular Alisal™ Pro Regular Alisal™ Pro Italic Alisal™ Std Italic Alisal™ Std Bold Alisal™ Pro Bold Almanac™ Regular Amadeo™ Std Regular Amadeo™ Std Regular SC Amadeo™ Std Bold Amadeo™ Std Bold SC Amanda™ Std Regular Amanda™ Pro Regular Amanda™ Pro Bold Amanda™ Std Bold Amasis™ eText Regular Amasis™ eText Italic Amasis™ eText Bold Amasis™ eText Bold Italic Andale® Mono WGL Regular Andale® Mono WGL Regular Andale® Mono WGL Italic Andale® Mono WGL Italic Andale® Mono WGL Bold Andale® Mono WGL Bold Andale® Mono Std Regular Andale® Mono Pro Regular Andale® Mono Pro Bold Andale® Mono Std Bold Andale® Mono WGL Bold Italic Andale® Mono WGL Bold Italic Andy™ Std Regular Andy™ Pro Regular Andy™ Pro Italic Andy™ Std Italic Andy™ Std Bold Andy™ Pro Bold Andy™ Pro Bold Italic Andy™ Std Bold Italic Antique Roman™ Std Solid Apollo™ Std Roman Apollo™ Pro Roman Apollo™ Pro Italic Apollo™ Std Italic Apollo™ Std Semibold Apollo™ Pro Semibold Aqua Life™ Pi -
Font HOWTO Font HOWTO
Font HOWTO Font HOWTO Table of Contents Font HOWTO......................................................................................................................................................1 Donovan Rebbechi, elflord@panix.com..................................................................................................1 1.Introduction...........................................................................................................................................1 2.Fonts 101 −− A Quick Introduction to Fonts........................................................................................1 3.Fonts 102 −− Typography.....................................................................................................................1 4.Making Fonts Available To X..............................................................................................................1 5.Making Fonts Available To Ghostscript...............................................................................................1 6.True Type to Type1 Conversion...........................................................................................................2 7.WYSIWYG Publishing and Fonts........................................................................................................2 8.TeX / LaTeX.........................................................................................................................................2 9.Getting Fonts For Linux.......................................................................................................................2 -
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS 310 Delaware Street, New Castle, DE 19720
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Oak Knoll Books has handled many examples of type specimen catalogues over the years. One would think that interest in old books showing type faces would have gone by the wayside long ago but nothing could be further from the truth. I was recently give a book by Tony Cox, a bookseller friend of mine, for bedside reading while I was visiting him in England and found the stories of type and their development fascinating (Simon Garfield. Just My Type). For those of you who have seen the film Helvetica you can relate to the impact type faces have on our lives. We are now offering you a selection of interesting specimen books and booklets that might inspire those of you doing design work or educate those of you that are doing research. And go back and reread McGrew’s American Metal Type Faces of the 20th Century and Annenberg’s Type Foundries of America and Their Catalogues (both Oak Knoll Press publications) for their invaluable information (see last page of our catalogue for more details). Happy hunting! Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. -
Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
Eurostile Masking Film and Many Other Graphic the Strong Solid Look of Eurostile Is EXTRA BOLD Croissant Ron* Aids Illustrated
( £.%!?() H AaBbCcDdFeFfGgHhIiJjKkLIMmNnOoPp Qq Rr SsTt UuVvWwXxYyZz1234567890&7ECESS PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION,VOLUME SEVEN, NUMBER ONE,MARCH 1980 UPPER AND LOWER CASE.THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS VOLUME SEVEN. NUMBER ONE, MARCH, 1980 HERB LUBALIN. EDITORIAL & DESIGN DIRECTOR AARON BURNS, EDITORIAL DIRECTOR EDWARD RONOTHALER. EDITORIAL DIRECTOR MARION MULLER, ASSOCIATE EDITOR MICHAEL ARON. JASON CALFO, HAU-CHEE CHUNG. CLAUDIA CLAY, TONY DISPIGNA, SHARON GRESH. LESLIE MORRIS. KAREN ZIAMAN. JUREK WAJDOWIC2. ART 6 PRODUCTION EDITORS JOHN PRENTKI, BUSINESS MANAGER, LORNA SHANKS, ADVERTISING MANAGER EDWARD GOTTSCHALL. EDITORIAL COORDINATOR. HELENA WALLSCHLAG. TRAFFIC AND PRODUCTION MANAGER INTERNATIONAL TYPEFACE CORPORATION 1979 PUBLISHED FOUR TIMES A YEAR IN MARCH. JUNE. SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 216 EAST 4STH STREET. NEW YORK. N.,10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO.LETTERING, INC. AND LUBALIN. BURNS ar CO., INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK. N.Y. AND AT FARMINGDALE. N.Y. USTS PURL 073430 PUBLISHED IN U.S.A. ITC OFFICERS, EDWARD RONOTHALER, CHAIRMAN AARON BURNS. PRESIDENT HERB LUBALIN. EXECUTIVE VICE PRESIDENT JOHN PRENTKI,VICE PRESIDENT. GENERAL MANAGER BOB FARBER. SENIOR VICE PRESIDENT ED BENGUIAT.VICE PRESIDENT STEPHEN KOPEC.VICE PRESIDENT U.S. SINGLE COPIES 51.50 ELSEWHERE. SINGLE COPIES 52.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE. 2 HANIMARSKJOLD PLAZA. NEW YORK, N.Y. 10017 In This Issue: Editorial Are You Confused? ITC is producing a 100,000 word diagrammatic and pictorial report on the new typographic technologies. Do the new technologies get you up, or down? Do you know which ones matter It's called Vision'80s, and Ed Gottschall tells you to you—and how? Do you feel challenged or threatened by them? about it. -
The Monotype Library Opentype Edition
en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project. -
History of Moveable Type
History of Moveable Type Johannes Gutenberg invented Moveable Type and the Printing Press in Germany in 1440. Moveable Type was first made of wood and replaced by metal. Example of moveable type being set. Fonts were Type set on a printing press. organized in wooden “job cases” by Typeface, Caps and Lower Case, and Point Size. Typography Terms Glyphs – letters (A,a,B,b,C,c) Typeface – The aesthetic design of an alphabet. Helvetica, Didot, Times New Roman Type Family – The range of variations and point size available within one Typeface. Font (Font Face) – The traditional term for the complete set of a typeface as it relates to one point size (Font Face: Helvetica, 10 pt). This would include upper and lower case glyphs, small capitals, bold and italic. After the introduction of the computer, the word Font is now used synonymously with the word Typeface, i.e. “What font are you using? Helvetica!” Weight – the weight of a typeface is determined by the thickness of the character outlines relative to their height (Hairline, Thin, Ultra-light, Extra-light, Light, Book, Regular, Roman, Medium, Demi-bold, Semi-bold, Bold, Extra-bold, Heavy, Black, Extra-black, Ultra-black). Point Size – the size of the typeface (12pt, 14pt, 18pt). Points are the standard until of typographic measurement. 12 points = 1 pica, 6 picas = 72 points = 1 inch. (Example right) A general rule is that body copy should never go below 10pt and captions should never be less than 8pt. Leading – or line spacing is the spacing between lines of type. In metal type composition, actual pieces of lead were inserted between lines of type on the printing press to create line spacing. -
INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam. -
American Type Founders Typefaces Notes for ATF Typefaces Spreadsheet Version 4 (Mar
American Type Founders Typefaces Notes for ATF Typefaces spreadsheet version 4 (Mar. 2009): * This listing is provided by the American Amateur Press Association. Please visit our Web site at http://www.aapainfo.org * The ATF ID numbers are from Mac McGrew's American Metal Typefaces of the Twentieth Century . * 10 ATF catalogs identified by the year printed (plus 1909, 1917, and 1941 supplements) are listed in the spreadsheet * The "BBS25" column lists faces in Barnhart Brothers & Spindler catalog 25 (1925). BB&S was purchased by ATF about 1911 and it operated independently until about 1930. BB&S ID#s are 1500 through 1942. * The entries for each catalog are the page numbers the typefaces appear on. * A brown italic page number indicates a slightly different name was used in the 1897 or 1899 catalog. For example, Cushing No. 2 appears as Cushing in the early catalogs. (Adding or changing a number usuallly indicates the typeface was realigned for the point system.) * An "s" appears before a page refers to a supplement; "s" alone if the face was issued subsequently. * The "McG" column gives the page number where the typeface is discussed in McGrew's book. * ATF ID#s 807 - 944 are for faces acquired with Keystone Type Foundry. * If a typeface was reissued under a different name, that name appears {within braces} and has its own entry. * Corrections and additions are encouraged. Send e-mail to [email protected] or write to David M. Tribby, 1529 Fantail Ct., Sunnyvale, CA 94087 Name ID # 1897 1899 1903 06/09 12/17 1923 BBS25 1934 1941 -
The Anatomy of Type: a Graphic Guide to 100 Typefaces Ebook
THE ANATOMY OF TYPE: A GRAPHIC GUIDE TO 100 TYPEFACES PDF, EPUB, EBOOK Stephen Coles | 256 pages | 13 Nov 2012 | Harper Design | 9780062203120 | English | United States The Anatomy of Type: A Graphic Guide to 100 Typefaces PDF Book The letter m has three, the left, middle, and right stems. Calligraphy Intentionally blank page Style guide Type foundry History Intellectual property protection of typefaces Technical lettering. Paul is one of the foremost experts on type design, and perhaps the most prolific living writer on the subject. Maybe I need to make a category on this blog for Regrets. From FontBook, the bookplate on black endsheets. The typefaces featured in the book are hand-picked by the author for their functionality and stylistic relevance in today's design landscape. He manages to create a rapport with the reader and achieves a rarely seen outcome in typographic literature. Messenger Zalo. Here we can see some examples of these adjustments, such as larger bowls P , lower crossbars A , wider shapes, and more contrast difference betaween thin and thick strokes. Rather than infallible recipes, the book offers a series of considerations and assessments, helped by academic resources and practical examples, all carefully illustrated. View 1 comment. Typefaces are born from the struggle between rules and results. One of the book's arguments is that type design happens in a particular context, but the book itself provides minimal information about that context cultural, historical, functional, economic, and let's not forget visual. The art of arranging typed language is called typography. The manual also highlights his creative process and relationships with diverse clients, such as Saks Fifth Avenue and The New York Times.