DOCSLIB.ORG

Size ID M Ak E Font Name I Talic S M All C Ap S Bold S P E C Ials Accents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Size ID M Ak E Font Name I Talic S M All C Ap S Bold S P E C Ials Accents Font Name Size ID Make Italic Small Caps Bold Specials Accents Good Mag bagged Location 9 2730 I Baskerville x x x x 12 314 L Baskerville x x x x 12 186 L Bodoni Book x x x x x 14 1025 I Egmont Medium x x x x 12 508 L Fairfield x x x x 12 278 L Garamond x x x x 11 118 L Janson x x x x x 14 178 L Janson x x x x x 9 600 L Monticello x x x x x 12 8469 L Palatino x x x x x 10 552 L Times Roman x x x x 12 568 L Times Roman x x x x 10 292 L Benedictine Book x x x 9 94 L Benedictine Book x x x 9 94 L Benedictine Book x X x x x 6 582 I Bodoni Book x x x 7 94 L Bodoni Book x x x 10 801 I Bodoni Book x x x 12 915 I Bodoni Book x x x 10 250 L Bodoni Book * MIX x x x 6 202 L Caslon #2 x x x 10 2885 I Caslon #3 x x sp 4 x 24 335 L Caslon Italic x display x 7 2191 I Century Schoolbook x x x 8 2348 I Century Schoolbook x x x 9 2754 I Century Schoolbook x x x 10 2880 I Century Schoolbook x x x 12 3111 I Century Schoolbook w/ bold x x 6 18 L Cheltenham x x x 10 18 L Cheltenham x x x 12 276 L Cloister Bold x x x x 12 276 L Cloister Bold x x x x 8 1715 I Egmont Light x x x 10 1806 I Egmont Light x x x 8 1655 I Garamond x x x 6 398 L Garamond #3 x x x 11 130 L Garamond #3 x x x 7 172 L Garamond #3 x x x 7 172 L Garamond #3 x x x x 10 318 L Granjon x x x 8 698 L Helvetica w/ Italic x x 12 698 L Helvetica w/ Italic x x 14 698 L Helvetica w/ Italic x x 10 264 I Inferior Roman x x 14 178S L Janson Special Narrow Italic x x 24 5L P Lydian display x 18 108 L Spartan Book x x 9 128 L Sparton Book x x x 10 556 L Sparton Book x x 9 216 L Sparton Book w/ Heavy x x 10~14 263 I Superior Roman x x 8 584 L Times Roman x x x 10 550 L Times Roman x x x 11 178 L Times Roman x x x x 12 570 L Times Roman x x x 8 584 L Times Roman x x x 9 212 L Times Roman x x x 8 2262 I Waverly x x x 10 1829 I Waverly x x x 6 464 L Bank Gothic Light A w/ Medium 12 314 L Baskerville - DIRTY x x 24 3534 I Beton Bold x 18 4434 I Beton Extra Bold x 6 156 L Bodoni Bold x x 7 176 L Bodoni Bold x x x 8 222 L Bodoni Bold x x x 9 192 L Bodoni Bold x x x 10 799 I Bodoni Bold x x 12 512 I Bodoni Bold x x x 12 132 L Bodoni Bold x x x 14 959 I Bodoni Bold x x x 24 147 L Bodoni Bold Italic x 24 147 L Bodoni Bold Italic x x 6 192 L Bodoni Book * partial x x 12 220 L Bold Face #9 w/ Gothic #31 x 12 218 L Bold Face #9 w/ Gothic #31 12 914 I Bold Face No 9A w/ Gothic No 31A x 6 584 I Bold Face No 9B w/ Gothic No 31 x 6 585 I Bold Face No 9B w/ Gothic No 31B x 12 918 I Bold Face No 9B w/ Gothic No 31B x 12 917 I Bold Face No 9C w/ Gothic No 31C x 18 4C P Cairo 24 15C P Cairo 6 2070 I Cairo x x 24 57 L Century Bold Cond x 6 557 I Century Expanded x x 6 42 L Century Expanded x x 8 654 I Century Expanded x x 9 737 I Century Expanded x x 10 756 I Century Expanded x x 12 888 I Century Expanded x x 14 116 L Cheltenham Bold x x 30 7 L Cheltenham Bold Extra Cond. x 6 268 L Cloister Bold x 8 370 L Cloister Bold x x 8 580 L Corona w/ Erbar Bold 6 2081 I DeLuxe Gothic Light C w/ Med C 24 88 L Erbar Med Cond w. Light Cond 18 4F P Futura Bold cond w/ Medium cond x 6 2163 I Futura Bold w/ oblique x x 8 2347 I Futura Book #2 w/ demibold x 10 2878 I Futura Book #2 w/ demibold x 12 2043 I Futura Book #2 w/ demibold x 10 1852 I Futura Book #2 w/ oblique x 6 2165 I Futura Book w/ oblique x 9 2315 I Futura Demibold w/ oblique x x 10 1850 I Futura Demibold w/ oblique x x 6 2161 I Futura Medium w/ demibold x 8 2275 I Futura Medium w/ demibold x 8 2275 I Futura Medium w/ demibold x 9 2751 I Futura Medium w/ demibold x 10 1844 I Futura Medium w/ demibold x 12 2004 I Futura Medium w/ demibold x 8 2317 I Futura Medium w/ oblique x 12 2012 I Futura Medium w/ oblique x 14 1030 I Futura Medium w/ oblique x 10 1763 I Garamond Bold x x x 14 991 I Garamond Bold x x x 6 396 L Garamond Bold #3 x x x 7 174 L Garamond Bold #3 x x x 8 476 L Garamond Bold #3 x x x 8 476 L Garamond Bold #3 x x x 30 504 L Gothic No 16 6 610 L Gothic No 17 w/ Gothic No 19 - MIX 6 502 L Gothic No 18 w/ Gothic No 20 6 502 L Gothic No 18 w/ Gothic No 20 10 1884 I Gothic No 31 w/ Bold Face No 9 x 6 1559 I Gothic No 31 w/ Gothic No 32 6 256 L Gothic No 31 w/ Gothic No 32 6 1560 I Gothic No 31A w/ Gothic No 32A 6 1561 I Gothic No 31B w/ Gothic No 32B 6 3047 I Gothic No 32 w/ Gothic No 31 6 3047 I Gothic No 32 w/ Gothic No 31 8 3048 I Gothic No 32A w/ Gothic No 31A 6 3048 I Gothic No 32A w/ Gothic No 31A 6 238 I Gothic No 32A w/ Gothic No 33A 6 3049 I Gothic No 32B w/ Gothic No 31B 6 242 I Gothic No 32B w/ Gothic No 33B 11 754 L Helvetica fractions x 8 700 L Helvetica Bold w/ Italic x x 9 700 L Helvetica Bold w/ Italic x x 10 700 L Helvetica Bold w/ Italic x x 14 476 L Helvetica Cond w/ bold cond. x 6 754 L Helvetica Light w/ Italic x 10 754 L Helvetica Light w/ Italic x 14 474 L Helvetica Light w/ Italic x 6 698 L Helvetica w/ Italic x 7 698 L Helvetica w/ Italic x 7 640 I Ideal w/ Gothic No 3 8 8499 L Melior x 10 8501 L Melior x 8 442 L Memphis x 8 426 L Metro Black No 2 w/ Metro Light No 2 x 10 364 L Metro Black No 2 w/ Metro Light No 2 10 382 L Metro Black No 2 w/ Metro Light No 2 x 8 410 L Metro Black w/ Metro Light 8 410 L Metro Black w/ Metro Light x 10 482 L Metro Light No 2 w/ Metro Black No 2 x 10 2926 I Mews Italic w/ Bold Italic x x Mix Mix Mix - labeled 8 3222 I News Gothic 6 610 I News Gothic cond w/ Bold x 6 3055 I News Gothic cond w/ Bold cond x 6 3055 I News Gothic cond w/ Bold cond x 10 2894 I News Gothic cond w/ Bold cond x 7 1320 I News Gothic Italic w/ Bold Italic x x 8 2871 I News Gothic Italic w/ Bold Italic x x 9 3293 I News Gothic w/ Bold x x 10 2889 I News Gothic w/ Bold x 9 2759 I News Gothic w/ Bold x 11 2405 I News Italic w/ Bold Italic x 10 116 L No 16 w/ Century Bold 7 86 L No 2 w/ Bold Face No 2 x 7 86 L No 2 w/ Bold Face No 2 x 6 118 L No 2 w/ Condenced Title No 3 8 8563 L Optima x 10 1823 I Regal No 1 x x 6 3035 I Regal No 1 teletype w/ bold x 10 1825 I Regal No 1 w/ Bold x 8 1718 I Regal No 2 w/ Bold x 8 1718 I Regal No.2 w/ Bold x 5.5 2971 I Regent w/ Bold x 8 32 L Remington Typewriter w/ underscore 8 1667 I Rugged Black x 18 2433 I Rugged Black 18 118 L Spartan Black Cond w/ Med Cond x 6 496 L Spartan Book w/ Heavy x 8 592 L Spartan Book w/ Heavy x 10 556 L Spartan Book w/ Heavy x 10 556 L Spartan Book w/ Heavy x 12 516 L Spartan Book w/ Heavy x 18 108 L Sparton Black x 18 116 L Sparton Black Cond.
Load more

Recommended publications
  • AVENIR Family
    An Introduction To The AVENIR Family By Stacey Chen O V E R V I E W l Avenir was designed by Adrian Frutiger. l The typeface was first released in 1988 with three weights, before being expanded to six weights. l In 2004, together with Akira Kobayashi, Frutiger reworked the Avenir family. l Avenir has now become a common font in web, print, and graphic design, etc. l Frutiger was born in Unterseen, Switzerland 1928. l At age 16, Frutiger was apprenticed as a compositor to a printer, while taking classes in woodcuts and drawing. l With his second wife, Frutiger had two daughters, who both experienced mental health problems and committed suicide as adolescents. l Frutiger spent most of his professional career working in Paris and living in France, returning to Switzerland later in life. A D R I A N F R U T I G E R l Charles Peignot of Deberny Et Peignot recruited Frutiger based on the quality of the wood- engraved illustrations of his essay. l Impressed by the success of Futura typeface, Peignot encouraged a new, geometric sans-serif type in competition. l Frutiger disliked the regimentation of Futura, and persuaded Peignot that the new sans-serif be based on the realist model. l In 1988, Frutiger completed the family Avenir. Frutiger intended the font to be a more human version of geometric sans-serif types popular in the 1930s, such as Erbar and Futura. A D R I A N F R U T I G E R “Avenir” = “Future” French English A V E N I R i s l Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner.
    [Show full text]
  • Fonts for 2021!
    Fonts for 2021! Amienne* Basic Class Display Fonts 1234567890 1234567890 * Font families available abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Anaconda Baveuse Abigail * 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz avbcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Argentine Belinda* Abyss* 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Arizona Benjamin* Adria Deco 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Austere Berkley* Agnes 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Ballad Script Bernhard Fashion FS Aladdin* 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Bamboo Big Fiction* Alex Brush 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Banker
    [Show full text]
  • OMEGA CS Fonts
    OMEGA CS Fonts A ACADEMY ENGRAVED ACCT AK REV C American Uncial Inl Accolade Bold American Uncial Shadow Accolade Light AMERICANA BOLD ACCT.AK.REV.C Accolade Light Ita Americana URW T Bol Accolade Med Americana URW T Reg Alcuin Caps URW T Bol Americana URW T Reg Ita Alcuin Caps URW T Lig Americana URW T Xtr Bol Alcuin Caps URW T Reg ANN. GROTESQUE ACCT.A.K.REV.C Alcuin Caps URW T Xtr Bol ANTIQUE OLIVE BOLD ACCT AK REV E Alcuin Discaps URW D Bol ANTIQUE OLIVE MED ACCT AK REV C Alcuin URW T Bol Antique Olive Nord Reg Ita Alcuin URW T Lig ARNOLD BOCKLIN ACCT.A.K.REV.D Alcuin URW T Reg Arnold Boecklin D Alcuin URW T Xtr Bol Arnold Boecklin Initials D Alternate Gothic No1 D Arnold Boecklin No2 Alternate Gothic No2 D Arnold Boecklin Outl Alternate Gothic No3 D ATH.SCRIPT CONN.ACCT.A.K.REV.D American Uncial D AVANT EXTRA BOLD ACCT. AK. REV G American Uncial Initials D AVANT GARDE ACCT. A.K. REV.K B BABYTEETH ACCT.AK REV B Baskerville T Bol Balloon Caps D Xtr Bol Baskerville T Med Balloon D Xtr Bol Baskerville T Med Ita Balloon Drop Shadow D Baskerville T Reg Balloon Outl P Xtr Bol Baskerville T Reg Ita Balloon P Xtr Bol Baskerville URW Bol Balloon URW Bold Baskerville URW BolNar Balloon URW Light Baskerville URW BolNarObl BASKERVILLE ACCT AK REV B Baskerville URW BolObl Baskerville AI Ad Weight Baskerville URW BolWid Baskerville AI Heavy Weight Baskerville URW BolWidObl Baskerville AI Over Weight Baskerville URW BolXtrNar BASKERVILLE BOLD ACCT.A.K.REV.F Baskerville URW BolXtrNarObl Baskerville Handcut Bold Baskerville URW BolXtrWid Baskerville
    [Show full text]
  • Font List Goldedition 2.0 
    Font List GoldEdition 2.0 Catalog NamePC PS File Name PC TT File Name Mac PS File Name Printer Font Printer Font 1. Aachen by Linotype Medium lt_70005.pfb lt_70005.ttf AacheMedPla 2. Aachen by Linotype Bold lt_70004.pfb lt_70004.ttf AacheBolPla 3. Aachen by Adobe Bold lte50127.pfb lte50127.ttf AacheLTBol 4. Aachen by Adobe Central European Bold accb____.pfb AacheCEBol 5. Abadi® Extra Light abel____.pfb abel____.ttf AbadiMTExtLig 6. Abadi® Extra Light Italic abeli___.pfb abeli___.ttf AbadiMTExtLigIta 7. Abadi® Light abal____.pfb abal____.ttf AbadiMTLig 8. Abadi® Light Italic abali___.pfb abali___.ttf AbadiMTLigIta 9. Abadi® Regular aba_____.pfb aba_____.ttf AbadiMT 10. Abadi® Italic abai____.pfb abai____.ttf AbadiMTIta 11. Abadi® Bold abab____.pfb abab____.ttf AbadiMTBol 12. Abadi® Bold Italic ababi___.pfb ababi___.ttf AbadiMTBolIta 13. Abadi® Extra Bold abeb____.pfb abeb____.ttf AbadiMTExtBol 14. Abadi® Extra Bold Italic abebi___.pfb abebi___.ttf AbadiMTExtBolIta 15. Abadi® Light Condensed abacl___.pfb abacl___.ttf AbadiMTConLig 16. Abadi® Condensed abac____.pfb abac____.ttf AbadiMTCon 17. Abadi® Condensed Bold abacb___.pfb abacb___.ttf AbadiMTConBol 18. Abadi® Condensed Extra Bold abace___.pfb abace___.ttf AbadiMTConExtBol 19. ITC Abaton™ by Linotype Regular LT_70006.pfb LT_70006.ttf ITCAba 20. Abbot Uncial™ Regular ABBOU___.PFB AbbotUnc 21. Linotype Abstract™ Regular LT_14354.pfb LT_14354.ttf AbstrLT 22. Academy™ Engraved Regular 46152___.PFB 46152___.TTF AcadeEngPla 23. Achispado™ Regular lt_57657.pfb LT_57657.ttf AchisLT 24. Acorn Regular ACORN___.PFB Acorn 25. Acorn Bold ACORB___.PFB AcornBol 26. ITC Adderville™ Book AdrvilBk.pfb ADDEIW__.TTF AdderITCBoo 27. ITC Adderville™ Medium AdrvilMd.pfb ADDEITM_.TTF AdderITCMed 28.
    [Show full text]
  • Alisha Witty Typography Week 3 Avenir
    Avenir, Typeface for the Future Avenir – futuristic modernly humanistic typeface Avenir is a geometric sans- A v e n i r w a s o r i g i n a l l y Sources serif typeface designed by released in 1988 with three I. https://en.m.wikipedia.org/ wiki/Avenir_(typeface) Adrian Frutiger in 1988 and weights, each with a roman II. http://www.digplanet.com/ r e l e a s e d b y L i n o t y p e and oblique version, and wiki/Avenir_(typeface) GmbH. The word avenir is used Frutiger's two-digit French for "future". The font w e i g h t a n d w i d t h i s d e r i v e d f ro m e a r l y convention for names: 45 g e o m e t r i c s a n s - s e r i f (book), 46 (book oblique), typefaces Erbar (1922), 55 (text weight), 56 (text designed by Jakob Erbar, weight oblique), (75)85 and Futura (1927), designed (heavy), and (76)86 (heavy by Paul Renner. Frutiger oblique). The typeface wished Avenir to be a more family was later expanded organically grown humanist to six weights, each with a interpretation of these roman and an oblique highly geometric types. version. The original release While similarities can be of Avenir has weights seen with Futura, the two- g r o u p e d v e r y c l o s e storey lowercase a is more together, with the difference like Erbar, and also recalls barely distinguishable.
    [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]
  • 2 Newsletter.Indd
    n 1954, Frutiger designed the ever popular type- German word ‘Mond’ for moon, more human quality, he would be able to turn Trending Men’s face Univers. Released in 1957, the sans-serif the name was rejected. Galaxy Avenir into a humanist typeface. Using the ‘O’ typeface was classifi ed to be neo-grotesque and and Universal were also consid- Transitional as a starting point, he based the entire alphabet ISwiss style. It was based on the Berthold Type ered, but fi nally, Univers, the on it, making the slightest adjustments in the Foundry’s Akzidenz-Grotesk of 1898. It was one French word for ‘universe’ Wardrobe Mixed horizontal and vertical stroke weights. of three typefaces that were based on this fami- was chosen by Charles Peignot. Avenir was given its name due to its Aft er many successful years, Frutiger de- ly of fonts. Th e other two being Folio and Neue Since Univers was designed translation in French as ‘future.’ Frutiger has signed the typeface Avenir in 1988, by Haas Grotesk, now widely known as Helvetica. based on varying weights and admitted that this was a conscious decision Linotype. Although Avenir was inspired Frutiger’s Univers earned him great distinction, widths, it was designed on an Medium as Futura was Latin for future. Although by geometric fonts like Erbar of 1922 by because it was one of the fi rst to be available in axis. Eventually, a diag ram of Get comfortable out of your comfort zone. Put together a new the two popular typefaces have the same Jakob Erbar and Futura of 1927 by Paul a variety of weights and styles with consistency, the original twenty-one styles look by just switching up fabrics & textures this fall and winter.
    [Show full text]
  • Futura (Typeface) 1 Futura (Typeface)
    Futura (typeface) 1 Futura (typeface) Category Sans-serif Classification geometric sans-serif Designer(s) Paul Renner Edwin W. Shaar (Extra Bold, Extra Bold Italic) Tommy Thompson (Extra Bold Italic) Foundry Bauer Type Foundry Date created 1927 Re-issuing foundries Intertype Design based on Bauhaus In typography, Futura is a geometric sans-serif typeface designed in 1927[1] by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–1933.[2] Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922, Futura was commercially released in 1936.[3] The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson. Matrices for machine composition were made by Intertype. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner's initial design included several geometrically constructed alternative characters and ranging (old-style) figures, which can be found in the typeface Architype Renner. Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast.
    [Show full text]
  • Typography in Advertising
    Doctoral Thesis Typography in Advertising Typografie v reklamě Author: Aleksandar Donev, MSc Degree programme: Visual Arts (P8206) Degree course: Multimedia and Design (8206V102) Supervisor: Doc. PhDr. Zdeno Kolesár, Ph.D. Zlín, December 2015 © Aleksandar Donev Published by Tomas Bata University in Zlín in the Edition Doctoral Thesis. The publication was issued in the year 2015 Key words in English: Typography, Advertising, Visual Communication, Design, Typefaces, Fonts Key words in Czech: Typografie, Reklama, Vizuální Komunikace, Design, Písma, Fonty Full text of the Doctoral Thesis is available in the Library of TBU in Zlín ISBN 978-80-……… ABSTRACT This thesis is set to investigate the use of type and typography in advertising, the role of typography in rendering the advertising message and the effects it has on the same. Typography and advertising both have been researched significantly all over the world but mainly as a two separate disciplines without showing the importance of their connection. The aim of my thesis is to fill that gap and show the significance of typography in advertising and their relationship in the communication process. The approach undertaken in this thesis is mainly theoretical, including statistics, a survey, a case study and an analysis of literature from various sources in the field of the research. I have analysed the factors that make typography suitable and effective for advertising purposes. With this research I am able to confirm that the use of typography and type for advertising purposes is slightly different than its use for other purposes. I am hoping that my work will make designers and advertisers more aware of the importance of typography in the creation of advertisements and that they will make better use of it.
    [Show full text]
  • Neo-Grotesk Or Neo-Grotesque Are Typefaces Designed Without a Serif
    Neo-Grotesk or Neo-Grotesque are typefaces designed without a serif, and in 1950, they became a favorite amongst modernist designers. Before the 50s, a Sans-Serif was described as Grotesque or Gothic, they featured higher stroke contrast and more stout forms. After the 50s, Sans-Serif came to be described as Neo-Grotesque, Transitional and even Anonymous Sans-Serif for their ubiquity and relatively understated look. Akzidenz-Grotesk is a typeface from 1896 that is classied as a Grotesque. It featured many of the details of a serif typeface but without the serifs, hence the name. It’s wide-set characters and stroke contrast was very much like its serif contemporaries. This early sans-serif has a spotty origin but it went on to inspire both Univers, a 1955 typeface from Adrian Frutiger that set off the Neo-Grotesk era, and Helvetica, Max Miedingers 1957 typeface and probably the most ubiquitous typeface of all time. These faces featured less contrast in their strokes, and less details in their forms. They were more condensed, and their x-heights higher than traditional typefaces. They both were after a level of functionality that its earliest predecessors could not achieve with their more traditional design styling or the geometric leanings of the Modernists. Their intention was to as clearly as possible deliver the message being spelled out in their characters. Founded on the principle that the message is the message, and the medium should do nothing but deliver it, Modernism took design by storm in the early 20s and held strong through the 50s.
    [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]
  • 300 Additional Linotype Public Domain Fonts
    300 Additional Linotype Public Domain Fonts Compiled by Ulrich Stiehl, Heidelberg, May 2012 As of 1st January 2012, 300 additional Linotype fonts contained in the Linotype catalog of January 1986 "Lino Type Collection – Mergenthaler Type Library" entered the public domain. These additional fonts (font families) are emphasized in bold below. All the other fonts listed fell into the public domain earlier: The 1986 catalog contained 1700 fonts, the 1984 catalog 1400 fonts, and the 1982 catalog 1000 fonts. For these older fonts please read the main document http://www.sanskritweb.net/forgers/publicdomain.pdf and the subsequent document http://www.sanskritweb.net/forgers/publicdomain2.pdf. Some of the typefaces, e.g. the Linotype font family "Bryn Mawr", including eight font styles, seem to have vanished altogether. In the year 2012, most of the old ITC font families, marked below by "(ITC)", are now in public domain. Aachen Bank Gothic Bookman Ad Lib Barcelona (ITC) Bookman (ITC) Adroit Barry Boutique Adsans Basilia Haas Bramley Akzidenz-Grotesk Baskerville Breughel Aldus Baskerville No. 2 Brighton Allegro Fry's Baskerville Britannic Alpine New Baskerville (ITC) Broadway Alternate Gothic No. 1 Bauhaus (ITC) Bruce Old Style Amelia Becket Brush American Typewriter (ITC) Bell Centennial Bryn Mawr American Greeting Script Bell Gothic Bubble Americana Belwe Bulmer Antikva Margaret Bembo Busorama Antique No. 3 Benguiat (ITC) Caledonia (Cornelia) Antique Olive Benguiat Gothic (ITC) New Caledonia Antique Open Berkeley Oldstyle (ITC) Calligraphia Antique Solid Bernhard Candida Aquarius 5 Bernhard Modern Carnase Text (WTC) Ariston Beton Cartier Arnold Boecklin Biltmore Cascade Script Arrow Binny Old Style Caslon Antique A & S Gallatin Bison Caslon Old Face 2 Aster Blippo Caslon 3 New Aster Bloc Caslon 540 Athenaeum Block Caslon Open Face Auriga Block Gothic Caslon No.
    [Show full text]