DOCSLIB.ORG

Typography Is What Language Looks Like. Typography Typography Is What Language Looks Like

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Typography Is What Language Looks Like. Typography Typography Is What Language Looks Like Typography Typography is what language looks like. Typography Typography is what language looks like. One thing absolutely necessary for working with type is knowing its history: what came after what and, more importantly, why. a quick primer Pictograms Hieroglyphs Phoenicians Greek Roman Scribes Gutenberg 6000 BC 3200 bc 1200 bc 800 bc 113 CE 732 1400 (1s t century) Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary 1490 1700 1800 1900 1950 1970 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary 1500 1700 1800 1900 1950 1970 Nicolas Jenson pietro Bembo Claude Garamond Classical/Oldstyle Nicolas Jenson Classical, or humanist types, have strong roots in calligraphy, mimicking the francesco Griffo handwriting of earlier Italian scholars pietro Bembo and scribes. Claude Garamond Old Style types, although sharing the same roots, show a marked departure. It’s from this period, that type gets into gear. nicolas jenson 1420-1480 A specimen of Nicolas Jenson’s archetypal Roman typeface Laertis, Venice, 1475 nicolas jenson inspired Typefaces (Humanist) centaur bruce rogers, 1914 abcdefghijklmnopqrstuvwxyz 123456789 Cloister Morris Fuller Benton, 1926 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Adobe Jenson Robert Slimbach, 1996 ABCDEFGHIJKLMNOPQrsTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 francesco Griffo 1450-1518 (worked for Venetian printer, Aldus Manutius) A specimen of Griffo’s typeface, from a 60-page text about a journey to Mount Aetna written by the young Italian poet Pietro Bembo De Aetna, Venice, 1495 francesco Griffo inspired Typefaces Bembo Stanley Morison, 1929 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Minion Robert Slimbach, 1990 ABCDEFGHIJKLMNOPQrsTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 claude Garamond 1480-1561 Parisian type founder, publisher, punch cutter, type designer Garamond’s roman text face, (based on type from De Aetna) 1540 claude Garamond inspired Typefaces Adobe Garamond Robert Slimbach, 1989 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Adobe Garamond Premier Pro Robert Slimbach, 2004 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Sabon Jan Tschichold, 1967 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary 1500 1700 1800 1900 1950 1970 Nicolas Jenson William Caslon pietro Bembo John Baskerville Claude Garamond Transitional William Caslon This new type design, belonging to the 18th century, is now called Transitional because John Baskerville of its intermediate position between the Old Style and Modern styles. Faces features higher level of contrast, mostly vertical stress, and a more linear, austere design. william caslon 1692-1766 English roman, a Latin text face of the Caslon typefaces. Caslon Specimen Sheet, 1764 william caslon inspired Typefaces Adobe Caslon Carol Twombly, 1990 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Caslon Open Face Barnhart Brothers and Spindler,1915 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 john baskerville 1706-1775 English businessman, printer and typographer. Folio Bible, Cambridge, 1763 john baskerville inspired Typefaces Baskerville Bruce Rogers, 1917 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Baskerville Old Face Stanley Morrison, 1923 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Mrs. Eaves Zuzana Licko, 1996 abCdEfgHijkLMnopqrstuVwxyZ abcdefghijklmnopqrstuvwxyz 123456789 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary 1500 1700 1800 1900 1950 1970 Nicolas Jenson William Caslon Giambattista Bodoni pietro Bembo John Baskerville frederic Goudy Claude Garamond slab serifs Grotesques Modern Giambattista Bodoni Modern fonts have drastically increased contrast, leading this parameter almost slab serifs to the edge of legibility and technical frederic Goudy feasibility. Grotesque The most notable Modern offsprings are slab serif fonts (New Century Schoolbook is the most widely used Clarendon font). GiambattisTa bodoni 1740-1813 Italian typographer, most prolific creator of type. Manuale Tipografico,p arma, 1818 GiambattisTa bodoni inspired Typefaces Bauer Bodoni Heinrich Jost, 1926 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Bodoni ATF Morris Fuller Benton, 1907 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Filosofia Zuzana Licko, 1996 abcdeFghijkLmnopqrstuvwxyZ abcdefghijklmnopqrstuvwxyz 123456789 similar neoclassical faces Didot Firmin Didot, 1811 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Walbaum JE Walbaum, 1800 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 What Prompted Change? 18th Century pinnacle for letterpress printing Mechanicazation offers greater speed at 19th Century lower quality. Didot and Bodoni cannot survive poor printing conditions, and thick slabs and grotesques are developed. slab serifs clarendon Created by robert besley (England), 1845 One of the first egyptian slab serif typefaces clarendon inspired Typefaces Century Schoolbook Morris Fuller Benton, 1918 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Goudy Old Style Frederic Goudy, 1915 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 clarendon inspired Typefaces Century Schoolbook Bodoni ABCDEFG ABCDEFG abcdefg abcdefg Qa Qa Goudy Old Style Didot ABCDEFG ABCDEFG abcdefg abcdefg Qa Qa wood Type 1820’s Metal type casting was limited to a few inches in height due to difficulties of casting larger type, the weight and the cost. Darius Wells invented the lateral router (1820), a saw that could cut curves in wood allowing for the production of a lighter, larger and cheaper letterform. woodType inspired Typefaces rosewood adobe ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Knockout Hoefler & Frere-Jones, 2004 abcdeFgHiJKlmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 123456789 GroTesque Early sans-serifs Akzidenz Grotesk Didot Hermann Berthold, 1898 ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFG abcdefghijklmnopqrstuvwxyz 123456789 abcdefg Qa GroTesque Akzidenz Grotesk Hermann Berthold, 1898 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Franklin Gothic Morris Fuller Benton, 1872 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary 1500 1700 1800 1900 1950 1970 Nicolas Jenson William Caslon Giambattista Bodoni Charles rennie pietro Bembo John Baskerville frederic Goudy Mackintosh Claude Garamond erik Gill slab serifs paul renner Grotesques futura Memphis Arts & Crafts Charles rennie Arts & Crafts movement set out to revive Mackintosh the use of fine typography. The typography from Arts & Crafts is characterized as decorative and flourished. erik Gill charles rennie mackinTosh 1868-1928 Scottish architect, designer and sculptor. mackinTosh inspired Typefaces eric Gill 1882-1940 British sculptor, typeface designer, stonecutter and printmaker Title Page: Troilus and Criseyde, wood Engraving, 1929 Gill Typefaces Gill Sans (based on Caslon) 1927 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Perpetua (based on Baskerville) 1926 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Joanna (based on Garamond) 1931 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 paul renner 1876-1956 German typeface designer Swiss National Tourist Office,Zurich, 1933 renner Typefaces Futura 1927 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Braggadocio (based on Futura Black) Monotype Corporation, 1930 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Gotham (inspired by Futura) 2000 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 123456789 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary 1500 1700 1800 1900 1950 1970 Nicolas Jenson William Caslon Giambattista Bodoni Charles rennie adrian frutiger pietro Bembo John Baskerville frederic Goudy Mackintosh Max Miedinger Claude Garamond erik Gill Jan tschichold slab serifs paul renner Grotesques helvetica futura univers Memphis Swiss adrian frutiger The Swiss Style (also known as the International Typographic Style), Max Miedinger developed in Switzerland in the 1950s. Jan tschichold It emphasizes cleanliness, readability and objectivity. Hallmarks of the Swiss style are asymmetric layouts, use of a grid, sans-serif typefaces, and flush left, ragged right text. adrian fruTiGer b. 1929 Swiss typeface designer fruTiGer Typefaces Univers 1957 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Frutiger 1975 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Avenir 1988 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 max miedinGer 1910-1980 Swiss typeface designer miedinGer Typefaces Helvetica 1957 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Helvetica Neue Erik Spiekermann, 1983 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Swiss 721 Matthew Carter, 1981 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 jan Tschichold 1902-1974 German typeface designer Tschichold Typefaces Transit 1931 abcdefghijklmnopqrsTuvwxyz abcdefghijklmnopqrstuvwxyz 123456789 Sabon (based on Garamond) 1967 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 123456789 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary 1500 1700 1800 1900 1950 1970 Nicolas Jenson William Caslon Giambattista
Load more

Recommended publications
  • Here I Raise My Ebenezer; Hither by Thy Help I’M Come; and I Hope, by Thy Good Pleasure, Safely to Arrive at Home
    ANNUAL COMMENCEMENT WEEKEND 2021_commencement_program_v11a_draft.indd 1 4/30/2021 9:32:16 AM 2021_commencement_program_v11a_draft.indd 2 4/30/2021 9:32:16 AM ANNUAL COMMENCEMENT WEEKEND GREENVILLE UNIVERSITY Greenville, Illinois Commencement May 8, 2021 President Suzanne A. Davis Board of Trustees Robert W. Bastian Steven L. Ellsworth Hugo Perez Venessa A. Brown Valerie J. Gin, Treasurer B. Elliott Renfroe Tyler Campo Jerry A. Hood Dennis N. Spencer Howard Costley, Jr., Vice Chair Karen A. Longman Kathleen J. Turpin, Chair D. Keith Cowart K. Kendall Mathews Melissa A. Westover, Secretary Dan R. Denbo Douglas M. Newton Mark D. Whitlock Paul S. Donnell Stephen Olson Donald D. Wolf Emeriti Trustees Sandra M. Boileau Lloyd G. Ganton J. Richard Schien Patricia A. Burd Yoshio D. Gotoh Marjorie R. Smith Jay G. Burgess Duane E. Hood Rebecca E. Smith James W. Claussen Paul R. Killinger Kendell G. Stephens David G. Colgan Pearson L. Miller Barry J. Swanson Michael L. Coling Wayne E. Neeley Craig W. Tidball Robert E. Cranston Wesley F. Phillips R. Ian Van Norman Dennis L. Fenton Ernest R. Ross, Jr. 2021_commencement_program_v11a_draft.indd 3 4/30/2021 9:32:16 AM Saturday, May 8, 2021, 10:00 A.M. President Suzanne A. Davis, presiding PRELUDE Rebecca N. Koebbe PROCESSIONAL Rebecca N. Koebbe WELCOME Suzanne A. Davis NATIONAL ANTHEM The Star Spangled Banner Francis Scott Key INVOCATION Sidney R. Webster SCRIPTURE Ivan M. Estevez Ephesians 1:11 (TPT) HYMN Come, Thou Fount of Every Blessing Traditional American Melody Text: Robert Robinson Tune: Nettleton Come, Thou fount of every blessing, Tune my heart to sing Thy grace; Streams of mercy, never ceasing, Call for songs of loudest praise.
    [Show full text]
  • Garamond and the French Renaissance Garamond and the French Renaissance Compiled from Various Writings Edited by Kylie Harrigan for Everyone Ever
    Garamond and The French Renaissance Garamond and The French Renaissance Compiled from Various Writings Edited by Kylie Harrigan For Everyone ever Design © 2014 Kylie Harrigan Garamond Typeface The French Renassaince Garamond, An Overview Garamond is a typeface that is widely used today. The namesake of that typeface was equally as popular as the typeface is now when he was around. Starting out as an apprentice punch cutter Claude Garamond 2 quickly made a name for himself in the typography industry. Even though the typeface named for Claude Garamond is not actually based on a design of his own it shows how much of an influence he was. He has his typefaces, typefaces named after him and typeface based on his original typefaces. As a major influence during the 16th century and continued influence all the way to today Claude Garamond has had a major influence in typography and design. Claude Garamond was born in Paris, France around 1480 or 1490. Rather quickly Garamond entered the industry of typography. He started out as an apprentice punch cutter and printer. Working for Antoine Augereau he specialized in type design as well as punching cutting and printing. Grec Du Roi Type The Renaissance in France It was under Francis 1, king of France The Francis 1 gallery in the Italy, including Benvenuto Cellini; he also from 1515 to 1547, that Renaissance art Chateau de Fontainebleau imported works of art from Italy. All this While artists and their patrons in France and and architecture first blossomed in France. rapidly galvanised a large part of the French the rest of Europe were still discovering and Shortly after coming to the throne, Francis, a Francis 1 not only encouraged the nobility into taking up the Italian style for developing the Gothic style, in Italy a new cultured and intelligent monarch, invited the Renaissance style of art in France, he their own building projects and artistic type of art, inspired by the Classical heritage, elderly Leonardo da Vinci to come and work also set about building fine Renaissance commissions.
    [Show full text]
  • PHASE 3: Year 8 Typography Work from Home Tasks
    PHASE 3: Year 8 Typography Work from home tasks: Task: What is typography? – double research page Typography Task 1: Definitions: What is typography? • Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement Complete a title of type involves selecting typefaces, point size, line length, line-spacing page/research page over (leading), letter-spacing (tracking), and adjusting the space within letters pairs a double page (kerning). Include: • A typographer is a person who designs the form and arrangement of type to • Definition make the written word more legible and aesthetically pleasing. Such a person • History of typography might design a font, or define the point size, kerning, and other characteristics • Facts about typography of a typeface • Categories of typography Decorate the page using typography and colour Typography timeline: 1400’s: Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible. 1501: Aldus Manutius created italics – a way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing. 1757: John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines. 1816 William Caslon IV created the first typeface without any serifs at all.
    [Show full text]
  • Cloud Fonts in Microsoft Office
    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
    [Show full text]
  • 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
    [Show full text]
  • X Garamond & His Famous Types
    x Garamond & His Famous Types HENRY LEWIS BULLEN Ahistor y very interesting to all who may be benefited through the use of printing. t is a par t of the glory of French artthat two type designs that areadmittedly masterpieces beyond competition werecreated byFrench- men. These creations havehad a decisiveinflu- ence on subsequent type designers, and though four hundred and fifty years havepassed since the first use of one of these designs, and three hundred and seventy- fivesince the first use of the other,both of them in their original models arenow morepopular and moregenerally used than in any previous period. The earliest of these master designers was Nicolas Jenson, who first used his famous Roman types in Venice in 1470.But we are heremoreconcerned with the second master,Claude Gara- mond of Paris, in whose honor this book is issued and in reproduc- tions of whose famous Roman and Italic type designs it is composed, that those who read herein may better understand their merits. Original steel punches and copper matrices made and used by Garamond, some time beforehis death in 1561,are now the proper ty of the French nation, and areincluded as an item in the great asset of the national arts which French governments, whether royal, imperial or republican in form, haveinvariably honoured and protected. These implements and the types cast bymeans of them arekept in a special ‘Garamond & His Famous Types’ was originally published in An Exhibit of Garamond Type with Appropriate Ornaments. Being the third of a series of books showing the many beautiful types in the composing room of Redfield- Kendrick-Odell Co., Printers & Map Makers (Redfield-Kendrick-Odell Co.: Ne w York, 1927).
    [Show full text]
  • Adobe Font Folio Opentype Edition 2003
    Adobe Font Folio OpenType Edition 2003 The Adobe Folio 9.0 containing PostScript Type 1 fonts was replaced in 2003 by the Adobe Folio OpenType Edition ("Adobe Folio 10") containing 486 OpenType font families totaling 2209 font styles (regular, bold, italic, etc.). Adobe no longer sells PostScript Type 1 fonts and now sells OpenType fonts. OpenType fonts permit of encrypting and embedding hidden private buyer data (postal address, email address, bank account number, credit card number etc.). Embedding of your private data is now also customary with old PS Type 1 fonts, but here you can detect more easily your hidden private data. For an example of embedded private data see http://www.sanskritweb.net/forgers/lino17.pdf showing both encrypted and unencrypted private data. If you are connected to the internet, it is easy for online shops to spy out your private data by reading the fonts installed on your computer. In this way, Adobe and other online shops also obtain email addresses for spamming purposes. Therefore it is recommended to avoid buying fonts from Adobe, Linotype, Monotype etc., if you use a computer that is connected to the internet. See also Prof. Luc Devroye's notes on Adobe Store Security Breach spam emails at this site http://cgm.cs.mcgill.ca/~luc/legal.html Note 1: 80% of the fonts contained in the "Adobe" FontFolio CD are non-Adobe fonts by ITC, Linotype, and others. Note 2: Most of these "Adobe" fonts do not permit of "editing embedding" so that these fonts are practically useless. Despite these serious disadvantages, the Adobe Folio OpenType Edition retails presently (March 2005) at US$8,999.00.
    [Show full text]
  • New Opentype Fonts on Folio 11
    New OpenType Fonts on Folio 11 Postscript Name Preferred Name AdobeArabic-Bold.otf Adobe Arabic Bold AdobeArabic-BoldItalic.otf Adobe Arabic Bold Italic AdobeArabic-Italic.otf Adobe Arabic Italic AdobeArabic-Regular.otf Adobe Arabic Regular AdobeHebrew-Bold.otf Adobe Hebrew Bold AdobeHebrew-BoldItalic.otf Adobe Hebrew Bold Italic AdobeHebrew-Italic.otf Adobe Hebrew Italic AdobeHebrew-Regular.otf Adobe Hebrew Regular AdobeThai-Bold.otf Adobe Thai Bold AdobeThai-BoldItalic.otf Adobe Thai Bold Italic AdobeThai-Italic.otf Adobe Thai Italic AdobeThai-Regular.otf Adobe Thai Regular AmigoStd.otf Amigo Std Regular ArnoPro-Bold.otf Arno Pro Bold ArnoPro-BoldCaption.otf Arno Pro Bold Caption ArnoPro-BoldDisplay.otf Arno Pro Bold Display ArnoPro-BoldItalic.otf Arno Pro Bold Italic ArnoPro-BoldItalicCaption.otf Arno Pro Bold Italic Caption ArnoPro-BoldItalicDisplay.otf Arno Pro Bold Italic Display ArnoPro-BoldItalicSmText.otf Arno Pro Bold Italic SmText ArnoPro-BoldItalicSubhead.otf Arno Pro Bold Italic Subhead ArnoPro-BoldSmText.otf Arno Pro Bold SmText ArnoPro-BoldSubhead.otf Arno Pro Bold Subhead ArnoPro-Caption.otf Arno Pro Caption ArnoPro-Display.otf Arno Pro Display ArnoPro-Italic.otf Arno Pro Italic ArnoPro-ItalicCaption.otf Arno Pro Italic Caption ArnoPro-ItalicDisplay.otf Arno Pro Italic Display ArnoPro-ItalicSmText.otf Arno Pro Italic SmText ArnoPro-ItalicSubhead.otf Arno Pro Italic Subhead ArnoPro-LightDisplay.otf Arno Pro Light Display ArnoPro-LightItalicDisplay.otf Arno Pro Light Italic Display ArnoPro-Regular.otf Arno Pro Regular ArnoPro-Smbd.otf
    [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]
  • Menupro 9 User Guide Getting Started • I
    MenuPro® by SoftCafé Version 9 MenuPro® User's Guide Copyright © 1994-2010 SoftCafe, LLC. All rights reserved. Microsoft is a registered trademark of Microsoft Corporation. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark Office and elsewhere. Adobe and Acrobat are trademarks of Adobe Systems Incorporated. Abadi, Albertus, Arial, Bembo, Corsiva, Gill Sans, Pepita and Swing are trademarks of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. Binner Gothic, Braggadocio, Broadway, Colonna, Coronet, Forte, Gallia, Ginger, Impact, Imprint, Matura, Palace Script, and Runic are trademarks of The Monotype Corporation and may be registered in certain jurisdictions. American Diner is a trademark of HandCraftedFonts Company. Buffalo Gal is a trademark of Thomas A. Rickner. Curlz is a trademark of The Monotype Corporation. Ginko is a trademark of Paul Pegoraro. Lebeau is a trademark of Bo Berndal. Andy and Looseprint are trademarks of Steve Matteson. Caslon Antique, Choc, Mistral, Ortem and Zambesi are trademarks of Polyvroom BV. Cruz Handy and Woodcut Alpha are trademarks of Agfa Monotype Corporation may be registered in certain jurisdictions. Balmoral, ITC Braganza, ITC Juanita, ITC Rastko and Papyrus are trademarks of the International Typeface Corporation and may be registered in certain jurisdictions. ITC Eras and ITC Rennie Mackintosh are trademarks of the International Typeface Corporation registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions. Ashley Crawford, Galaxy Run, Goudy Ornate, Haarlemmer and Othello are trademarks of Agfa Monotype Corporation and may be registered in certain jurisdictions.
    [Show full text]
  • Bibliographica (Issue 3)
    Bibliographica (Issue 3) Item Type Newsletter (Paginated) Authors Henry, John G.; Schanilec, Gaylord; Hardesty, Skye Citation Bibliographica (Issue 3) 2005-07, Download date 26/09/2021 12:16:22 Link to Item http://hdl.handle.net/10150/106505 Issue Number 3 Summer 2005 biBIblBiLIoOGgRrAPapHhICAic a Cedar Creek Press collection of text sizes in Caslon, Garamond, Euse- bius, and Goudy Oldstyle. By John G. Henry Henry’s journey has taken him through high school, Cedar Creek Press has produced a variety of printed a B.A. from the University of Iowa with majors in materials since its inception in 1967. What started English & Journalism, an M.S. degree in Printing entirely as a hobby venture by a high school student Technology from the Rochester Institute of Tech- and a single press has expanded to fill a 25’ x 50’ nology, and many other practical learning experiences. workshop. The reason for being of Cedar Creek Cedar Creek Press has published many books of Press has always been the printer’s enjoyment of Poetry by primarily Midwestern poets. Mostly first the letterpress process. books for the authors, the editions have been small, Proprietor John G. Henry spent many hours poring but have given a published voice to many fine poets. over the catalogs of the Kelsey Company, making The emphasis of the publishing has been to produce his wish-list and saving his allowance for purchase nicely-designed and produced books at a reasonable of a basic set of printing equipment. One day Henry price. saw an advertisement in the local classifieds for an Recent ventures have been in the world of miniature entire print shop for $50.
    [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]