DOCSLIB.ORG

TSCHICHOLD ACTIVE LITERATURE 149 -Preference Sanserifů

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TSCHICHOLD ACTIVE LITERATURE 149 -preference sanserifů zřejmá od počátku hnutí nové typografie - alespon ve větších vyobrazeních pro nadpisy atd -Devětsil 1922, Moholy nagy bauhaus 1923 - dřív vorticisti v Blast a futuristický věci -poprvý ideologie v druhu písma - ss pro advertising od 19. stletí -Tschichold - ss jako klíčovej element nový typo -šel i dál než současníci - používal by to i pro delší texty - -nejvíc užívanej na bauhausu - Breite fette Grotesk od Schelter & Giesecke http://www.flickr.com/photos/n1ke/4856809986/in/photostream -Venus grotesque (Bauer), Lapidar -Moholy nagy na bauhausu - většinou roman písmo v textu -některý roman písma ještě pořád líp čitelný než množství sansserifů -Die Neue Typographie -první tschicholdova kniha celá sázená v sanserifu -dnešní sansserify jsou ještě v mnohym ne zcela uspokojivý - to je bez diskuze -Kabel, Erbar - podle TSCH příliš individualistický - protopreferoval někdy anonymní starší grotesky -Konrad Bauer kritizoval tyhle jeho preference - for confusing plebeian dullness with objectivity 150 -podle Bauera bylo Tschicholdovo obhajování moc silný -i tady citace Tschicholdova zpětnýho revidování - tehdy si myslel že nej bude nejjednodušší, ale splet se, nejefektivnější bude nejčitelnější -těžká pozice od dvacátejch - preferoval ty anonymní grotesky starý, ale cejtil že to neni ono -Aurora - pro Novou typo knihu -Fututra pro něj krokem vpřed v sanserifech -vyšla v brzkym 1928 - -Ken Garland se v 1960 tal proč nepoužil Futuru na Novou typo knihu - prej mu nepřišla vhodná jako textový písmo -začal používat futuru tschichold kolem 1930 151 -1926 - DIN - standardizae, papírový formáty atd. -snahy o stadardizaci písma? grotesky.. -Albert Giesecke v opozici - písmo nikdy nebude, neni ani nebylo možný standardizovat, formát papíru může bejt, ale ne jeho kvality, - proti radikalistům, bolševistům, bauhausu, schwittersovi atd -Giesecke - Schelter & Giesecke - Leipzig -1920 - Sprache und Schrift - Walter Portsmann - inspirace pro racionalizaci, návrh směrující k malopisu - http://luc.devroye.org/33720.html http://luc.devroye.org/fonts-33720.html http://www.flickr.com/photos/27672822@N07/4310905369/ - Schelter Grotesk, a typeface designed in 1860, http://www.flickr.com/photos/kupfers/5933679233/ - Französische Grotesk Haas MUZIKA 496 po 1920 nástup renesance akcidenčních písem 19. století nebyl takovej výběr v tiskárnách - proto se často používalo písem defektních, respektive lidi byl tim stavem k tomuhle nucený odpůrci tak měli argumenty který bylo těžký vyvracet zvrat s nástupem novejch písem - jednak kopie písem z 19. stol, jednak písma úplně nová - moderní variace těchto vzorů americká Ludlow - od 1927 vydávali v různejch variantách Record Gothic a Square Gothic Haas'sche Schriftgiesserei - Commercial Grotesk - revidovanej z 19 stol E. Thielem v 1942 přesná kopie de facto Libri-Grotesk firmy Neu Didot Schriftgiesserei A.G. - úzkej tučnej grotesk německý H. Berthold A. G. z 1896 Haas'sche Schriftgiesserei - úzká světlá varianta Graphique - nepatrná parafráze starých vzorů v kresbě H. Eidenbenze z 1945 Moderní grotesky jsou četnější skupinou 1916 - Edw Johnston - zahájil řadu vyšel z něj jeho žák E Gill - dělal pro Monotype - 1927 - Gill Sans Serif v půltučné serii - soudobá typo dostala vskutku moderní písmo, nejlepší verzi ušlechtilá forma některejch liter kresebně obtéžnejch - G, K, Q, S a Z EFOJ taky zdařilý osobní výhrady k M dobrý i minusky a číslice - rozbor doplnoval v uplnou serii od nejmenšího po největší stupen, od slabýho po tučný řez, varianty uzky, široky, skloneny i ozdobny 503 všestranný soubor tovarny Monotype Corporation doplnuje firma Stephenson Blake dřevěnými literami pro tisk plakatů a pro velký rozměry Gill Sans se tak stal jedním z nejrozšířenejších písem v Anglii jízdní řady, plakaty, časopisy, dokonce i v knihach - věšude u nás taky rozšířen, třebaže tvrdá konkurence písem německých z něm mod grotesků je Kladům Gillova písma nejblíž Futura - Paul Renner z 1928 - vydal Bauersche Giesserei ve Frankfurtu n. M. , pro strojovou sazbu am sp. Intertype rozbor klady, výhrady k u taky hodně rozšířena S těmahle dvěma písmama mohou jen těžce někdo soupeřit Uvede jen letmo nějaký se kterejma se lze setkat u nás Kabel - Klingspor v Offenbachu n M - 1926-27 nakreslil Rudolf Koch neklidné písmo podle muziky, nepřidá na cti váženému autorovi popis umírněnější a přijatelnější - J. Erbar - Erbar-Grotesk z písmolijny Ludwig )ET) Mayer z roku 1924 popis kolem 1930 - Elegant-Grotesk - Berthold ET Stempel z Vídně - dobrá a stříuzlivá kresba, velká rodina Neuzeit Grotesk frankfurtský D. Stempel z 1928 - dobře se uchytil - nakreslil Wilhelm Pischner Arno Drescher - dva moderní grotesky - Super-Grotesk pro Schriftguss A. G. a Fundamental-Grotesk pro písmolijnu L. Wagner - oba vydaný roku 1930 jen sporadicky u nás setkáváme s podobnými řezy a písmy - pozoruhodné grotesky americké zajímavé že největší fejmař Frederic W. Goudy neměl s groteskama štěstí - jeho Sans Serif pro Lanston Monotype z 1930 nikterak nelze pokládat za zdařilý písmo tohoto typu 504 American Typefounders - grotesk Spartan - Sol Hess - nakreslil 1937 a až do 47 ho upravoval různě pr strojovou výrobu převzala tohle písmo továrna Mergenthaler Linotype Monotype tohle písmo dělá pod názvem Twentieth Century A. Typefounders množství grotesků dost udělal pro ně M. F. Benton - Franklin Gothic z 1903 News Gothic 1908, Bank Gothic 1930-33 Poster Gothic 1934 stejná společnost Bernhard Gothic od Luciana Bernharda v několika variantách 1929-31 Mergenthaler Linotype - písmo Metro - 1929 W. A. Dwiggins http://www.linotype.com/3245-21456/metroblackelectracaledonia.html firma Ludlow - R. H. Middleton - Stellar z 1929 a Tempo z 1930 Tempo doplnovaný verzema až do 1954 Intertype - 1930 - písmo Vogue - je blízký Kabelu od Kocha http://luc.devroye.org/fonts-41699.html - ale vypadá jak Futura v Anglii - písmo Granby - písmolijna Stephenson Blake 1930 - početná serie http://typophile.com/node/28292?page=1 Italy - psmljn Nebiolo - Semplicita, 1931 Holandsko- Nobel Grotesque firmy Lettergieterij Amsterdam z 1929-31 Romulus Sans Serif - Jan van Krimpen pro Joh. Enschedé - kresebně ušlechtilý, doplnil tim serii antikvy a italiky Romulus z roku 1932 http://www.flickr.com/photos/20994543@N04/4564471597/in/photostream/ většina grotesků doprovázena ornamentalnima variantama - vesměs však stínováný a obrysy, ale vyjimky u nás někdy samostatně ornamentální - např Drescher Initialen z 1927 nebo Lumina od J Erbara 1922,30 http://ilovetypography.com/2010/05/25/founders-grotesk-fonts/ Miller & Richard 1912 http://www.flickr.com/photos/20994543@N04/sets/72157623807806109/with/4553170168/ http://www.edinburghcityofprint.org/pages/allied-industries/miller-richard.php .
Recommended publications
  • Inventaris Letterproeven 2013-10-11 1 Inventaris Nummer Land Van

    Inventaris Letterproeven 2013-10-11 1 Inventaris Nummer Land Van

    Inventaris Land van Bedrijf Plaats van Titel Opmerkingen Omvang Aantal Datering nummer vestiging vestiging letter- proeven van tot 0001 [onbekend] [onbekend] [onbekend] [Tiervignetten] Ongeïdentificeerde, Duitstalige proef met 32 p. 1890 1910 vignetten van dieren, van gewervelden tot protozoa. 0002 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Diverse formaten. Bevat Mediaeval 10 1900 land, gieterij. Egyptian/Roman/Italic; Eirenne; 0003 [onbekend] [onbekend] [onbekend] Messingschriften für Handvergoldung aus Viertalige catalogus van letters voor 82 p. 1932 Instrument und Matern gegossen boekbinders. 0004 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Inhoud: Intertype Arabic (4); 13 [onbe land, corporatie. Caslon+Locarno (1); Splendor+Splendor kend] Vet+Excelsior (3); cijfers(1), Garamont sierletters cursief, romein, kapitalen cursief (3); Acropolis (1). 0005 Argentinië Curt Berger y Buenos Aires Titulares Series Económicas / Fundidas con 16 p. 1920 Cía metal especial importado direcamente de Alemania 0006 Argentinië Curt Berger y Buenos Aires Letras Inglesas rondas y cursivas / Tipos Bijlage: 3 losse toepassingen. 36 p. 1930 Cía imitación máquina de escribir 0007 Argentinië Curt Berger y Buenos Aires Tipos para textos y titulares / últimas 72 p. 1930 Cía creaciones / series artísticas y modernísmas / matrices originales de la gran fundición de J.G. Schelter & Giesecke 0008 Argentinië Curt Berger y Buenos Aires Tipos para texto / Bastardillas, Negritas y 24 p. 1935 Cía Versalitas ... [...] 0009 Argentinië Curt Berger y Buenos Aires [zonder titel] Brochure. Bijlage: 2 ex van een proef, 2 19 p. 1935 Cía S.R.L. p., van de Silphide. 0010 Argentinië Curt Berger y Buenos Aires Tipos Modernos / Pincel Silfide Vouwblad, met toepassingen en proeven 8 p.
  • Americana Ancient Roman Antique Extended No. 53 Artcraft Italic

    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.
  • Typefaces and 0 Supporting Utilities

    Typefaces and 0 Supporting Utilities

    11101/1 IT( nom111)011{! ETC • r-I 0 41t(Dif(111,1111.111N Noiyiviixvii 2 EC 7 CD 4-4 • r-I "-1i 990000 Ci) 1 0 40 gwitimagie and dwiraawasi4e display deSigris ■ •• gai it vI scamizazirgaaP4tt 46.1.frst-upor -‘4.7)laczkrAnmz.igsza4007 rd, I I 1011d ISa SOLI TM 0 4D4)/octfib * *,,t I A- ME♦ FRO" THE VEIWITILII ITI OFFIEIN4 11414411LY c600`` 4.?co ErCIIIJUM\O ITC Q ina Sans t3 ITNabcdeigital kAt EWHIJKLMNOPQ knrw-,0234567 abCdeghijkintr10 stuvwv* 90t$C oc ircl2t9 crn I:ad:Service• Card /#3k ) [t A>>< ITC Anna: Elsner + Flake linoLetter Black: Linotype-Hell abcdefghijklmnopqrstuvw-xyz &M13 ANWIIIMLIIINOMISTUVWXIE ABC DEFGHIJKLMNOPQRS TUVVVX 1214EC1g90 (P/o) "*" YZ 1234567890 ($%£) !.;-,:? "'Ocean Aurelia Book: Elsner+Flake ITC Lubalin Graph Bold Condensed: Elsner+Flake abcdefghijklmnopqrstuvwxyz &fiflB abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 ($%E) !.;-,:?"*" 'Ocean' ABCDEFGHLIKLMNOPQRSTUVW Barbedor Black: Elsnert-Flake XYZ 1234567890 ($%£) !.;-,:? "*" abcdefghijklmnopqrstuvwxyz &-fif113 ABCDEFGH1JKLMNOPQRSTUVWXYZ *ea' d Precision Ty 1234567890 ($%f) "*" ITC Mendoza Medium: Elsner+Flake abcdefghijklmnopqrstuvwxyz &Hi; Didot Headline OSF: Linotype-Hell ABCDEFGHIJKLMNOPQRSTUVWXYZ Special Value: abcdefghijklmnopqrstuvwxyz 1234567890 ($%f) !.;-,:? "k" 'ocean' Precision Type has Linotype-Hell's Just In Time CD-ROM for the lowest § ABCDEFGHIJKLMNOP Omma: Linotype-Hell price available anywhere: just $32.49. QRSTUVWXYZI/34567890 A3coecg1)likLoritaopciRsTuv szwxyz 1234567890 ($%E) 1.; — ,:i Special Savings: ($T0E) !.;-,:?
  • A Handbook of Printing Information for Journalism Teachers

    A Handbook of Printing Information for Journalism Teachers

    A handbook of printing information for journalism teachers Item Type Thesis Authors Berryman, Staley Download date 01/10/2021 20:35:34 Link to Item http://hdl.handle.net/10484/4488 A HANDBOOK OF PRINTING INFORMATION FOR JOURNALISM TEACHERS A Thesis Presented to the Faculty of the School of Education Indiana State Teachers College In Partial Fulfillment of the Requirements for the Degree Master of Science in Education by -( Sta1eY/1?erryman April 1941 , " : ; .'j : " The thes is of ,;,;;S..,;;,t.;;.;a,;;;;l..,;;,e....Y.-;;;B..;.e...r-..r,y._m_a...n ., Contribution of the Graduate School, Indiana state Teachers College, Number 441, under the title A - . - Handbook of Printing Information for Journalism Teachers is hereby approved as counting toward the completion of the Master's degree in the amount of 4 hours' credit. Date of Acceptance )/~.,:t/; / 9 ~// TABLE OF CONTENTS Page LIST OF TABLES ..••..••. ~ ...•••.••.............'•.. .•• iii LIST OF ILLUSTRATIONS ..·............ ............•..• iii INTRODUC'TION .•.••......•••............. .". ••• .•• •••• 1v I •. THE PROBLEM--STATEN~NT AND" DEFINITION.•.••.• 1 II. A SURVEY OF THE PRINTING TOPICS VffiICH ARE OF INTEREST TO JOURNALISM TEACHERS •.•..••••• 2 A. Purpose of the Survey•.••••••....••••..• 2 B. Method of Procedure in Survey ••.•...•••• 2 C• Results of Survey•.••...•...•...••••...• 3 III. DESCRIPTION OF PERTINENT PRINTING TOPICS •... 9 IV. SAMPLES OF TYPE FACES IN THE REITZ HIGH SCHOOL GRAPHIC ARTS DEPART1ffiNT ••..••••.•••.. 76 A. FOllI1dry Type •.••••.•.••••••••••••••••.•. 77 B. Linotype.•.............................. 92 V. HEAD SCHEDULE OF THE REITZ HIGH SCHOOL PAPER 94 VI. SAMPLES OF SCHOOL N~VSPAPERS ...•..••..•.•••• 107 A. Mimeograph••.........•................•. 108 , . B. Letterpress ............................• 112 c. Offset•.................................. 116 VII. PRINTED FORMS USED BY THE REITZ PAPER,: FRANCIS JOSEPH REITZ HIGH SCHOOL, EVANSVILLE INDIANA.
  • Softmaker Megafont XXL 2002 Key to the Original Trademarks

    Softmaker Megafont XXL 2002 Key to the Original Trademarks

    Softmaker MegaFont XXL 2002 Key to the Original Trademarks The "MegaFont XXL" Fonts CD-ROM containing thousands of fonts is sold by the Softmaker GmbH, Nürnberg (Germany) since December 2002 at 59.95 Euro. It comprises almost the entire "Berthold Types" collection including the original Berthold typefaces and numerous ATF and ITC typefaces licensed by the H. Berthold AG. Furthermore MegaFont XXL contains many other typefaces by Adobe, Compugraphic, Esselte Letraset, Fundicion Tipografica Neufville, Linotype (Heidelberger Druckmaschinen), Monotype/AGFA, URW++ and other foundries. The MegaFont collection is of particular importance for historians of typography. It includes many original fonts of the Berthold period 1858–1993 no longer available elsewhere, e.g. the original Palatino by Hermann Zapf of 1950. The Berthold foundry was founded in 1858 in Berlin as "H. Berthold Messinglinienfabrik und Schriftgießerei" and was transformed into a stockholding company in 1896. The H. Berthold AG was the most important German type foundry for highest-quality photocomposition. Due to mismanagement the H. Berthold AG went broke in 1993. Some years ago a new company called "Berthold Types Limited" seems to have been founded in Chicago, Illinois. Except an outdated internet homepage (see http://www.bertholdtypes.com) nothing is known about this company. Many fonts contained in the MegaFont XXL collection are still sold by other type foundries at very high prices. The Softmaker GmbH removed almost all the original typeface trademarks and replaced them by new "fancy" typeface names. It is assumed that the Softmaker GmbH was not granted the right to remove the trademarks by the original type foundries or by the original designers of the typefaces.
  • The Canada1500 Typeface Version 1.101 2017-07-01

    The Canada1500 Typeface Version 1.101 2017-07-01

    The Canada1500 Typeface Version 1.101 2017-07-01 Introduction I’m Raymond Larabie, the creator of the Canada1500 typeface. In November 2014, I created a free, eighty style typeface called Mesmerize. In 2015, Grant Johnson, the senior adviser for the Canada 150 Federal Secretariat contacted me about adapting some styles of Mesmerize to accompany the logo for Canada’s sesquicentennial on July 1st 2017. I offered to create a customized font family based on Mesmerize at no charge and expanded language coverage to include all of Canada's indigenous languages. I intended to release the font to the public for free after Canada’s 150th birthday celebrations. Up until July 2017, the Canada 150 typeface was only available from the Canada 150 Federal Secretariat website through an application process. In 2016, I was contacted by Constance Adams about adapting the Canada 150 typeface for a manned Mars mission. I named it Canada1500 and made alterations for use on spacecraft and Mars base signs and labels. I also expanded language coverage to include Vietnamese, Greek, more Cyrillic languages and most Latin based languages in current use. License The Canada 1500 fonts are released under a “no rights reserved” Creative Commons Zero license. Please don’t ask permission to do anything with these fonts. Whatever you want to do with this font, the answer will be yes. Please read about the CC0 Public Domain license before contacting me. https://creativecommons.org/publicdomain/zero/1.0/ To the extent possible under law, Raymond Larabie has waived all copyright and related or neighboring rights to Canada1500.
  • Softmaker Megafont XXL – Part 1 Key to Original Font Names

    Softmaker Megafont XXL – Part 1 Key to Original Font Names

    Softmaker MegaFont XXL – Part 1 Key to Original Font Names The "MegaFont XXL" Fonts CD-ROM containing thousands of fonts is sold by the Softmaker GmbH, Nürnberg, run by Mr. Martin Kotulla, since December 2002. It comprises almost the entire "Berthold Types" collection including the original Berthold typefaces and numerous ATF and ITC typefaces licensed by the H. Berthold AG. Furthermore MegaFont XXL contains many other typefaces by Adobe, Compugraphic, Esselte Letraset, Fundicion Tipografica Neufville, Linotype (Heidelberger Druckmaschinen), Monotype/AGFA, URW++ and other foundries. The fonts of the MegaFont XXL CD were forged by Mr. Martin Kotulla by the "Linotype Method" (see the report "The Funny Font Forging Industry" http://www.sanskritweb.net/forgers/forgers.pdf). He forged copyright notices by always inserting "2002" as "year of first publication" (compare § 506 c USA Copyright Law, Criminal offenses: Fraudulent copyright notice). The MegaFont collection is of particular importance for historians of typography. It includes many original fonts of the Berthold period 1858–1993 no longer available elsewhere, e.g. the original Palatino by Hermann Zapf of 1950. The Berthold foundry was founded in 1858 in Berlin as "H. Berthold Messinglinienfabrik und Schriftgießerei" and was transformed into a stockholding company in 1896. The H. Berthold AG was the most important German type foundry for highest-quality photocomposition. Due to mismanagement the H. Berthold AG went broke in 1993. Some years ago a new company called "Berthold Types Limited" was founded in Chicago, Illinois. Many fonts contained in the MegaFont XXL collection are still sold by other type foundries at very high prices.