Typeface Book Final
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Inland Foundry
Inland Type Foundry Die Firma wurde 1894 in St. Louis gegründet durch die Söhne (William, Oswald und Carl jr.) von Carl Schraub- stadter, Teilhaber der Central Type Foundry, die 1892 zur American Type Founders kam. Das erste Musterbuch erschien 1895. In dieser Firma wurde die American Standard Line von Nicholas Joseph Werner entwickelt. Sie bildete das Vorbild für die Deutsche Normal- Schriftlinie, die durch Genzsch & Heyse in Deutschland eingeführt wurde. Im Jahre 1911 wurde die Firma von der American Type Founders Comp. übernommen. Einige Schriften kamen zu Barnhart Bros. & Spindler, Chicago, die sie teilweise um- benannten, um sie dann in ihr Schriftprogramm aufzunehmen. Alfred 1909 Avil 1904 Becker 1899 Nicholas J. Werner Blair 1900 Blair Condensed Blanchard Series 1899 Blanchard Italic 1900 Blanchard Light Face 1901 Blanchard Condensed 1901 Brandon 1898 Nicholas J. Werner Linotype (Engravers Bold Face) Brandon Gothic Bruce Title 1896 Nicholas J. Werner Cardinal Cardinal Italic Caslon Heavy 1906 Caslon Condensed 1907 Comstock 1902 Comstock Condensed 1905 Corbitt Condensed 1902 Corbitt Series 1900 Nicholas J. Werner Cosmopolitan 1896 Courts Series 1900 http://www.klingspor-museum.de Dorsey Series 1904 Dorsey Light Dorsey Light Italic 1910 Dorsey Condensed 1910 Dorsey Extra Condensed 1910 Drew Series 1910 Edwards Series vor 1899 Faust 1899 Foster 1905 William A. Schraubstadter Foster Condensed 1908 Francis 1904 Gothic No. 8 vor 1900 Nicholas J. Werner Haight 1902 A. V. Haight Havens Series 1902 Hearst 1902 Solotype Hearst Italic 1903 -
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. -
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. -
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 -
Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
Kemble Z3 Ephemera Collection
http://oac.cdlib.org/findaid/ark:/13030/c818377r No online items Kemble Ephemera Collection Z3 Finding aid prepared by Jaime Henderson California Historical Society 678 Mission Street San Francisco, CA, 94105-4014 (415) 357-1848 [email protected] 2013 Kemble Ephemera Collection Z3 Kemble Z3 1 Title: Kemble Z3 Ephemera Collection Date (inclusive): 1802-2013 Date (bulk): 1900-1970 Collection Identifier: Kemble Z3 Extent: 185 boxes, 19 oversize boxes, 4 oversize folder (137 linear feet) Repository: California Historical Society 678 Mission Street San Francisco, CA 94105 415-357-1848 [email protected] URL: http://www.californiahistoricalsociety.org Location of Materials: Collection is stored onsite. Language of Materials: Collection materials are primarily in English. Abstract: The collection comprises a wide variety of ephemera pertaining to printing practice, culture, and history in the Western Hemisphere. Dating from 1802 to 2013, the collection includes ephemera created by or relating to booksellers, printers, lithographers, stationers, engravers, publishers, type designers, book designers, bookbinders, artists, illustrators, typographers, librarians, newspaper editors, and book collectors; bookselling and bookstores, including new, used, rare and antiquarian books; printing, printing presses, printing history, and printing equipment and supplies; lithography; type and type-founding; bookbinding; newspaper publishing; and graphic design. Types of ephemera include advertisements, announcements, annual reports, brochures, clippings, invitations, trade catalogs, newspapers, programs, promotional materials, prospectuses, broadsides, greeting cards, bookmarks, fliers, business cards, pamphlets, newsletters, price lists, bookplates, periodicals, posters, receipts, obituaries, direct mail advertising, book catalogs, and type specimens. Materials printed by members of Moxon Chappel, a San Francisco-area group of private press printers, are extensive. Access Collection is open for research. -
A Typeface History
The Evolution of Typefaces 1440 The printing press is invented by Johannes Gutenberg, using Blackletter typefaces. 1470 More readable Roman Type is designed by Nicolas Jenson, combining Italian Humanist lettering with Blackletter. 1501 Aldus Manutius and Francesco Grio create the first italic typeface, which allows printers to fit more text on each page. 1734 William Caslon creates what is now known as “Old Style” type, with more contrast between strokes. 1757 John Baskerville creates Transitional typefaces, with even more contrast than Old Style type. 1780 The first “modern” Roman typefaces—Didot and Bodoni—are created. 1815 The first Egyptian, or Slab Serif, typeface is created by Vincent Figgins. 1816 The first sans-serif typeface is created by William Caslon IV. 1916 Edward Johnston designs the iconic sans-serif typeface used by London’s Underground system. 1920 Frederic Goudy becomes the first full-time type designer, and creates Copperplate Gothic and Goudy Old Style, among others. 1957 Helvetica is created by Max Miedinger. Other minimalist, modern sans-serif typefaces, including Futura, emerge around this time. 1968 The first digital typeface, Digi Grotesk, is designed by Rudolf Hell. 1974 Outline (vector) fonts are developed for digital typefaces, resulting in smaller file sizes and less computer memory usage. Late 1980s TrueType fonts are created, resulting in a single file being used for both computer displays and output devices such as printers. Windows Macintosh 1997 Regular fonts plus variants Regular fonts plus variants Open Type fonts are invented, which allow for cross-platform use on Macs and PCs. Open Type 1997 CSS incorporates the first-ever font styling rules. -
Surviving the TEX Font Encoding Mess Understanding The
Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24. -
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. -
Vision Performance Institute
Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs.