Inventaris Letterproeven 2013-10-11 1 Inventaris Nummer Land Van
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Opentype Outline Flavour
OpenType outline flavour: CFF - PostScript-Outlines Contained fonts: Akhbar™ Light Akhbar™ Regular Akhbar™ Bold Albany® Std Regular Albany® Std Italic Albany® Std Bold Albany® Std Bold Italic Albertina™ Std Regular Albertina™ Pro Regular Albertina™ Pro Italic Albertina™ Std Italic Albertina™ Std Medium Albertina™ Pro Medium Albertina™ Pro Medium Italic Albertina™ Std Medium Italic Albertina™ Std Bold Albertina™ Pro Bold Albertina™ Pro Bold Italic Albertina™ Std Bold Italic Albertus® Pro Light Albertus® Pro Roman Albertus® Pro Italic Albertus® Std Light Albertus® Std Roman Albertus® Std Italic Alisal™ Std Regular Alisal™ Pro Regular Alisal™ Pro Italic Alisal™ Std Italic Alisal™ Std Bold Alisal™ Pro Bold Almanac™ Regular Amadeo™ Std Regular Amadeo™ Std Regular SC Amadeo™ Std Bold Amadeo™ Std Bold SC Amanda™ Std Regular Amanda™ Pro Regular Amanda™ Pro Bold Amanda™ Std Bold Amasis™ eText Regular Amasis™ eText Italic Amasis™ eText Bold Amasis™ eText Bold Italic Andale® Mono WGL Regular Andale® Mono WGL Regular Andale® Mono WGL Italic Andale® Mono WGL Italic Andale® Mono WGL Bold Andale® Mono WGL Bold Andale® Mono Std Regular Andale® Mono Pro Regular Andale® Mono Pro Bold Andale® Mono Std Bold Andale® Mono WGL Bold Italic Andale® Mono WGL Bold Italic Andy™ Std Regular Andy™ Pro Regular Andy™ Pro Italic Andy™ Std Italic Andy™ Std Bold Andy™ Pro Bold Andy™ Pro Bold Italic Andy™ Std Bold Italic Antique Roman™ Std Solid Apollo™ Std Roman Apollo™ Pro Roman Apollo™ Pro Italic Apollo™ Std Italic Apollo™ Std Semibold Apollo™ Pro Semibold Aqua Life™ Pi -
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. -
Graphics Design
Graphics Design - Typography Exercise 7 - ‘Arial’ ____________________________________________________________________________________________________________________________ Closest Fonts: {Arial, Helvetica, MS Gothic} Closer Fonts: {Newhouse DT Condensed, CG Triumvirate Condensed} Chosen Focus Font: {Arial Narrow Bold Italic} ____________________________________________________________________________________________________________________________ Font: Monotype Grotesque Birth-Date: 1926 Creator: Frank Hinman Pierpont Publisher: Monotype Foundry Based Off: Grotesque (by H. Berthold AG Foundry & William Thorowogood, 1832) Family: Largely-Extended: Multiple Widths (Condensed,...,Extended) Recognition: Easily Recognisable as san-serifs were few and unusual in England. Use: Early 20th Century Avant Garde Printing from Western & Central Europe ____________________________________________________________________________________________________________________________ Font: Arial Alias: (Original) Sonoran Sans Serif, (After Microsoft Acquisition) Arial MT Birth-Date: 1982 Self-Description: “Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can -
TSCHICHOLD ACTIVE LITERATURE 149 -Preference Sanserifů
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 -
Lucida Sans the Quick Brown Fox Jumps Over a Lazy Dog
Facing up to Fonts Richard Rutter “When the only font available is Times New Roman, the typographer must make the most of its virtues. The typography should be richly and superbly ordinary, so that attention is drawn to the quality of the composition, not the individual letterforms.” Elements of Typographic Style by Robert Bringhurst ≠ Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper, The Times, in 1931, designed by Stanley Morison and Victor Lardent at the English branch of Monotype. It was commissioned after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. Arial Arial is a sans-serif typeface designed in 1982 by Robin Nicholas and Patricia Saunders for Monotype Typography. Though nearly identical to Linotype Helvetica in both proportion and weight, the design of Arial is in fact a variation of Monotype Grotesque, and was designed for IBM’s laserxerographic printer. Georgia Georgia is a transitional serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It is designed for clarity on a computer monitor even at small sizes, partially due to a relatively large x-height. The typeface is named after a tabloid headline titled Alien heads found in Georgia. Verdana Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand-hinting done by Tom Rickner. Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen. Trebuchet A humanist sans-serif typeface designed by Vincent Connare for the Microsoft Corporation in 1996. -
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. -
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. -
Typesfaces by Style.Indd
t y p e f a c e s SERIF: VENETIAN, GARALDE, TRANSITIONAL, DIDONE (MODERN) SLAB SERIF SANS SERIF: GROTESQUE, NEO-GROTESQUE, GEOMETRIC, HUMANIST SCRIPT AND HAND-LETTERED GLYPHIC BLACKLETTER HAND-TOOLED, INLINE, OUTLINE, STENCIL DECORATIVE, DISPLAY MONOSPACED CYRILLIC SYMBOL ORNAMENT SERIF serif Garalde Old Style Th e serif, or cross-line at the end of a stroke probably Garalde typefaces include some of the most popular dates from early Rome. Father Edward Catich pro- serif types in use today. Th ey were designed during the posed in his seminal work, Th e origin of the Serif, that 16th and 17th century by such masters as the French the serif is an artifact of brushing letters onto stone printer Claud Garamond and the Venetian printer Al- before cutting them. Serif, or roman, types are useful dus Manutius. Th e distinguishing features of Garalde in text because the serifs help distinguish individual typefaces are apparent in Adobe Garamond, which has letters and lead the eye along a line of type. Serif type- a horizontal bar on the lowercase e, a slightly greater faces fall into four main categories: Venetian, Garalde, contrast between thick and thin strokes than Vene- Transitional, Didone (Modern) tian types, axis curves that are inclined to the left, and bracketed serifs. ALDUS venetian oldstyle NEW ASTER named after the fi rst typefaces that appeared in Venice BEMBO in 1470, Venetian typefaces were initially designed to BERLING imitate the handwriting of Italian Renaissance scholars. CAXTON Th ese typefaces originated as book type and still serve CELESTIA ANTIQUA that function well because of their clarity and legibility. -
Helvetica.Pdf
Helvetica Complements & Alternatives - – — ÷ •••• •••• ···· ···· r Part 1: Complements Combining Type With Helvetica H E L V E T I C A combining type with helvetica Introduction We asked experts we admire to round up typefaces that share a common use, style, or concept. Indra Kupferschmid is a German typographer and writer who lives in Bonn and teaches in Saarbrücken at the French border. As co-author of “Helvetica forever”, Indra is often asked what typeface to combine with the world’s most famous font. As Indra puts it, “Helvetica is often described as the tasteless white rice among typefaces: satisfies easily, cheap and fast. But the good thing is, you can take the design into different directions with the sauce and side dishes (the typefaces you pair with Helvetica).” Indra shares her favorite Helvetica companions with the following guidelines in mind: “Focusing on contrast makes combining fonts easier. Better not pair Helvetica (or other Neo-Grotesques) with another sans serif (like a Humanist Sans). Instead, choose a serif or a slab. Transitional and Modern (bracketed) serifs work quite well with Helvetica. So do most Garaldes like Garamond — it all depends on what kind of atmosphere you’re aiming for. Browse the list of ideas below, or look for faces with broad proportions, a large x-height, or similar characteristics, like an uppercase ‘R’ with a vertical tail.” www.fontshop.com toll free at 888 ff fonts 415.252.1003 Neutral Fonts If you’re looking for a text face and want to stay consistent by emphasizing the neutral, flawless feel of the Grotesk, try a Transitional serif. -
Typefaces and 0 Supporting Utilities
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Å × Ôò Helvetica Ò Ôò Grotesque
i i “eutypon1619” — 2007/10/3 — 12:47 — page 75 — #79 i i Ò¸ ë ½ ½ ÇØôÖ ¾¼¼ EÖØÙÔÓ October 75 Å Helvetica grotesque º Κάτω Γατζέα 373 00 ᾿Αγριὰ Βόλου Η/Τ: [email protected] Ø ×ÙÑÔÐÖôÒ ÔÒÒØ ÕÖÒ Ô ØèÒ ÖÑѹ Ø Ó Õ Ð ×ÑÒØè ÑÓ×ØØ Ô Ø Helvetica ÐÛÒ ØüÒ üÒ Ø Ñ× Ô ØÒ ÒØÙÔÓ ÌÔÓ¸ ØÒ êÐØÖÓÒ ÌÔÓ¸ Ñ Ô ØÒ ÒÑØÓÖÓº Î ×Û Ô ØÒ ÔÓÒÛÒ ¹ ÖÙÓ¸ ÓÐ ÒÐÔØ Ò Ø é ÖÑÑØÓ×Ö Ô× Helvetica Ò Ü ÓÖÒÓ ÔÖÒ Ô Ñ× ôÒº Ç ×ÓÒØ × Ø × ÖÑÑØ ØÓ ØÓ ½ÓÙ º¸ Ó Ñ ÖÐ grotesk ØèÒ ×Ö Ø ÕÓÙÒ Ø Ø × Ø ÖØ ÖÑÑØÓ×¹ ÔÖ ØÙÔô× ÔÖÓÙ ½½ ½¿º ËØ ÔÖÒ ÖÖÓ ÒØ ×ÒØÓÑ ÖÑÑØ Ô Helvetica¸ Ø ÔÖÓ Ø ÒØÖ Half a century Helvetica and one century grotesque, by Dimitrios Filippou — This year marks the 50th anniversary since the Helvetica fonts were put into circulation, and the event has received considerable attention from media of all kinds; the printed media, the electronic media, even from cinematographers. However, behind the media noise, one easily discovers that Helvetica did not fall from Heavens half a century ago. The roots of Helvetica lie in the German realistic grotesk typefaces of the end of the 19th century, which in turn have their roots in the first British jobbing typefaces of 1816–1834. This article is a short presentation of Helvetica, from its ancestors to its immitators. ½ ×Ûè Φέτος συμπληρώθηκαν πενῆντα χρόνια ἀπὸ τὴν κυκλοφορία τῆς γραμματοσειρᾶς Helvetica ἀπὸ τὸ στοιχειοχυτήριο Haas (Haas’sche Schriftgießerei), ποὺ βρίσκον- ταν στὸ Μυντσενστάιν (M¨unchenstein), κοντὰ στὴν Βασιλεία τῆς ῾Ελβετίας. -
Collinge & Clark Advent List 2014
Advent List, 2014 Collinge & Clark 13 Leigh Street London WC1H 9EW United Kingdom [email protected] t 00 44 (0) 20 7387 7105 m 07906933352 1.(Adagio Press) Bahr (Leonard F.). A Manner of Printing. 8vo, 23p, Adagio Press, Harper Woods, Michigan, 1973. Handset in Palatino, with display in Michelangelo and Jaguar. One of 298 signed and numbered copies printed in black and olive-green on Mohawk Superfine paper. Sewn into Gold and Brown Strathmore Beau Brilliant paper wrappers titled in black. Original yellow paper envelope, titled in black. A fine copy. £20 2.(Alcuin Press) A Specimen of Some Printing Types in Use at the Alcuin Press, with a note on the press and its aims. [By H.P.R. Finberg.] 4to, 28.5cm, 15p, The Alcuin Press, Chipping Camden, 1928. One of 50 copies printed on Batchelor's Kelmscott hand-made paper and bound in Cockerell marbled paper-covered boards, linen back. Spine just a little soiled. A very good to fine copy. £200 Also issued in an unlimited edition on mould-made paper, limp paper covers. 3.(Alembic Press) A 40 Line Wood Letter Alphabet. Chequebook 8vo, [36]pp., The Alembic Press, Winchester, 1986. Number 9 of 70 copies set in 40 line Antique Elongated, printed on Zerkall paper. Sewn into three sections, glued into card covers with Ingres paper wrappers printed in black. A fine copy. £35 4.(Alembic Press) Bolton (Claire). The Alembic Press Bibliography, 1978-1988. Royal 8vo, pp.58, The Alembic Press, Oxford, 1989. Number 66 of 95 (100) copies typeset in Bembo and printed on Hahnemuhle paper.