DOCSLIB.ORG

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

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. 1945 Cía S.R.L. van de Pincel en de Silfide. 0048 Argentinië Publitipografía Buenos Aires Catálogo de Tipos 12 p. 1947 De Vicente & Cia. 0011 Argentinië Fundición de Buenos Aires Catálogo de Tipos y Adornos Bijlagen: 5 losse proeven, eenz, elk 1 p. 317 p. 1914 Tipos Hoffmann & Stocker 1828 Argentinië Industria [onbekend] Catalogo de Tipos / Surgo In spiraal, A5. NB voorlopig 32 p. 1945 1950 Argentina plaatsnummer 1828-A. 0012 Argentinië Sociedad Buenos Aires Caracteres Semplicità 8 p. 1931 Nebiolo / Fundicion Argentina 9500 Australië The Markby Melbourne Phototypesetting Catalogue // Computer Vouwbladen, B2, 4to 83 p. 1977 Group photosetting 0014 België Agfa-Gevaert Kontich AgfaType New PostScript Font Releases brochure (dubbel) en klantenbrief uitvouwb 1994 are folders 0015 België Alfac Nivelles Deca-Dry Vouwblad, eenzijdig. Bijlage: 1 6 p. 1964 letterstrook Alfac Deca-Dry. Inventaris letterproeven 2013-10-11 1 0016 België Alfac Nivelles Alfac Op 1e pagina: "Alfac, het technisch 88 p. 1980 1990 transfersysteem voor alle tekenaars. Wij bieden u een volledig assortiment [..]" 0017 België Alfac Nivelles Alfac - Produkten voor grafische In spiraal. Op binnenzijde achterplat 216 p. 1980 1990 ontwerpers staat :"cat4 NL". 0018 België Alfac Nivelles Alfac / Products for design Bijlagen: dealerlijst, 2 p.; 132 p. 1981 prijzenoverzicht, 1 p. van IMHA b.v. te Wormerveer, gedateerd 1981. 0019 België Alfac Nivelles Alfac Exclusive Typefaces Vouwblad A3; omvat in plastic gehulde 2 p. 1984 specimina van afwrijfletters. 0020 België Alfac Nivelles 25 Nieuwe lettertypes / alfac / voor de 47 p. 1990 grafische ontwerper. 0021 België Alfac Nivelles Alfac op 1e pagina: "Alfac, het technisch 88 p. 1995 transfersysteem voor alle tekenaars. Wij bieden u een volledig assortiment [..]" NB: DOCUMENT WORDT VERMIST / DOCUMENT MISSING. 0022 België Imprimerie J.-E. Antwerpen Etrennes typographiques & Almanach des 12 Losse afzonderlijke proeven in 12 1922 Buschmann Miniatures pour l'année 1922 almanak-vorm, voor elke maand een andere proef; de proeven bevatten elk een ingelegde afbeelding van een portret 0023 België Carabin- Brussel Musique chiffrée / corps huit [muziekschrift] 2 p. 1900 Schildknecht 0024 België Fonderie Flinch Brussel J'ai l'honneur de vous soummettre, par la Aankondiging, folio, B6. Toepassing van 1 p. 1872 présente, une épreuve d'un nouveau type de letter ('Nouveau Anglais') rechtsonder anglais elzévirien. […] op pagina. 0025 België FontShop St. Denijs- Na Uw aanvraag voor meer informatie Aanbiedingsbrief met 2 losse proeven, 4 1 p. 1992 Westrem over onze produkten… […] p. en 2 p. van Adobe fonts 0026 België FontShop St. Denijs- Na Uw aanvraag voor meer informatie Aanbiedingsbrief met prijslijst 1992, 1 p. 1992 Westrem over onze produkten… […] informatie, 4 p., 2 p., en 2 p. over Adobe font-pakketten 0027 België FontShop Zwijnaarde FontFont / Dutch Connection / Featuring Kleine poster, A3 kort. 2 p. 1998 Evert Bloemsma, Erik van Blokland, Lucas De groot … […] 0028 België FontShop Sint-Denijs- FontShop Magazine Periodiek, A4 smal, geniet, met nieuwe 12 p. 1994 Benelux Westerm fonts. 0029 België FontShop Zwijnaarde [1:] 2 Rebels [& 2:] collection 2 Rebels 2 catalogi met letters van 2Rebels, 11 p 26 p. 1997 Benelux collection en 15 p. 0030 België FontShop Zwijnaarde Corporate Fonts / Hoe een huisstijl 18 p. 2001 2002 Benelux (België) letterlijk beter werkt dankzij zorgvuldig aangepaste fonts 0031 België FontShop De Pinte Druk / nummer 011 / voorjaar 2002 voorloper van FontShop Magazine. 78 p. 2002 Benelux Bijlage: los blad, 2 p., met Bethold- letters. 0032 België FontShop De Pinte 96 FontShop Magazine / jaargang 3, nr 8 / 68 p. 2005 Benelux (België) voorjaar 2005 0033 België FontShop De Pinte 96 FontShop Magazine / jaargang 3, nr 9 / Ongetitelde editie. Aan voorplat 92 p. 2005 Benelux (België) 2005 bevestigd vouwblad ong A1, 12°, 2 p., met diverse fotogr afbeeldingen. Inventaris letterproeven 2013-10-11 2 0034 België FontShop De Pinte 96 [FontShop Magazine] Special / NYC Vouwblad, ong A1, 12°, 2 p. met 2 p. 2005 Benelux (België) Street Art bijdragen van div artiesten. 0035 België De Kalevala Pers Antwerpen De Kalevala Pers Antwerpen [Vendome Vouwblad A5 met voorbeelden van 6 p. 1995 36pt] uitsluitend 36pts Vendome; omvat blocnotevel met handgescheven adresinformatie. 0036 België Etablissements Brussel Prijslijsten A: 'Prix-Courant', B4, 1 p., °1911-1918 20 p. 4 1911 1935 Plantin ca; B: brochure 'Tarif de Caractères', B6+, 16 p., ged 15 Janvier 1928; C: postkaart 'le prix des matrices à dents larges', A6, 2p., met datum 1er Août 1937; D: bestelkaartje 'Italique éclairée "Lafayette" non crénée', B6+, 2 p., °1930-1935 ca 0037 België Etablissements Brussel Mediaeval Erasmus 1 proef, 2 p., ong A4, 'Mediaeval 15 p. 4 1924 Plantin "Erasme" et "Erasme Italique" / caractère de texte et fantaisie / création de S.H. De Roos'; 2 ex vouwblad, A6, 6 p., "... Notre nouvelle série ERASME..."; 1 afdruk, 1 p., B4, uit de Erasmus van het gedicht 'A son livre' van Ronsard. 0038 België Etablissements Brussel La mode novuelle en typographie 2 ex van een proef, A4+, 1 p., van de 3 p. 1930 Plantin Nobel, Nobel Mager en de Nobel Vet; 1 papieren etiket, 1/3 A5, 1 p., met promotietekst. 0039 België Etablissements Brussel [cluster] A: 'Matrices Intertype A Dents Larges', 22 p. 5 1930 1937 Plantin vouwblad, A4-, in 3°, 7 p.; B: 'Atlas', proef, 4 p. op karton, B7 van de Atlas; C: 'Tentoonstelling Egmont', uitnodiging, 4 p., A6+; Mededeling van onderscheiding, 1 p., postkaart, B7+, voor de nieuwe letter l'Indépendant; D: 'Les Antiques Initiales Maigres', kort overzicht van beschikbare Initialen, vouwblad van karton ong 2/3 A5 6 p 0040 België Etablissements Brussel Bedrijfsdocumentatie (cluster) A: 2ex brochure Studio Plantin, A5+, 4 28 p. 6 1933 1939 Plantin p.; B: brochure Studio Plantin, ong A4, 4 p.; C: informatiestencil Studio Plantin, ong A4, 1 p; D: aankondiging openintijden vakantieperiode °1939, A5+, 1 p.; E: algemene brochure: 'Une visite chez "Plantin"', vouwblad in 4, ong B3 14 p 0041 België Etablissements Brussel Feestdrukwerk Letters, vignetten, randen. Plano in 1 p. (8) 1950 Plantin omslag, B3, in 8° gevouwen, eenzijdig. Inventaris letterproeven 2013-10-11 3 0042 België Etablissements Brussel Garnituren A: brochure 'Ons formaatwit en 8 p. 2 1950 Plantin onderlegwit uit lichtmetaal/Nos garnitures et supports de clichés en métal léger', ong A4, 4 p.; B: informatiekaart, A6+, 4 p. 'Notre matériel en cuivre', met afabeelding van een snijapparaat ('coupoir biseautier') 0043 België N.V. Brussel De Roos Halfvet en Open Initialen Oorspronkelijk Lettergieterij Amsterdam 4 p. 1950 Etablissements °1948. "Plantin" 0044 België N.V. Brussel De Roos demi-gras & Initiales éclairées Oorspronkelijk Lettergieterij Amsterdam 4 p. 1950 Etablissements °1948. = de Franst. versie van LP 48-039 "Plantin" 0045 België Fonderie Brussel Nouvelles Batardes Voorbeelden van visitekaartjes, randen 1 p. 1889 Vanderborght en vignetten. 0046 België Fonderie Brussel Initales allongées / Egyptiennes allongées Plano, A2, 4to Linkerkwart onderaan: 1 p. 1890 Typographiqe / Types gras Elzéviriens stuk uitgeknipt. Brevetée A. & F. Vanderborght 0047 België A. Brussel "Nous prions Messieurs les Imprimeurs kaartje met uitnodiging voor een bezoek 4 p. + 1 1905 Vanderborght & Typographes et Lihographes ainsi que les aan de wereldtenoonstelling in Luik p. Dumont Directeurs de Journaux […]" °1905 + adres-slip van A. Vanderborght. 0049 Brazilië Manufatura Sao Paulo Manig S.A. / Fundição de tipos e fábrica de Catalogus met lettertypen en , achterin, 60 p. 1950 1960 Industrial material gráfico (hand)gereedschappen en letterkasten. Grafica S.A. 0050 Canada Cooper & Toronto Type selection chart / A handy pocket-size
Load more

Recommended publications
  • 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
    [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]
  • 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
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [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]
  • 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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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) !.;-,:?
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]