DOCSLIB.ORG

By: Daniel Salomon SERIF Times New Roman

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By: Daniel Salomon SERIF Times New Roman TYPOGRAPHY By: Daniel Salomon SERIF Times New Roman . 3 Bodoni Std . 4 Rockwell . 5 ITC Garamond Std . 6 Josefin Slab . 7 R Times New Roman 3 Nymphs blitz quick vex dwarf jog. Font fact: 24pt. Times New Roman has been utilized for about every typographic application imaginable. It is considered an exceptionally legible design that translates well to hard copy and on-screen environments. Esophagographers Times New Roman Bold 36pt. shanghaiings Times New Roman Italic 18pt. scintillescent Times New Roman T regular 24pt. horseshvover Times New Roman regular 14pt. arraigning Times New Roman R Italic N30pt. 4 Bodoni Std Aa Aa Aa Aa Aa Aa Bodoni Std Bodoni Std Bodoni Std Bodoni Std Bodoni Std Bodoni Std Italic Poster Poster Bold Roman Book Roman Italic 36pt. 36pt. 36pt. 36pt. 36pt. 36pt. Font fact: Bodoni is the typeface utilized in the recognizable poster for the movie and play “Mama Mia!” Roman 18pt. A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 Bold 18pt. A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 Poster 30pt. MAMMA MIA! Bodoni Std 5 Rockwell † Rockwell Regular 36pt. † † Rockwell Regular 30pt. † † Rockwell Regular 24pt. † † Rockwell Regular 18pt. † † Rockwell Regular 30pt. † Font facts: - Strong and heavy serifs - 90º vertical stress - Large x height - Short ascenders and decenders - Minimal contrast 6 ITC Garamond Std Aa Aa Aa ABCDEFGHIJKLM ITC Garamond Std ITC Garamond Std ITC Garamond Std NOPQRSTUVWXYZ Ultra 36pt. Bold 36pt. Italic 36pt. abcdefghijklm nopqrstuvwxyz 0123456789 ITC Garamond Ultra Std Pseudomythical ABCDEFGHIJKLM (36pt.) NOPQRSTUVWXYZ abcdefghijklm Pseudomythical nopqrstuvwxyz (30pt.) 0123456789 ITC Garamond Bold Std Pseudomythical ABCDEFGHIJKLM (24pt.) NOPQRSTUVWXYZ abcdefghijklm Pseudomythical nopqrstuvwxyz (18pt.) 0123456789 ITC Garamond Book Std Pseudomythical ABCDEFGHIJKLM (14pt.) NOPQRSTUVWXYZ abcdefghijklm Pseudomythical nopqrstuvwxyz (12pt.) 0123456789 ITC Garamond Light Std Font fact: Claude Garamond was not successful in business and died of poverty. Josefin Slab 7 & Josef Slab Thin 36pt. & Josef Slab Light 36pt. & Josef Slab Regular 36pt. & Josef Slab SemiBold 36pt. & Josef Slab Bold 36pt. & Josef Slab Italic 36pt. Six big devils from Japan quickly forgot how to waltz. “Nothing made by a human can avoid personal expression, and nothing made for a human should avoid personal expression.” - Hrant Papazian SANS SERIF Optima LT Std . 9 Helvetica Neue LT Std . 10 Futura . 11 Snell Roundhand . 12 Noto Sans . 13 Optima LT Std Optima LT 9 Aa Aa Aa Optima LT Std Optima LT Std Optima LT Std Extra Black Italic Extra Black Black Italic 36pt. 36pt. 36pt. Aa Aa Aa Optima LT Std Optima LT Std Optima LT Std Black Bold Italic Bold 36pt. 36pt. 36pt. Aa Aa Aa Optima LT Std Optima LT Std Optima LT Std Font fact: Demi Italic Demi Medium Italic 36pt. 36pt. 36pt. Optima is a clear and precise typeface inspired by classical Roman inscriptions. It is distinguished by the curves and straights which vary Aa Aa Aa meticulously in thickness. Optima LT Std Optima LT Std Optima LT Std Medium Italic Roman 36pt. 36pt. 36pt. 10 Helvetica Neue LT Std Helvetica Neue LT Std Ultra Light Helvetica Neue LT Std Ultra Light Italic Helvetica Neue LT Std Thin Helvetica Neue LT Std Thin italic Helvetica Neue LT Std Light Helvetica Neue LT Std Light Italic Helvetica Neue LT Std Roman Helvetica Neue LT Std Italic Helvetica Neue LT Std Medium Helvetica Neue LT Std Medium Italic Helvetica Neue LT Std Bold Helvetica Neue LT Std Bold Italic Helvetica Neue LT Std Heavy Helvetica Neue LT Std Heavy Italic Helvetica Neue LT Std Black Helvetica Neue LT Std Black Italic (18pt.) Font facts: When Helvetica was created in 1957, the original name was “Neue Haas Grotesk,” which translates to “New Haas Sans Serif.” However, the participating companies later settles on Helvetica, which was an approximation to “Helvetia,” the Latin name for Switzerland. Futura Std 11 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m A B C D E F G H I J K L M A B C D E F G H I J K L M n o p q r s t u v w x y z N O P Q R S T U V W X Y Z N O P Q R S T U V W X Y Z 0 1 2 3 4 5 6 7 8 9 a b c d e f g h i j k l m a b c d e f g h i j k l m n o p q r s t u v w x y z n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 A B C D E F G H I J K L M 0 1 2 3 4 5 6 7 8 9 N O P Q R S T U V W X Y Z a b c d e f g h i j k l m A B C D E F G H I J K L M A B C D E F G H I J K L M n o p q r s t u v w x y z N O P Q R S T U V W X Y Z N O P Q R S T U V W X Y Z 0 1 2 3 4 5 6 7 8 9 a b c d e f g h i j k l m a b c d e f g h i j k l m n o p q r s t u v w x y z n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 A B C D E F G H I J K L M 0 1 2 3 4 5 6 7 8 9 N O P Q R S T U V W X Y Z a b c d e f g h i j k l m A B C D E F G H I J K L M A B C D E F G H I J K L M n o p q r s t u v w x y z N O P Q R S T U V W X Y Z N O P Q R S T U V W X Y Z 0 1 2 3 4 5 6 7 8 9 a b c d e f g h i j k l m a b c d e f g h i j k l m n o p q r s t u v w x y z n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 A B C D E F G H I J K L M 0 1 2 3 4 5 6 7 8 9 N O P Q R S T U V W X Y Z a b c d e f g h i j k l m A B C D E F G H I J K L M A B C D E F G H I J K L M n o p q r s t u v w x y z N O P Q R S T U V W X Y Z N O P Q R S T U V W X Y Z 0 1 2 3 4 5 6 7 8 9 a b c d e f g h i j k l m a b c d e f g h i j k l m n o p q r s t u v w x y z n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 Font facts: (10pt.) Futura’s capital letters may be traced back to ancient Greek engraving; but the lowercase letters are simply a desing modification made by The Bauer Type Foundry of Frankfurt, which changed the previously illegible typeface design precepts. 12 Snell Roundhand LT Snell Roundhand LT Script 30pt. The quick brown fox jumps over a lazy dog. Snell Roundhand LT Bold Script 30pt. The quick brown fox jumps over a lazy dog. Snell Roundhand LT Black Script 30pt. The quick brown fox jumps over a lazy dog. Font facts: The Snell Roundhand typeface was developed by Matthew Carter in 1965. This connecting script was based on the roundhand script of Charles Snell, a writing master from the 1600s. Noto Sans 13 "People only talk about typefaces if they are type designers, graphic designers, or are angry about them." - Christian Schwartz Right as rain Noto Sans Italic 30pt.
Load more

Recommended publications
  • 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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Type Notes Design Or
    Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Typeface Origins, Design, Revivals Glossary O –Q Oblique Old style Core Concepts: Typeface Origins, Design, Revivals Old style figures I contemporary type design is often based directly or indirectly on Optical alignment classical models Optical kerning I good type revivals attempt to capture the character of the originals Ordinal characters Ornament characters I new typefaces are often commissioned for specific purposes Orphan I the most fundamental aspect of type design is the interplay between Outline type letters and their background Pagination Paragraph indent Parallel construction Further Study Parentheses I Type Right Pi fonts http://www.typeright.org/ethicsguide.html Pica I Jim Rimmer Making Faces Point http://www.monoscope.com/2009/03/ Posture jim_rimmer_making_faces_traile.html Proof Proportional spacing I Call It What It Is (John Downer) Proportional type http://www.emigre.com/Editorial.php?sect=2 Punch I Smashing Magazine: 60 Brilliant Corporate Typefaces Punctuation http://www.smashingmagazine.com/2008/03/20/60-brilliant-typefaces- Quoin for-corporate-design/ I Chank: How to Make a Font https://www.chank.com/howto/makeafont/ http://www.youtube.com/watch?v=xhpCNSm7xAM I University of Reading Class of 2009 Type Design http://www.typefacedesign.org/2009/ I Type Design http://www.creativebloq.com/typography/design-your-own-typeface- 8133919 I Nick Shinn: Richler Typeface http://www.randomhouse.ca/richler/#about_thetype Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 1 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Why Design a New Typeface? More Canadian Typeface Designs There are several reasons new typefaces are created.
    [Show full text]
  • Patrick Reagh Printers Note: the Number Following the Name Indicates the Monotype Series
    Monotype typefaces available for fonts and composition at Patrick Reagh Printers note: the number following the name indicates the Monotype series. An e or an a after the number indicates either English- or American-manufactured matrices. R-roman / I-italic / SC-small caps / B-boldface lc-large composition* Antique 26a R 8 10 12 Baskerville 353a R/I/SC 7 8 10 11 12 Bembo 270e R/I/SC 8 10 11 12 13 14 (16 & 18 lc R/I) Narrow Bembo Italic 194e 10 12 13 (16 lc) Bodoni Medium 375a R/I/SC 8 10 12 Bodoni Book 875a R/I/SC 6 8 10 12 Bookman 98a R/I/SC 6 8 10 12 Bulmer 462a R/I/SC 6 8 9 10 12 (18 lc R) Centaur 252a (16 lc roman only) Cochin 61a R/I/SC 6 8 10 12 Deepdene 315a R/I/SC 6 8 10 12 Ehrhardt 453e R/I/SC 10 12 14 Fournier 185e R/I/SC 10 12 13 Franklin Gothic 107a R 6 8 10 12 Futura Light 606a R/I 6 8 10 12 Futura Medium /Extra Bold 605a & 603a R 6 8 10 12 Garamont 248a R/I/SC 8 10 12 Garamond Bold 548a R/I 6 8 10 12 Gill Sans 262e R/I/B 6 7 8 10 12 Goudy Bold 294a R/I 8 10 12 Goudy Modern 249e R/I/SC 8 10 11 12 Goudy Old Style 394a R/I/SC 6 8 10 12 Janson 401a R/I/SC 8 9 10 11 12 (14 & 18 lc R/I) Jenson Old Style 58a R 8 10 12 Sans Serif 329a (Kabel) R/B 8 10 12 Sans Serif Light/Bold 329a & 330a R 8 10 12 Univers Light 45e R/I 6 8 10 12 14 Univers Medium 55e R/I 6 8 10 12 14 Univers Bold 65e R/I 6 8 10 12 14 Univers Extra Bold 75e R/I 6 8 10 12 14 *Large composition can only be composed in roman or italic separately 1 Monotype display typefaces available for fonts at Patrick Reagh Printers note: the letter d following the size on English matrices indicates Didot which is the European standard for type sizing and is generally a point or two larger than the American point system.
    [Show full text]
  • 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.
    [Show full text]
  • Volume 18-4 (Low Res).Pdf
    A a Bb Cc Dd Ee Ff Gg Hh liJj Kk LI MmNnOoPp Qq RrSsTt UuVvWwXxYyZz1234567890&fECE$$(£.%!?0 [] Brookie ilaxtt7e11: Walking Up Dream .Street tl hat Modern {Vas Italian Beach Signs Book Jackets of t he 1920s & 1930s Hidden Music: A Print by Glaser 3 The Cat's Out of the Bag. On September 10, 1991, PC Magazine called Arts & Letters "the easiest-to-use illustration product for the PC' PC Magazine made it official. However, Arts & Letters clip-art images. The Editor offers a list of features you owners have known for years how easy it is to use. can really sink your teeth into; like multi-tasking of screen Instructions are clear and concise. Commands are kept redraw, data-driven charting, gradient fills and blends, to a minimum. Everything is object-oriented, and what text-along-a-path, lock/hide/name, warp/perspective, you see is what you get. To top it off, the latest version hole cutting, and object and text masking. Automatic spot of the Graphics Editor (3.1) is even quicker and more and four-color separations are also available. powerful than its predecessors. Rave reviews about Arts & Letters are commonplace. Arts & Letters offers several built-in advantages: you The Arts & Letters clip-art collection also received can draw upon the award-winning 5,000-image clip-art Publish magazine's Readers' Choice award two years in collection, 80 superb typefaces, Bezier drawing tools and a row and PC Magazine named it a host of spectacular special effects. Editors' Choice for 1991. There is no limit to the kinds of electronic artwork Try your hand at turning a you can create with the Arts & Letters Graphics Editor: tabby into a tiger.
    [Show full text]
  • Zapfcoll Minikatalog.Indd
    Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf.
    [Show full text]
  • Typestyle Chart.Pub
    TYPESTYLE CHART This is an abbreviated list of the typestyles available from 2/90. ADA fonts are designated with either one or two asterisks. Those with two asterisks comply with ANSI A.117.1 standards for enhanced readability of tactile signage elements. Use typestyle abbreviations in parentheses when placing an order. For additional fonts not on this list, contact Customer Service at 800.777.4310. Albertus (ALC) Commercial Script Connected (CSC) Americana Bold (ABC) *Compacta Bold®2 (CBL) Anglaise Fine Point (AFP) Engineering Standard (ESC) *Antique Olive Nord (AON) *ITC Eras Medium®2 (EMC) *Avant Extra Bold (AXB) *Eurostile Bold (EBC) **Avant Garde (AGM) *Eurostile Bold Extended (EBE) *BemboTM1 (BEC) **Folio Light (FLC) Berling Italic (BIC) *Franklin Gothic (FGC) Bodoni Bold (BBC) *Franklin Gothic Extra Condensed (FGE) Breeze Script Connecting (BSC) ITC Friz Quadrata®2 (FQC) Caslon Adbold (CAC) **Frutiger 55 (F55) Caslon Bold Condensed (CBO) Full Block (FBC) Century Bold (CBC) *Futura Medium (FMC) Charter Oak (COC) ITC Garamond Bold®2 (GBC) City Medium (CME) Garth GraphicTM3 (GGC) Clarendon Medium (CMC) **Gill SansTM1 (GSC) TYPESTYLE CHART (CON’T) Goudy Bold (GBO) *Optima Semi Bold (OSB) Goudy Extra Bold (GEB) Palatino (PAC) *Helvetica Bold (HBO) Palatino Italic (PAI) *Helvetica Bold Condensed (HBC) Radiant Bold Condensed (RBC) *Helvetica Medium (HMC) Rockwell BoldTM1 (RBO) **Helvetica Regular (HRC) Rockwell MediumTM1 (RMC) Highway Gothic B (HGC) Sabon Bold (SBC) ITC Isbell Bold®2 (IBC) *Standard Extended Medium (SEM) Jenson Medium (JMC) Stencil Gothic (SGC) Kestral Connected (KCC) Times Bold (TBC) Koloss (KOC) Time New Roman (TNR) Lectura Bold (LBC) *Transport Heavy (THC) Marker (MAC) Univers 57 (UN5) Melior Semi Bold (MSB) *Univers 65 (UNC) *Monument Block (MBC) *Univers 67 (UN6) Narrow Full Block (NFB) *V.A.G.
    [Show full text]
  • ITC Franklin Gothic Std Demi Italic
    Laura Bae Baske Baskervilleis a serif typeface designed in the 1750s by John Baskerville in Birming- ham, England, and cut into metal by punchcutter John Handy. Baskerville 1495 is classified as a transitional typeface, intended as a refinement of what are Garamond now called old-style typefaces of the period. Compared to earlier designs pop- ular in Britain, Baskerville increased the contrast between thick and thin Bb Bb strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical po- sition. The curved strokes are more circular in shape, and the characters Bb became more regular. Characters ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyz Bb Bb 1234567890’”!”(%)[#](@)/&\<+-=>:;,.* Styles Regular Characters SemiBold ABCDEFGHIJKLMNOPQRSTUVWXYZ SemiBold Italic abcdefghijklmnopqrstuvwyz GARAMOND Italic Bold 1757 1234567890’”!”(%)[#](@)/&\<+-=>:;,.* GARAMOND Styles Italic GARAMOND Bold GBold Italic GGARAMOND rville Bodoni 1934 Bodoni is one of the most carefully re- Characters searched and accurate interpretations of Bodoni’s typefaces ever attemped. ABCDEFGHIJKLM- ROCKWELL The process involved two trips to NOPQRSTUVWXYZ Parma, Italy, and hundreds of hours abcdefghijklmnopqrstuvwyz of research. Then, thousands of hours Rockwell is a slab more were spent carefully designing 1234567890’”!”(%)[#] serif typeface fonts, using an original copy of Bon- (@)/&\<+-=>:;,.* designed by Mono- doni’s 1818 Manuale Tipografico as a type. The design is benchmark for accuracy. based off an earli- The first step was a trip to Parma Styles er slab serif from by the four-person design team to Bold 1910 known as Litho study, first hand, Bodoni’s work. In the Antique, which is words of Sumner Stone, the project’s Book considered the very art director, “The search for Bodoni Book Italic first geometric slab took on a new dimension and mean- serif.
    [Show full text]
  • 2010 Type Quiz
    Text TypeCon 2010 Typographic Quiz Here’s How It Works 30+ Questions to Test Your Typographic Smarts Divided Into Two Parts Part One • 12 Questions (OK, 17) • First right answer to each question wins a prize • Your proctor is the arbiter of answer correctness Part Two • 18 Questions • Answers should be put on “quiz” sheets • Every correct answer to a multiple part question counts as a point • 33 Possible right answers What’s it worth? • There are the bragging rights... • How about the the Grand Prize of the complete Monotype OpenType Library of over 1000 fonts? There’s More... • Something special from FontShop • Gimme hats from Font Bureau • Industrial strength prizes from House Industries • TDC annual complements of the TDC And Even More... • Posters from Hamilton Wood Type Museum • Complete OpenType Font families from Fonts.com • Books from Mark Batty Publisher • Fantastic stuff from P22 And Even More... • Fonts & books & lots of great things from Linotype • Great Prizes from Veer – including the very desirable “Kern” sweatshirt • Font packs and comics from Active Images Over 80 prizes Just about everyone can win something Some great companies • Active Images • Font Bureau • Font Shop • Hamilton Wood Type Museum • House Industries • Linotype • Mark Batty Publisher • Monotype Imaging • P22 • Type Directors Club • Veer Awards • Typophile of the Year • The Doyald Young Typographic Powerhouse Award • The Fred Goudy Honorable Mention • Typographer’s Apprentice (Nice Try) • Typographically Challenged Note: we’re in L.A., so some questions may
    [Show full text]
  • Typeface Research Jeremy Peck WNM 605-01 (Fall 2015)
    Typeface Research Jeremy Peck WNM 605-01 (Fall 2015) Content: FUTURA Designer: P aul Renner Date of Production: 1 927 Type Family: G eometric sans-serif Futura is a sans-serif typeface based on geometric shapes. Inspired by serif typefaces of the nineteenth century, designer Paul Renner seeked to move away from the condensed lettering structure seen in the grotesque style. Instead, Futura was a successful attempt to express simple geometric forms, such as nearly perfect circles, squares, and triangles. The clean, no serifs and no frills appearance of Futura is known it’s “efficiency and forwardness.” Strokes are an even width. Tall lowercase ascenders rise above the cap line. Other typefaces within this classification include: Kabel, Century, and Gothic. Content: BODONI Designer: Giambattista Bodoni Date of Production: 1 798 Type Family: M odern serif With increased stroke contrast and a more vertical axis, Bodoni followed the in style of Baskerville. However Giambattista Bodoni pushed his design beyond the transitional style to a more extreme conclusion. Flat, unbracketed serifs, extreme contrast between thick and thin, and a slightly condensed yet geometric construction result in the modern typeface known for its elegant appearance. Distinctive characteristics of Bodoni include the slanted top of the lowercase “t”, the centered tail under the uppercase “Q”, as well as the slight hook in the uppercase “J”. Effective use of Bodoni is not without challenges. When font intended for display is printed at text size, the extreme alternating thick and thin strokes are said to be hard to read and create a negative effect on readers referred to as ‘dazzel.’ Therefore it is critical to use the correct optical size of font.
    [Show full text]