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american printing history association ‡ 2016 lieberman lecture Matthew Carter Genuine Imitations ∂ A type designer’s view of revivals a number of matthew carter’s designs have been based on historical types, ITC Galliard, Big Caslon, Miller, Vincent, and the Yale typeface among them. Others, like Snell Roundhand and Mantinia, were derived from non-typographic sources from the past such as handwriting manuals and lettering in the work of painters. In this lecture he explains his debt to the historical legacy, and de- scribes cases where historically-based designs have been adapted to the needs of contemporary clients. His type revivals have varied in faithfulness to their models, which raises questions about the respon- sibilities of the continuator of traditional forms, about degrees of interpretation, adaptation to cur- rent technology, ancestor worship, and travesty. M Courtesy the John D. & Catherine T. MacArthur Foundation. MacArthur T. & Catherine D. Courtesy the John Saturday, December 3, 2016 matthew carter is a principal of Carter and Cone Type, Inc., which he co-founded with Cherie Cone in 1991. 2 pm ∂ The Museum of Printing He trained as a punchcutter at Enschedé and Zonen type foundry in the Netherlands, was a designer at Mergenthaler 15 Thornton Ave, Haverhill MA Linotype, and was co-founder in 1981 of Bitstream, Inc., the world’s first independent digital type foundry. In 2010, Car- Free & open to the public ter was honored as a MacArthur Fellow. He has designed over 60 typeface families and over 250 individual fonts re- A reception will follow the lecture flecting a staggering variety of styles. ∂ ∂ Seating is limited, please RSVP at printinghistory.org ∂ ∂.

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Here I Raise My Ebenezer; Hither by Thy Help I’M Come; and I Hope, by Thy Good Pleasure, Safely to Arrive at Home
ANNUAL COMMENCEMENT WEEKEND 2021_commencement_program_v11a_draft.indd 1 4/30/2021 9:32:16 AM 2021_commencement_program_v11a_draft.indd 2 4/30/2021 9:32:16 AM ANNUAL COMMENCEMENT WEEKEND GREENVILLE UNIVERSITY Greenville, Illinois Commencement May 8, 2021 President Suzanne A. Davis Board of Trustees Robert W. Bastian Steven L. Ellsworth Hugo Perez Venessa A. Brown Valerie J. Gin, Treasurer B. Elliott Renfroe Tyler Campo Jerry A. Hood Dennis N. Spencer Howard Costley, Jr., Vice Chair Karen A. Longman Kathleen J. Turpin, Chair D. Keith Cowart K. Kendall Mathews Melissa A. Westover, Secretary Dan R. Denbo Douglas M. Newton Mark D. Whitlock Paul S. Donnell Stephen Olson Donald D. Wolf Emeriti Trustees Sandra M. Boileau Lloyd G. Ganton J. Richard Schien Patricia A. Burd Yoshio D. Gotoh Marjorie R. Smith Jay G. Burgess Duane E. Hood Rebecca E. Smith James W. Claussen Paul R. Killinger Kendell G. Stephens David G. Colgan Pearson L. Miller Barry J. Swanson Michael L. Coling Wayne E. Neeley Craig W. Tidball Robert E. Cranston Wesley F. Phillips R. Ian Van Norman Dennis L. Fenton Ernest R. Ross, Jr. 2021_commencement_program_v11a_draft.indd 3 4/30/2021 9:32:16 AM Saturday, May 8, 2021, 10:00 A.M. President Suzanne A. Davis, presiding PRELUDE Rebecca N. Koebbe PROCESSIONAL Rebecca N. Koebbe WELCOME Suzanne A. Davis NATIONAL ANTHEM The Star Spangled Banner Francis Scott Key INVOCATION Sidney R. Webster SCRIPTURE Ivan M. Estevez Ephesians 1:11 (TPT) HYMN Come, Thou Fount of Every Blessing Traditional American Melody Text: Robert Robinson Tune: Nettleton Come, Thou fount of every blessing, Tune my heart to sing Thy grace; Streams of mercy, never ceasing, Call for songs of loudest praise.
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Cloud Fonts in Microsoft Office
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A Catalogue of the Wood Type at Rochester Institute of Technology David P
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 11-1-1992 A Catalogue of the wood type at Rochester Institute of Technology David P. Wall Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Wall, David P., "A Catalogue of the wood type at Rochester Institute of Technology" (1992). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to Certify that the Master's Thesis of David P. Wall With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of DECEMBER 1992 Da,e Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Program Coordinator George H. Ryan Direcmr or Designa[e A Catalogue of the Wood Type at Rochester Institute of Technology by David P. Wall A thesis project submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute ofTechnology November 1992 Project Advisor: Professor David Pankow Introduction type,' When Adobe Systems introduced in 1990 their first digital library of 'wood the event marked the latest step forward in a tradition dating back to 1828, when Darius Wells, ofNew Wells' York City, perfected the equipment and techniques needed to mass produce wood type.
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Alien Heads Found in Georgia
Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. It features a large x-height (tall lower-case letters) and its thin strokes are thicker than would be common on a typeface designed for display use or the higher resolution of print. Besides, Georgia's bold is also unusually bold and bolder than most bolds. Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy.
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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
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INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam.
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Tv38bigelow.Pdf
Histoire de l’Ecriture´ Typographique — le XXième siècle (The History of Typographic Writing—The 20th century). Jacques André, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 à1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 à2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXième formed by cultural innovations that were strikingly siècle; tome I/II, de 1900 à1950.
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Man of Letters: Matthew Carter's Life in Type Design
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TYPE SPECIMEN alien heads found in Georgia KAYLEE GRODSKE Georgia bold 64 pt Contents page contents 5 Introduction 7 Backstory 9 Alien Heads Found in Georgia 10 Compare 12 Various Cuts 14 Type Features GeorgiaGeorgia GeorgiaGeorgia Georgia Georgia bold 72 pt Georgia Although inspired by the need for - and providing - clarity at low resolutions on the screen, Georgia is a typeface resonant with typographic personality. Even at small sizes the face exudes a sense of friendliness; a feeling of intimacy many Georgia would argue has been eroded from Times New Roman through overuse. This is as much testament to the skill of the typeface’s designer, Matthew Carter, as it is to any intrinsic quality of the face’s design, since the small pixel spaces of the screen can be a harrowing canvas for any type designer. In Georgia, Carter has successfully managed to create a typeface family which combines high legibility Georgia with character and charm. Georgia4 5 GeorgiaGeorgia Georgia bold 58 pt Backstory Designed in 1996 by Matthew Carter. Georgia is the serif companion to the first Microsoft sans serif screen font, Verdana. It was designed specifically to address the challenges of on-screen display and hand-instructed by leading hinting expert, Monotype’s Tom Rickner. Georgia was jokingly named after a tabloid headline ‘Alien heads found in Georgia.’ If you must have one serif face for reading on a computer, then you’ve found the best one right here. At high resolutions and larger sizes on screen, it’s evident that Georgia’s ancestory is essentially that of Didot and - most noticeably - of Scotch Roman.
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