American Type Founders Typefaces Notes for ATF Typefaces Spreadsheet Version 4 (Mar
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Image Carrier Poster
55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1 The Museum of Printing, North Andover, MA and the Image Carrier www.museumofprinting.org Relief printing Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing. A wood engraving uses the end grain, where a wood cut uses the plank grain. Polymer plates are made from digital files which drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints. Metal relief cylinders were used to print repetitive designs, such as those on wrap - ping paper and wall paper. In the 1930s, the invention of cellophane led to the development of the anilox roller and flexographic printing. Today, flexography prints most of the flexible packaging film which accounts for about half of all packaged products. Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces. Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut Foundry type began with Gutenberg and evolved through Jenson, Garamond, Moveable type Caslon and many others. Garamond was the first printer to cast type that was sold to other printers. By the 1880s there were almost 80 foundries in the U.S. One newspaper could keep one foundry in business. Machine typesetting changed the status quo and the Linotype had an almost immediate effect on type foundries. Twenty-three foundries formed American Type Founders in 1890. -
Century 100 Years of Type in Design
Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister -
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 -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
Futura Franklin Gothic
Franklin Gothic Morris Fuller Paul Benton & Renner Futura Futura 1927 Designer Paul Renner created the designed by Renner. Futura has con- typeface Futura in 1927. Futura is a tinued to thrive even to this day with nice geometric sans-serif font, which the help of it’s nice and clean design, unlike typical sans-serif fonts used and is a staple in the typographic in the display world, featured a low world. Young, thriving designers look X-height. Renner wanted to stay to typefaces such as Futura as inspi- away from any decoration when de- ration in the use their own work. signing the font, leaving it with just a crisp and clean typeface. Futura also included some features such as small capitals and old style figures. Renner is a German citizen, so Futura was designed in Germany. Since it’s re- lease, Futura has become one of the most popular fonts, and a common- ly used one for headlines, posters, banners, etc. There have been a few versions that have stemmed off of it’s creation and popularity, including Futura Black, Futura Display, Futu- ra Condensed, and Steile Futura, all Franklin Gothic 1902 Franklin Gothic is a grotesque, over the years. Franklin Gothic is the sans-serif font, designed by Ameri- most popular of the gothic series can designer Morris Fuller Benton in that Benton designed throughout his 1902. Since he was American, nat- career. Due to it’s fame, this typeface urally Franklin Gothic was created is frequently talked about in high in the United States. The typeface is regards in classrooms and schools bolder than a regular font and named where typography history is taught. -
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS 310 Delaware Street, New Castle, DE 19720
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Oak Knoll Books has handled many examples of type specimen catalogues over the years. One would think that interest in old books showing type faces would have gone by the wayside long ago but nothing could be further from the truth. I was recently give a book by Tony Cox, a bookseller friend of mine, for bedside reading while I was visiting him in England and found the stories of type and their development fascinating (Simon Garfield. Just My Type). For those of you who have seen the film Helvetica you can relate to the impact type faces have on our lives. We are now offering you a selection of interesting specimen books and booklets that might inspire those of you doing design work or educate those of you that are doing research. And go back and reread McGrew’s American Metal Type Faces of the 20th Century and Annenberg’s Type Foundries of America and Their Catalogues (both Oak Knoll Press publications) for their invaluable information (see last page of our catalogue for more details). Happy hunting! Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. -
Robert Wiebking Geboren 1870 in Schwelm, Gestorben Am 25
Robert Wiebking Geboren 1870 in Schwelm, gestorben am 25. Juni 1927 in Chicago. Er kommt 1881 mit seinem Vater Hermann Wiebking, einem Graveur, in die USA. 1884 Graveurlehre in Chicago. Seit 1892 selbständiger Stem- pelschneider in Chicago. Verbessert die Matrizengraviermaschine, die sein Vater bereits in Deutschland entwickelte. 1900 gründet er die Advance Type Foundry. 1914 wird sie mit der Western Type Foundry fusioniert und 1919 von Barnhart Bros. & Spindler übernommen. Schnitt Schriften für Frederic W. Goudy, Bruce Rogers und Robert H. Middleton. Goudy und Middleton lernten bei ihm das Stempelschneiden. Advertisers Gothic 1917 Western Type Foundry www.myfonts.com Advertisers Gothic Cond. 1917 Western Type Foundry Advertisers Gothic Outline 1917 Western Type Foundry Advertisers Gothic Out. Cond. 1917 Western Type Foundry Artcraft 1911 Western Type Foundry Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Artcraft Italic 1912 Western Type Foundry Artcraft Bold 1913 Western Type Foundry Linotype zuerst Craftsman bei Advance Type Foundry http://www.klingspor-museum.de Baron’s Boston Newsletter* 1904 Corporate Font Bodoni Light 1923 Ludlow Bodoni Light Italic 1923 Ludlow Bodoni Bold 1925 Ludlow Bodoni Bold Italic Ludlow Caslon Catalog Advance Type Foundry Caslon Clearface 1913 Western Type Foundry Caslon Clearface Italic 1913 Western Type Foundry Caslon Light Italic 1922 Barnhart Bros.&Spindler Centaur* 1914 Metropolitan Museum Linotype Collier Old Style* 1919 Corporate Font Engravers Litho Barnhart Bros.&Spindler -
Fonts Installed with Each Windows OS
FONTS INSTALLED WITH EACH WINDOWS OPERATING SYSTEM WINDOWS95 WINDOWS98 WINDOWS2000 WINDOWSXP WINDOWSVista WINDOWS7 Fonts New Fonts New Fonts New Fonts New Fonts New Fonts Arial Abadi MT Condensed Light Comic Sans MS Estrangelo Edessa Cambria Gabriola Arial Bold Aharoni Bold Comic Sans MS Bold Franklin Gothic Medium Calibri Segoe Print Arial Bold Italic Arial Black Georgia Franklin Gothic Med. Italic Candara Segoe Print Bold Georgia Bold Arial Italic Book Antiqua Gautami Consolas Segoe Script Georgia Bold Italic Courier Calisto MT Kartika Constantina Segoe Script Bold Georgia Italic Courier New Century Gothic Impact Latha Corbel Segoe UI Light Courier New Bold Century Gothic Bold Mangal Lucida Console Nyala Segoe UI Semibold Courier New Bold Italic Century Gothic Bold Italic Microsoft Sans Serif Lucida Sans Demibold Segoe UI Segoe UI Symbol Courier New Italic Century Gothic Italic Palatino Linotype Lucida Sans Demibold Italic Modern Comic San MS Palatino Linotype Bold Lucida Sans Unicode MS Sans Serif Comic San MS Bold Palatino Linotype Bld Italic Modern MS Serif Copperplate Gothic Bold Palatino Linotype Italic Mv Boli Roman Small Fonts Copperplate Gothic Light Plantagenet Cherokee Script Symbol Impact Raavi NOTE: Trebuchet MS The new Vista fonts are the Times New Roman Lucida Console Trebuchet MS Bold Script newer cleartype format Times New Roman Bold Lucida Handwriting Italic Trebuchet MS Bold Italic Shruti designed for the new Vista Times New Roman Italic Lucida Sans Italic Trebuchet MS Italic Sylfaen display technology. Microsoft Times -
Ag Brand Manual
Ag Brand Manual 1 Ag Visual Identity A guideline for creative talent. “Too much flexibility results in complete chaos, too much structure results in lifeless communications. Balance is the Design Continuity goal.” These guidelines are not intended to provide every All permissions are denied unless detail regarding graphics expressly granted. applications, production processes and standards, but to Guideline Purpose provide general direction for Promote the Ag visual identity in maintaining consistency with the most convenient, consistent the Ag identity. and efficient way and make sure no mistakes are made. ©2011 DECAGON PRINTED IN USA v1.0 2 Heirarchy & Emphasis Typography and colors are palettes. They have a limited number of choices in a given range. They have shades or weight. Type on a page appears as a gray block to the eye. Weight is a degree of boldness or shade. Weight helps the viewer determine what is most important. It creates interest and attractive design. Varying type weights give the illusion of depth to a page. Darker type moves forwards and lighter type receeds. This helps emphasize what elements should be viewed and in what order. These direct the eye of the observer or reader. This is presentation strategy. If everything is emphasied equally, it creates visual noise. “Emphasizing everything equals emphasizing nothing.” —marketing adage. 3 Logo Application The Decagon logo is described as No scanning logo artwork! a stack logo. Word parts of the logotype are not all on the same Logo Placement line. The logo should appear only once on each printed spread (not each The logo sides are sloped (italic). -
TTF Source Font Version Font Name Example Text Arial.Ttf Version 7.00 Arial Arial
TTF Source Font version Font Name Example text arial.ttf Version 7.00 Arial Arial - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ arial.ttf Version 6.98 Arial Arial - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ arial.ttf Version 6.89 Arial Arial - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ arialbd.ttf Version 7.00 Arial Bold Arial Bold - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ arialbd.ttf Version 6.89 Arial Bold Arial Bold - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ ariali.ttf Version 7.00 Arial Italic Arial Italic - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ ariali.ttf Version 6.89 Arial Italic Arial Italic - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ arialbi.ttf Version 7.00 Arial Bold Italic Arial Bold Italic - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ arialbi.ttf Version 6.89 Arial Bold Italic Arial Bold Italic - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ arial.ttf Version 5.22 Arial Arial - 0123456789 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ äöüÄÖÜß !"#$%&'()*+,-./:;<=?@[\]^_``{|}~ -
The Reflected Works
ADVERTISING The Reflected Wo r k s S.D. Warren Advertising 1911–1916 S.D. Warren Advertising For more than a century, through various names and incarnations, our message and mission have remained the same — to make the means through which the world communicates better and more beautiful. From the beginning, our advertising has been Explore a collection of these ads from 1911–1916 prominently featured in leading national newspapers for messages that still resonate. By looking and well-respected trade publications, which highlights back through the pages, we can look forward our commitment to the printed page as one of the best to a future of exciting possibilities. ways for brands to communicate clearly and effectively. 1911–1916 Visit sappietc.com /1,ft. -45:17.!Xt.r. , BES TEDa2BOOKLET ERICA 1111121111111111 EMErfil 1/4) afg-.4 - c714'n the I WARREN AWARD encouragement of fine printing The next time your printer tackles the job of getting out your catalog, we want him to experience a little of the thrill that stirs an artist when he is conceiving his masterpiece. We want your printer to forget all about the competitive price you may unwisely hold him to; we want him to forget petty compromises and meagre profits; we want him to say to himself, with vehement pounding of his desk, will produce the best buoktet printed in America." That is why we shall award some printer A high-grade, seven-passenger, 1917 Automobile for the Best Booklet printed in America The Winning Booklet will be Handsomely Featured in a Full Page of this Paper This seeming munificence is really pure selfish- Wouldn't it help both you and your printer to the inventive genius of chemists, the idealism of ness on our part. -
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.