Greek Type Design Introduction
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Garamond and the French Renaissance Garamond and the French Renaissance Compiled from Various Writings Edited by Kylie Harrigan for Everyone Ever
Garamond and The French Renaissance Garamond and The French Renaissance Compiled from Various Writings Edited by Kylie Harrigan For Everyone ever Design © 2014 Kylie Harrigan Garamond Typeface The French Renassaince Garamond, An Overview Garamond is a typeface that is widely used today. The namesake of that typeface was equally as popular as the typeface is now when he was around. Starting out as an apprentice punch cutter Claude Garamond 2 quickly made a name for himself in the typography industry. Even though the typeface named for Claude Garamond is not actually based on a design of his own it shows how much of an influence he was. He has his typefaces, typefaces named after him and typeface based on his original typefaces. As a major influence during the 16th century and continued influence all the way to today Claude Garamond has had a major influence in typography and design. Claude Garamond was born in Paris, France around 1480 or 1490. Rather quickly Garamond entered the industry of typography. He started out as an apprentice punch cutter and printer. Working for Antoine Augereau he specialized in type design as well as punching cutting and printing. Grec Du Roi Type The Renaissance in France It was under Francis 1, king of France The Francis 1 gallery in the Italy, including Benvenuto Cellini; he also from 1515 to 1547, that Renaissance art Chateau de Fontainebleau imported works of art from Italy. All this While artists and their patrons in France and and architecture first blossomed in France. rapidly galvanised a large part of the French the rest of Europe were still discovering and Shortly after coming to the throne, Francis, a Francis 1 not only encouraged the nobility into taking up the Italian style for developing the Gothic style, in Italy a new cultured and intelligent monarch, invited the Renaissance style of art in France, he their own building projects and artistic type of art, inspired by the Classical heritage, elderly Leonardo da Vinci to come and work also set about building fine Renaissance commissions. -
Supreme Court of the State of New York Appellate Division: Second Judicial Department
Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch. -
15 the Effect of Font Type on Screen Readability by People with Dyslexia
The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia. -
ISO Basic Latin Alphabet
ISO basic Latin alphabet The ISO basic Latin alphabet is a Latin-script alphabet and consists of two sets of 26 letters, codified in[1] various national and international standards and used widely in international communication. The two sets contain the following 26 letters each:[1][2] ISO basic Latin alphabet Uppercase Latin 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 alphabet Lowercase Latin 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 alphabet Contents History Terminology Name for Unicode block that contains all letters Names for the two subsets Names for the letters Timeline for encoding standards Timeline for widely used computer codes supporting the alphabet Representation Usage Alphabets containing the same set of letters Column numbering See also References History By the 1960s it became apparent to thecomputer and telecommunications industries in the First World that a non-proprietary method of encoding characters was needed. The International Organization for Standardization (ISO) encapsulated the Latin script in their (ISO/IEC 646) 7-bit character-encoding standard. To achieve widespread acceptance, this encapsulation was based on popular usage. The standard was based on the already published American Standard Code for Information Interchange, better known as ASCII, which included in the character set the 26 × 2 letters of the English alphabet. Later standards issued by the ISO, for example ISO/IEC 8859 (8-bit character encoding) and ISO/IEC 10646 (Unicode Latin), have continued to define the 26 × 2 letters of the English alphabet as the basic Latin script with extensions to handle other letters in other languages.[1] Terminology Name for Unicode block that contains all letters The Unicode block that contains the alphabet is called "C0 Controls and Basic Latin". -
X Garamond & His Famous Types
x Garamond & His Famous Types HENRY LEWIS BULLEN Ahistor y very interesting to all who may be benefited through the use of printing. t is a par t of the glory of French artthat two type designs that areadmittedly masterpieces beyond competition werecreated byFrench- men. These creations havehad a decisiveinflu- ence on subsequent type designers, and though four hundred and fifty years havepassed since the first use of one of these designs, and three hundred and seventy- fivesince the first use of the other,both of them in their original models arenow morepopular and moregenerally used than in any previous period. The earliest of these master designers was Nicolas Jenson, who first used his famous Roman types in Venice in 1470.But we are heremoreconcerned with the second master,Claude Gara- mond of Paris, in whose honor this book is issued and in reproduc- tions of whose famous Roman and Italic type designs it is composed, that those who read herein may better understand their merits. Original steel punches and copper matrices made and used by Garamond, some time beforehis death in 1561,are now the proper ty of the French nation, and areincluded as an item in the great asset of the national arts which French governments, whether royal, imperial or republican in form, haveinvariably honoured and protected. These implements and the types cast bymeans of them arekept in a special ‘Garamond & His Famous Types’ was originally published in An Exhibit of Garamond Type with Appropriate Ornaments. Being the third of a series of books showing the many beautiful types in the composing room of Redfield- Kendrick-Odell Co., Printers & Map Makers (Redfield-Kendrick-Odell Co.: Ne w York, 1927). -
Sinitic Language and Script in East Asia: Past and Present
SINO-PLATONIC PAPERS Number 264 December, 2016 Sinitic Language and Script in East Asia: Past and Present edited by Victor H. Mair Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. -
HISTORY of the BOOK Chapter 5. the Invention and Spread of Printing
HISTORY of the BOOK Chapter 5. The Invention and Spread of Printing Blocks, type, paper, and markets, contact Impressions of wood blocks on cloth, or metal stamping in clay, wax, and leather, existed long before the idea of movable type was realized in Mainz. As we have seen, scrolls, tablets, and the bound codex book were all fully developed by the 15th century, and the range of materials pressed into use for writing included palm leaves, bark, walls, and skin in addition to vellum, parchment, papyrus, clay and paper. Of these, paper was the last to be invented, and until the creation of synthetic materials in recent centuries and digital modes of display, paper remained the most important and ubiquitous substrate for written language. And though the use of seals and stamps can be traced almost into prehistory, the idea of printing multiple copies of a text for purposes of distribution to a literate audience is more recent. The first printing for texts was most likely invented in China, with Chinese characters cut in the faces of individual wooden blocks, or whole texts cut in a single block.1 But the innovations brought to this art by Johann Gutenberg in the middle of the 15th century changed the scale and scope of printing.2 Not only was movable type a radical improvement in achieving efficiency for reproduction of multiple copies of a text, but the rationalization of labor that was embedded in this innovative shift created a model that would inform practices well into the industrial revolution hundreds of years later.3 Literacy, already on the rise in the late Middle Ages in Europe, and integral to certain communities in Asia, the Indian Subcontinent, and Northern Africa, would be fostered by increased availability of printed texts.4 Controversies would arise as debates about access to religious texts, in particular, would split along fault lines of belief. -
Old Cyrillic in Unicode*
Old Cyrillic in Unicode* Ivan A Derzhanski Institute for Mathematics and Computer Science, Bulgarian Academy of Sciences [email protected] The current version of the Unicode Standard acknowledges the existence of a pre- modern version of the Cyrillic script, but its support thereof is limited to assigning code points to several obsolete letters. Meanwhile mediæval Cyrillic manuscripts and some early printed books feature a plethora of letter shapes, ligatures, diacritic and punctuation marks that want proper representation. (In addition, contemporary editions of mediæval texts employ a variety of annotation signs.) As generally with scripts that predate printing, an obvious problem is the abundance of functional, chronological, regional and decorative variant shapes, the precise details of whose distribution are often unknown. The present contents of the block will need to be interpreted with Old Cyrillic in mind, and decisions to be made as to which remaining characters should be implemented via Unicode’s mechanism of variation selection, as ligatures in the typeface, or as code points in the Private space or the standard Cyrillic block. I discuss the initial stage of this work. The Unicode Standard (Unicode 4.0.1) makes a controversial statement: The historical form of the Cyrillic alphabet is treated as a font style variation of modern Cyrillic because the historical forms are relatively close to the modern appearance, and because some of them are still in modern use in languages other than Russian (for example, U+0406 “I” CYRILLIC CAPITAL LETTER I is used in modern Ukrainian and Byelorussian). Some of the letters in this range were used in modern typefaces in Russian and Bulgarian. -
Learning Cyrillic
LEARNING CYRILLIC Question: If there is no equivalent letter in the Cyrillic alphabet for the Roman "J" or "H" how do you transcribe good German names like Johannes, Heinrich, Wilhelm, etc. I heard one suggestion that Johann was written as Ivan and that the "h" was replaced with a "g". Can you give me a little insight into what you have found? In researching would I be looking for the name Ivan rather than Johann? One must always think phonetic, that is, think how a name is pronounced in German, and how does the Russian Cyrillic script produce that sound? JOHANNES. The Cyrillic spelling begins with the letter “I – eye”, but pronounced “eee”, so we have phonetically “eee-o-hann” which sounds like “Yo-hann”. You can see it better in typeface – Иоганн , which letter for letter reads as “I-o-h-a-n-n”. The modern Typeface script is radically different than the old hand-written Cyrillic script. Use the guide which I sent to you. Ivan is the Russian equivalent of Johann, and it pops up occasionally in Church records. JOSEPH / JOSEF. Listen to the way the name is pronounced in German – “yo-sef”, also “yo-sif”. That “yo” sound is produced by the Cyrillic script letters “I” and “o”. Again you can see it in the typeface. Иосеф and also Иосиф. And sometimes Joseph appears as , transliterated as O-s-i-p. Similar to all languages and scripts, Cyrillic spellings are not consistent. The “a” ending indicates a male name. JAKOB. There is no “Jay” sound in the German language. -
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups
Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups Cla sifying Type Typeface Groups The typefaces you choose can make or break a layout or design because they set the tone of the message.Choosing The the more right you font know for the about job is type, an important the better design your decision.type choices There will are be. so many different fonts available for the computer that it would be almost impossible to learn the names of every one. However, manys typefaces share similar qualities. Typographers classify fonts into groups to help Typographers classify type into groups to help remember the different kinds. Often, a font from within oneremember group can the be different substituted kinds. for Often, one nota font available from within to achieve one group the samecan be effect. substituted Different for anothertypographers usewhen different not available groupings. to achieve The classifi the samecation effect. system Different used by typographers Thunder Graphics use different includes groups. seven The major groups.classification system used byStevenson includes seven major groups. Use the Right arrow key to move to the next page. • Use the Left arrow key to move back a page. Use the key combination, Command (⌘) + Q to quit the presentation. Thunder Graphics Training • Type Workshop Typeface Groups ����������������������� ��������������������������������������������������������������������������������� ���������������������������������������������������������������������������� ������������������������������������������������������������������������������ -
Consuming Fashions: Typefaces, Ubiquity and Internationalisation
CONSUMING FASHIONS: TYPEFACES, UBIQUITY AND INTERNATIONALISATION Anthony Cahalan School of Design and Architecture University of Canberra ACT ABSTRACT Typefaces are essential to a designer’s ability to communicate visually. The late twentieth century witnessed the democratisation and internationalisation of typeface design and usage due to the ease of access to desktop computer technology and a related exponential growth in the number of typefaces available to users of type. In this paper, theories of fashion, consumption and material culture are used to explain and understand this phenomenon of the proliferation of typefaces. Theories are explored from outside art and design to position typeface designing as an activity, and typefaces as artefacts, within a more comprehensive societal picture than the expected daily professional practice of graphic designers and everyday computer users. This paper also shows that by tracking and thereby understanding the cultural significance of ubiquitous typefaces, it is possible to illustrate the effects of internationalisation in the broader sphere of art and design. CONSUMING FASHIONS: TYPEFACES, UBIQUITY AND INTERNATIONALISATION Technological and stylistic developments in the design, use and reproduction of text since the invention of the alphabet three-and-a-half thousand years ago were exponential in the last two decades of the twentieth century, due significantly to the ready access of designers to the desktop computer and associated software. The parallels between fashion and typefaces—commonly called ‘fonts’— are explored in this paper, with particular reference to theories of fashion, consumption and material culture. This represents the development of a theoretical framework which positions typeface design as an activity, and typefaces as artefacts, within a broader societal picture than the expected daily professional practice of graphic designers and everyday computer users. -
Adobe Garamond Pro
Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated.