Type Comparison Centaur Vs Jenson Final Italic7.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Type Comparison Centaur Vs Jenson Final Italic7.Indd

Allison& Spitaels Jenson has a bigger Jenson has a longer tail nubbin that is and Centaur’s curve upturned is more angular Both the typefaces Centaur and Jenson are based off the work of Nicolas Jenson. Nicolas Jenson was a born in France in 1420 and died in Italy in 1480. He began his career as a die cutter for creating coins, he later became the master of the royal mint in France. In 1458 he studied printing under Johannes Gutenburg and in 1470 he opened a print shop in Venice. He created the idea of roman and greek style fonts that is still used to this day. Bruce Rogers designed the digital typeface Centaur based off one of Nicholas Jenson’s books. He worked with photographs of the book and eventually bought a copy himself. His ﬁ rst attempt to design the typeface did not yeild a result he was happy with, and he attempted it again ten years later and made the typeface we know as Centaur. Jenson was designed by Robert Slimbach for Adobe and is based off of Jenson’s work but it less true to the original prints. Centaur is more true to Jenson’s original prints than Jenson is which has been tweaked for easier reading. The main differences between the two is that Jenson has a bigger x height and has slightly thicker thicks. The deﬁ ning features of Centaur are the angular curves of the Js which Jenson does not use. 1.“Centaur® - Fonts.com.” Fonts.com. http://www.fonts.com/font/monotype-imaging/centaur#product_ top (accessed November 10, 2012). 2.“Nicolas Jenson (French printer) -- Britannica Online Encyclopedia.” Britannica Online Encyclopedia. http://www.britannica.com/EBchecked/topic/302641/Nicolas-Jenson (accessed November 10, 2012). 3. White, Alex W.. “Nicolas Jenson’s Typographic Contributions | Type Directors Club.” Type Directors Club | Promoting excellence in typography for over 65 years.. http://www.tdc.org/archives/2227/ (accessed November 10, 2012)..

Copy Link

Recommended publications

Design One Project Three Introduced October 21. Due November 11
Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer.
[Show full text]
Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
[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]
CAEP Logo Style Guide
STYLE GUIDE MARCH 2013 2 | CAEP | Style Guide The CAEP Logo ELEMENTS OF THE CAEP LOGO The logo is made up of the CAEP logo at left, comprised of the acroym and swash. And the wordmark of the full name, “Council for the Accreditation of Educator Preparation,” at right. Colors for each logo element is specified below: LOGO WORDMARK Acronym = Pantone 7726 Type = Pantone 7726 Swash = Pantone 110 OTHER COLOR OPTIONS FOR THE CAEP LOGO Black and White Reversed out of a color background Style Guide | CAEP | 3 Logo Sizing CLEARspacE To ensure the legibility of the logo, it must be surrounded with a minimum amount of clearspace. This isolates the logo from competing elements such as photography, text or background patterns that may detract attention and lessen the overall impact. The amount of clear space required for the logo should equal half the height of the capital “E” in the “CAEP” wordmark.This clear space should be consistent on all sides of the logo. Using the logo in a consistent manner across all applications helps to both establish and reinforce immediate recognition of the CAEP brand. The provided artwork must be used at all times. X X X X MINIMUM SIZE To ensure the legibility of the wordmark, the smallest size the logo should appear is 2.125 inches wide. At this size the wordmark will appear in 7 point type. 2.125 inches wide 4 | CAEP | Style Guide CAEP Corporate Colors PRIMARY LOGO COLORS COMPLEMENTARY COLORS 100% 100% 100% 100% 75% 75% 75% 75% 50% 50% 50% 50% 25% 25% 25% 25% PMS 7726 PMS 110 PMS 424 PMS 302 C: 100 R: 0 C: 0 R: 241 C: 0 R: 126 C: 100 R: 0 M: 25 G: 123 M: 12 G: 203 M: 0 G: 128 M: 25 G: 85 Y: 89 B: 76 Y: 100 B: 0 Y: 0 B: 131 Y: 0 B: 129 K: 13 K: 7 K: 61 K: 50 Style Guide | CAEP | 5 Typefaces The primary typeface for brand identity applications is Avenir, chosen for its cleanliness and versatility.
[Show full text]
Typeface Classification Serif Or Sans Serif?
Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1.
[Show full text]
Standard Fonts List Used for Poster Creation
Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. These are the standard fonts. Failure to comply with using a standard font, will result in your poster not printing correctly. 13 Misa Arial Rounded MT Bold Bodoni MT 2 Tech Arial Unicode MS Bodoni MT Black 39 Smooth Arno Pro Bodoni MT Condensed 4 My Lover Arno Pro Caption Bodoni Poster MT Poster Compressed Abadi Condensed Light Arno Pro Display Book Antiqua ABCTech Bodoni Cactus Arno Pro Light Display Bookman Old Style ABSOLOM Arno Pro Smdb Bookshelf Symbol 7 Adobe Calson Pro Arno Pro Smdb Caption Bradley Hand ITC Adobe Calson Pro Bold Arno Pro Smdb Display Britannic Bold Adobe Fangsong Std R Arno Pro Smdb SmText Broadway Adobe Garamond Pro Arno Pro Smdb Subhead Brush Script MT Adobe Garamond Pro Bold Arno Pro SmTest Brush Script Std Adobe Heiti Std R Arno Pro Subhead Calibri Adobe Kaiti Std R Baskerville Old Face Californian FB Adobe Ming Std L Bauhous 93 Calisto MT Adobe Myungjo Std M Bell Gothic Std Black Cambria Adobe Song Std L Bell Gothic Std Light Cambria Math Agency FB Bell MT Candara Albertus Extra Bold Berlin Sans FB Castellar Albertus Medium Berlin Sans FB Demi Centaur Algerian Bernard MT Condensed Century AlphabetTrain Bickham Script Pro Regular Century Gothic Antique Olive Bickham Script Pro Semibold Century Schoolbook Arial Birch Std CG Omega Arial Black Blackadder ITC CG Times Arial Narrow Blackoak Std 1 Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster.
[Show full text]
Proquest Dissertations
TYPEFACE PERSONALITY TRAITS AND THEIR DESIGN CHARACTERISTICS Ying Li A Thesis In The Department of Computer Science and Software Engineering Presented in Partial Fulfillment of the Requirements For the Degree of Master of Computer Science at Concordia University Montreal, Quebec, Canada November 2009 © Ying Li, 2009 Library and Archives Bibliothèque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-71016-6 Our file Notre référence ISBN: 978-0-494-7 1 0 1 6-6 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
[Show full text]
Jplease Save the Date
burgues script Designer: Alejandro Paul for Sudtipos A beautiful calligraphy script with high contras thick-thin srokes. Tis font has various characer options for a full and natural calligraphy efec. Tere are multiple capitals plus fourished endings and beginnings, which makes it fantasic for feature words such as names. Jplease save the date Some example phrases, with diferent degrees of fourish: Reception to follow Reception to follow Reception to follow With love, Wi# love, With love, Kindly respond Kindly respondf Kindly respond Burgues script pairs well with: Bembo, Bembo capitals & Bembo italic Cardo, Cᴀrᴅᴏ ᴄᴀᴘiᴛᴀᴌs & Cardo italic Mrs Eaves, Mrs Eaves capitals & Mrs Eaves italic Mr Eaves, MR EAVES CAPITALS & Mr Eaves italic · www.deciduouspress.com.au · champion script Designer: Panos Vassiliou for Parachute A beautifully balanced and ornate script which is both highly legible and gorgeously fourished. Te various characer options allow for a natural calligraphy efec and extra interes when required. Tere are multiple capitals and lowercase characers to choose from. Tis font is also perfec for setting paragraphs, and contains Greek and Cyrillic characers. Some example phrases, with diferent degrees of fourish: please save the date Reception to follow Reception to follow Reception to follow With love, With love, With love, Kindly respond KChampionind scriptly respairsp wellon with:d Kindly respond Bembo, Bembo capitals & Bembo italic Calluna Sans, Calluna Sans capitals & Calluna sans italic Mrs Eaves, Mrs Eaves capitals & Mrs Eaves italic Mr Eaves, MR EAVES CAPITALS & Mr Eaves italic · www.deciduouspress.com.au · bickham script Designer: Richard Lipton for Adobe A classic and elegant script with beautiful tapering srokes and lovely fourished characers.
[Show full text]
The Practice of Art and AI
Gerfried Stocker, Markus Jandl, Andreas J. Hirsch The Practice of Art and AI ARS ELECTRONICA Art, Technology & Society Contents Gerfried Stocker, Markus Jandl, Andreas J. Hirsch 8 Promises and Challenges in the Practice of Art and AI Andreas J. Hirsch 10 Five Preliminary Notes on the Practice of AI and Art 12 1. AI–Where a Smoke Screen Veils an Opaque Field 19 2. A Wide and Deep Problem Horizon– Massive Powers behind AI in Stealthy Advance 25 3. A Practice Challenging and Promising– Art and Science Encounters Put to the Test by AI 29 4. An Emerging New Relationship–AI and the Artist 34 5. A Distant Mirror Coming Closer– AI and the Human Condition Veronika Liebl 40 Starting the European ARTificial Intelligence Lab 44 Scientific Partners 46 Experiential AI@Edinburgh Futures Institute 48 Leiden Observatory 50 Museo de la Universidad Nacional de Tres de Febrero Centro de Arte y Ciencia 52 SETI Institute 54 Ars Electronica Futurelab 56 Scientific Institutions 59 Cultural Partners 61 Ars Electronica 66 Activities 69 Projects 91 Artists 101 CPN–Center for the Promotion of Science 106 Activities 108 Projects 119 Artists 125 The Culture Yard 130 Activities Contents Contents 132 Projects 139 Artists 143 Zaragoza City of Knowledge Foundation 148 Activities 149 Projects 155 Artists 159 GLUON 164 Activities 165 Projects 168 Artists 171 Hexagone Scène Nationale Arts Science 175 Activities 177 Projects 182 Artists 185 Kersnikova Institute / Kapelica Gallery 190 Activities 192 Projects 200 Artists 203 LABoral Centro de Arte y Creación Industrial 208 Activities
[Show full text]
Experimental Typography: Process Documentation 1
New School University communication? A larger part of this question is: “Is Parsons School of Design typography a mean of reproduction or a mean of Communication Design Department expression?”This question has always been in the back of my head and I thought that there should be a Experimental Typography: possible experiment around this area. However, as I Process Documentation 1 was trying to form my thoughts into words and coming up with a defined experiment, I found that the idea was too vague and abstract. This did not 01:11:02:00 yield me any meaningful experiment. Initially, I thought that I can form some kind of a study / First Proposal experiment group and gather people who are not so aware of typography, but as it was pointed out in a Despite a very unstable start of this semester, on 4th class discussion, it seemed impossible to conduct of October, the students were able to present many that kind of experiments. I thought that it will be very diverse experiments to the class. After the first helpful if I could get some kind of a response from assignment – counting the number of typefaces in the class. the world – and also during the process, I was trying to think and scribble down my thoughts on typography. When Christian and I was brain storming to put together a conclusion for the first assignment, many interesting views and problems arose. The process and conclusion is documented and discussed in our papers. (“Experimental Typography: Number of Typefaces, Research Analysis and Interpretation”, Schmidt, C.
[Show full text]
Introduction to Graphic Design Lecture 2
Introduction to Graphic Design Lecture 2 Type Classifications Introduction to Graphic Design Lecture 2 font or typeface? A typeface is a set of typographical symbols and characters. It’s the letters, numbers, and other characters such as diacritical marks that let us put words on paper or screen. A font, on the other hand, is traditionally defined as a complete character set within a typeface, often of a particular size and style. When most of us talk about “fonts”, we’re really talking about typefaces, or type families (which are groups of typefaces with related designs). Introduction to Graphic Design Lecture 2 Circular Std. WEIGHTS / STYLES Book 17.5 pt Book Italic 17.5 pt Medium 17.5 pt Medium Italic 17.5 pt Bold 17.5 pt Bold Italic 17.5 pt Black 17.5 pt Black Italic 17.5 pt Introduction to Graphic Design Lecture 2 Typographic classifications are both historical and reflect typographic anatomy. Basic Type Classifications serif / sans serif / script / decorative Lyon Display Reg. serif Circular Std. Med. sans serif Snell Roundhand Blk. script Hobeaux Rococeaux decorative Basic Type Classifications serif / sans serif serif sans serif Serif typefaces are called “serifs” in reference to the small lines that are attached to the main strokes of characters within the face. Typefaces in this category are also known as Roman and are most commonly used for large bodies of text. Sans serif means “without serif” in French. The first sans serif typeface was issued in 1816, but these typefaces did not become popular until the early twentieth century.
[Show full text]