DOCSLIB.ORG

Zahrah Is a Didone-Style Serif Family in Ten Styles: Five Classification: Display Serif Upright Weights and Companion Italics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zahrah Is a Didone-Style Serif Family in Ten Styles: Five Classification: Display Serif Upright Weights and Companion Italics Zahrah Name: Zahrah Zahrah is a Didone-style serif family in ten styles: five Classification: Display Serif upright weights and companion italics. It includes some Designer: Yoann Minet whimsical details, which liven up even the most serious Designed in: 2015 of texts. Didone types are characterised by strong visual Styles: 5 Romans + 5 Italics difference between the weight of the letters’ thick and thin strokes. Zahrah may be selected for almost anything and there’s no reason it shouldn’t shape the text of your www.indiantypefoundry.com newest annual report websites or fashion apps. — a stylish high-contrast Didone-style family Zahrah This multi-purpose text face for the Latin script comes from Yoann Minet, a Paris-based designer. It includes some whimsical details, which liven up even the most serious of texts. Zahrah is a Didone-style serif in ten styles: five upright weights and companion italics. Didone types are characterised by strong visual difference between the weight of the letters’ thick and thin strokes. Didones also feature clarity and geometric simplification not found in type based on older, Renaissance models. Didone faces are used for a wide variety of applications: from fashion or cosmetic labels to newspaper text, and from academic publications to the annual reports of Fortune 500 companies. They may be selected for almost anything – and there’s no reason they shouldn’t shape the text of your newest websites or apps. ITF — ZAHRAH WEIGHTS OVERVIEW ROMANS ITALICS 6 7 8 9 10 1 2 3 4 5 1 Zahrah Light 6 Zahrah Light Italic 2 Zahrah Regular 7 Zahrah Regular Italic 3 Zahrah Medium 8 Zahrah Medium Italic 4 Zahrah Semibold 9 Zahrah Semibold Italic 5 Zahrah Bold 10 Zahrah Bold Italic ITF — ZAHRAH WEIGHTS OVERVIEW LIGHT LIGHT ITALIC Nonadrenergic Rëpreśenŧatioņ Degas invited Mary Cassatt to display her work in that exhibition at 25 By recreating the sensation in the eye that views the subject, rather then REGULAR REGULAR ITALIC Dīffėreńțiaŧion Ŧempęråmĕňts Critic & humorist Louis M. wrote a scathing review in the magazine The Académie had an annual, juried art show, the Salon de Paris said MEDIUM MEDIUM ITALIC Radiosensitise Sħowž from ’78 After Emperor Napoleon III saw the rejected works of 1863, a lot fleed Derisively titling his article The Exhibition of the Impressionists & son SEMIBOLD SEMIBOLD ITALIC Unremarkable Overflourished Radicals in their time, Impressionists were violating rules like form Monet, Sisley, Morisot, and Pissarro may be considered the only pure BOLD BOLD ITALIC Fashion Sense Groundkeeper The name of the style derives from the title of a Claude Monet pain Poetry is a form of literary art, which uses aesthetics and rhythmic ITF — ZAHRAH WEIGHTS OVERVIEW Een vlakke kristalstructuur 5857 2ND AVE. DONNA KARAN Bert & Roge Legjelentősebb Christian Louboutin was a master shoe designer modifikasiyası qrafit ORHIDEEA Discover the Valentino Garavani clothing & accessories Acest privilegiu este revendicat în același timp de Franța, Spania și Anglia, 38. Valentino Đĩđøňe* — CALVIN KLEIN — Sign up today for our funny newsletter ‘DKNY’ Kay & Rika Er zeigt Fluoreszenz und Phosphoreszenz und ist triboelektrisch. Vulkaanilõõrid – teemantide transpordikoridorid 3n/25+79²≠46 Fashion Runway ITF — ZAHRAH ZAHRAH LIGHT + LIGHT ITALIC LIGHT LIGHT 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance LIGHT LIGHT 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven primary characters. primary characters. LIGHT LIGHT 124 PT ITALIC Ğeŗm 124 PT Flųffë LIGHT LIGHT 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k LIGHT The four major current fashion capitals are known to LIGHT The four major current fashion capitals are known to be 11 PT ITALIC be Paris, Milan, New York City, and London, which are all 11 PT Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers Fashion weeks are held in these cities, where designers ITF — ZAHRAH ZAHRAH REGULAR + REGULAR ITALIC REGULAR REGULAR 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance REGULAR REGULAR 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven primary characters. primary characters. REGULAR REGULAR 124 PT ITALIC Mërĝí 124 PT Çŕæż REGULAR REGULAR 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k REGULAR The four major current fashion capitals are known to REGULAR The four major current fashion capitals are known to be 11 PT ITALIC be Paris, Milan, New York City, and London, which are all 11 PT Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers Fashion weeks are held in these cities, where designers ITF — ZAHRAH ZAHRAH MEDIUM + MEDIUM ITALIC MEDIUM MEDIUM 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance MEDIUM MEDIUM 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven primary characters. primary characters. MEDIUM MEDIUM 124 PT ITALIC Miłañ 124 PT Egÿpŧ MEDIUM MEDIUM 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k MEDIUM The four major current fashion capitals are known to be MEDIUM The four major current fashion capitals are known to be 11 PT ITALIC Paris, Milan, New York City, and London, which are all 11 PT Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers Fashion weeks are held in these cities, where designers ITF — ZAHRAH ZAHRAH SEMIBOLD + SEMIBOLD ITALIC SEMIBOLD SEMIBOLD 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance SEMIBOLD SEMIBOLD 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven chief characters. chief characters. SEMIBOLD SEMIBOLD 124 PT ITALIC Møđę 124 PT Qùåd SEMIBOLD SEMIBOLD 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k SEMIBOLD The four major current fashion capitals are known to be SEMIBOLD The four major current fashion capitals are known to be 11 PT ITALIC Paris, Milan, New York City, and London, which are all 11 PT Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers Fashion weeks are held in these cities, where designers ITF — ZAHRAH ZAHRAH BOLD + BOLD ITALIC BOLD BOLD 57 PT ITALIC Classicism 57 PT Classicism & Elegance & Elegance BOLD BOLD 32 PT ITALIC Devanagari script 32 PT Devanagari script has forty-seven has forty-seven chief characters. chief characters. BOLD BOLD 124 PT ITALIC Șéçøl 124 PT Pàrįs BOLD BOLD 22 PT Náhlý déšť již zvířil prach a čilá ITALIC Náhlý déšť již zvířil prach a čilá 22 PT laň teď běží s houfcem gazel k laň teď běží s houfcem gazel k BOLD The four major current fashion capitals are known to BOLD The four major current fashion capitals are known to 11 PT ITALIC be Paris, Milan, New York City, and London, which are 11 PT be Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies all headquarters to the greatest fashion companies and are renowned for their major influence on global and are renowned for their major influence on global fashion. Fashion weeks are held in these cities, where fashion. Fashion weeks are held in these cities, where ITF — ZAHRAH DETAILS OVERVIEW / ROMANS VERTICAL PROPORTIONS OF ZAHRAH ROMAN DEFAULT FIGURES ARE PROPORTIONAL LINING Typography& €0123456789 DEFAULT LINING FIGURES CAP HEIGHT SLIGHTLY LOWER STRAIGHT DIACRITICAL MARKS CALLIGRAPHIC ALIGN WITH CAPS THAN ASCENDER HEIGHT SERIFS, RETAIN THE HIGH TEARDROP ALIGN WITH CONTRAST DESIGN TERMINALS X-HEIGHT 90° ELEGANT DOUBLE- CONSTRUCTED SERIFS, VERY HIGH CONTRAST STOREY LOWERCASE G WITHOUT BRACKETING SUPPORTS MOST EUROPEAN LANGUAGES WRITTEN IN THE LATIN SCRIPT / VARIOUS CURRENCY SYMBOLS BEAUTIFUL PUNCTUATION LIGATURES ARE AVAILABLE FOR SELECTED COMBINATIONS łânģuågęș ßupþőrt ðæġ golfino golfino $53 ¢25 ¥675 €28.97 £43 * flairful flairful ITF — ZAHRAH DETAILS OVERVIEW / ITALICS VERTICAL PROPORTIONS OF ZAHRAH ITALIC WEIGHTS THE HORIZONTAL STROKE THICKNESS STAYS THE SAME IN ALL WEIGHTS, SO THAT RELATIVE CONTRAST INCREASES WITH WEIGHT Typography& HHHHH FLAT SERIFS A FEW LIGATURES HELP REDUCE 10° ANGLE EXCLAMATION AND ALIGNING TO LETTERSHAPES CLASHING QUESTION MARKS ALIGN X-HEIGHT, EVEN WITH CAP HEIGHT QuiźIN ITALICS fige! LOWERCASE F HAS BEAUTIFUL OPEN ITALIC POINTED-PEN INFLUENCED SHORT DESCENDER, TRUE ITALIC SHAPES & Q SHAPE WITH SWASH TAIL CALLIGRAPHIC DETAILS WITHOUT TERMINAL SINGLE-STOREY LOWERCASE G THE POETIC FORMS OF THE ITALICS MAKE EVEN THE MOST SERIOUS TEXT A BIT WHIMSICAL SOME SYMBOLS FEATURE A MONOLINEAR DESIGN, BASED ON THE THINNEST STROKES Charles Darwin was jamming ±45°C≥34≈185#DIY+G on Åke’s heavy metal xylophone OTHER SYMBOLS FEATURE HIGH CONTRAST AND BECOME DECORATIVE ELEMENTS IN HEADLINES in the Qatar night pub Zelig.
Load more

Recommended publications
  • 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]
  • Type Classification Ebook
    Before You Begin... 6.The last 4 pages of the book explain what a “font flag” is and gives an example and also what a “font specimen sheet” it and an example. This book has been made to help you learn the 10 broad classifications of type. I won’t go into why you need to know them, but just face the fact... Regards, k you do. This book was specifically made for printing and web viewing. Jacob Cass jacobcassATjustcreativedesignDOTcom o Below is a brief description of what is inside the book and how it is layed http://justcreativedesign.com o out which will help you get more out of the book. © Copyright Jacob Cass - This book is licensed under a Attribution b Noncommercial Share Alike 2.0 Generic Creative Commons license. This 1. On the next page there are all 10 type classifications on one page. (ie. d Humanist, Garalde, Didone, Transitional, Lineal, Mechanistic, Blackletter, means you CAN copy, distribute, display, and use this work for any Decorative, Script and Manual.) These are the types classifications we will purpose under the conditions that you give me credit for the work and n that you do not make money from it, nor build upon or alter the work. be discussing. a 2. On the next two pages are layout guides to help you get familar with the layout of the book. H 3. The next page then continues to give a description of each type classification (ie. the 10 mentioned above). It will also provide the history n and characteristics of each type classification and appropriate font o examples on the same page as seen in the LAYOUT GUIDE.
    [Show full text]
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces
    M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije.
    [Show full text]
  • History of Moveable Type
    History of Moveable Type Johannes Gutenberg invented Moveable Type and the Printing Press in Germany in 1440. Moveable Type was first made of wood and replaced by metal. Example of moveable type being set. Fonts were Type set on a printing press. organized in wooden “job cases” by Typeface, Caps and Lower Case, and Point Size. Typography Terms Glyphs – letters (A,a,B,b,C,c) Typeface – The aesthetic design of an alphabet. Helvetica, Didot, Times New Roman Type Family – The range of variations and point size available within one Typeface. Font (Font Face) – The traditional term for the complete set of a typeface as it relates to one point size (Font Face: Helvetica, 10 pt). This would include upper and lower case glyphs, small capitals, bold and italic. After the introduction of the computer, the word Font is now used synonymously with the word Typeface, i.e. “What font are you using? Helvetica!” Weight – the weight of a typeface is determined by the thickness of the character outlines relative to their height (Hairline, Thin, Ultra-light, Extra-light, Light, Book, Regular, Roman, Medium, Demi-bold, Semi-bold, Bold, Extra-bold, Heavy, Black, Extra-black, Ultra-black). Point Size – the size of the typeface (12pt, 14pt, 18pt). Points are the standard until of typographic measurement. 12 points = 1 pica, 6 picas = 72 points = 1 inch. (Example right) A general rule is that body copy should never go below 10pt and captions should never be less than 8pt. Leading – or line spacing is the spacing between lines of type. In metal type composition, actual pieces of lead were inserted between lines of type on the printing press to create line spacing.
    [Show full text]
  • Tex by Topic, a Texnician's Reference
    TEX BY TOPIC, A TEXNICIAN’S REFERENCE VICTOR EIJKHOUT DOCUMENT REVISION 1.5, 2019 Copyright c 1991-2013 Victor Eijkhout. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled ”GNU Free Documentation License”. This document is based on the book TEX by Topic, copyright 1991-2019 Victor Eijkhout. This book was printed in 1991 by Addison-Wesley UK, ISBN 0-201-56882-9, reprinted in 1993, pdf version first made freely available in 2001. Cover design (lulu.com version): Joanna K. Wozniak ([email protected]) Victor Eijkhout – TEX by Topic 1 2 Victor Eijkhout – TEX by Topic Contents License 15 Preface 21 1 The Structure of the TEX Processor 23 1.1 Four TEX processors 23 1.2 The input processor 24 1.2.1 Character input 24 1.2.2 Two-level input processing 24 1.3 The expansion processor 25 1.3.1 The process of expansion 25 1.3.2 Special cases: \expandafter, \noexpand, and \the 25 1.3.3 Braces in the expansion processor 26 1.4 The execution processor 26 1.5 The visual processor 27 1.6 Examples 28 1.6.1 Skipped spaces 28 1.6.2 Internal quantities and their representations 28 2 Category Codes and Internal States 29 2.1 Introduction 29 2.2 Initial processing 29 2.3 Category codes 30 2.4 From characters to tokens 32 2.5 The input processor as a finite state automaton 32 2.5.1 State
    [Show full text]
  • The Skillful Use of Typography
    Written by Gary Gnidovic and Greg Breeding The Skillful Use Of Typography A publication of Magazine Training International. What’s inside Why typography decisions are important 2 Classification of type 4 Principles for good typography 9 Selecting and using a text font 14 Other typographic elements 23 Share your thoughts with #MTIebook Chapter 1 Why typography decisions are important Aaron Burns, an influential designer and founder of the International Typeface Corporation (ITC), once said, “In typography, function is of major importance, form is secondary, and fashion [trend] is almost meaningless.” Although this may sound like an extreme view, it holds a great deal of truth. If we choose to work well with our type, concentrating on its purpose, appropriateness, and legibility, our magazines will begin to take on an air of authenticity and integrity. Rather than blindly following stylistic trends in typography, intelligent, careful attention to detail will pave the way for a more expressive, creative approach. THE SKILLFUL USE OF TYPOGRAPHY 2 Share your thoughts with #MTIebook The skillful use of type in magazine design is an area where, even with limited resources, we can do a great deal to enhance the look and feel of our publications. The creative application of a couple of well-chosen font families is often preferable to a CD containing “600 Cool Fonts for Every Purpose.” This e-book will offer some principles that will help establish a firm foundation on which to build the visual approach to your magazine. THE SKILLFUL USE OF TYPOGRAPHY Chapter 1 3 Share your thoughts with #MTIebook Chapter 2 Classifications of type There are two major classifications of type: serif and sans-serif.
    [Show full text]
  • Georgia Vs Bodoni Y Y Y Y
    Georgia, a relatively new serif typeface, was designed in 1993 by Matthew Carter. Microsoft adopted this typeface to be the serif companion to Verdana both of which were intended to be optimally read on a digital screen. Georgia was ironically used in the branding for the 1996 Olympic Games in Atlanta, Georgia. Georgia has many similarities with Times New Roman, but its differences make Georgia much more legible in the digital format. Over 200 years ago, Giambattista Bodoni designed a classic serif typeface that has been used prevalently in design ever since. The early versions of Bodoni were considered transitional but have since been altered to be a modern Didone typeface. Giambattista Bodoni looked to the ideas of John Baskerville when designing this font. He also studied the French type founders Pierre Simon Fournier and Firmin Didot and drew inspiration from their work but ultimately found his own style of typography. Although Bodoni is said to be difficult to read in digital format, printers have acceptedk Bodoni as a beautiful and classic typeface. Although Bodoni and Georgia are separated greatly by age, the both have roots in the transitional typeface catagory. Bodoni has developed over time to be a much more modern typeface, while Georgia has stayed truer to its original design. The greatest similarities to be found between Georgia and Bodoni are when they are bold and oblique. The serifs become much more rounded. Bodoni already has proven its longevity, and in a few hundred years, Georgia may prove to as well. Southern Charm Georgia vs Bodoni y y y y.
    [Show full text]
  • The Effects of Font Type and Spacing of Text for Online Readability and Performance
    CONTEMPORARY EDUCATIONAL TECHNOLOGY, 2014, 5(2), 161-174 The Effects of Font Type and Spacing of Text for Online Readability and Performance Nafiseh Hojjati & Balakrishnan Muniandy Universiti Sains Malaysia, Malaysia Abstract Texts are a group of letters which are printed or displayed in a particular style and size. In the course of the fast speed of technological development everywhere and expanding use of computer based instruction such as online courses, students spend more time on a computer screen than printed media. Texts have been the main element to convey messages. It has also been a significant component for learning. The main goal of this research is to measure the effects of font type and spacing of on screen text and its readability in improving and boosting the learner’s ability to read easily, recall information, and enhance their reading speed and comprehension from on screen text with different topics. The readability of text on screens is necessary to ensure effective engagement in order to enhance the level of students’ readability. For this purpose two font types were selected, Times New Roman (serif) and Verdana (san serif) for the respondents. Verdana was designed only for computer screens display. Readability test on a computer screen was conducted on 30 postgraduate students. Overall, the results showed that there was a significant difference between the readability of serif and san serif font type of on-screen display. The research findings suggest Verdana font type as a better choice in displaying long text for on-screen display. Keywords: Font type; Readability; Spacing; On-screen text; Serif; San serif Introduction Texts are a collection of letters and words which are printed or displayed in a particular style and size.
    [Show full text]
  • 2 Classification of Type
    The Classification of Type “It must be admitted that the classification of printing types is a controversial subject and one upon which little amicable agreement may be expected.” ALEXANDER LAWSON THE CLASSIFICATION OF TYPE The Classification of Type CLASSIFICATION: Historical Movements Renaissance Roman Letter Renaissance Italic Letter The Mannerist Letter The Baroque Letter AaBbCc AaBbCc BEMBO: MONOTOYPE BEMBO ITALIC: MONOTOYPE AaBbCcPOETICA: ROBERT SLIMBACH AaBbCcADOBE CASLON: CAROL TWOMBLY Geometric Modernism The Neoclassical Letter The Romantic Letter The Realist Letter AaBbCc AaBbCc AaBbCc AaBbCc BODONI: GIAMBATTISTA BODONI BASKERVILLE: JOHN BASKERVILLE DIDOT: ADRIAN FRUTIGER AKZIDENZ GROTESK: BERTHOLD Geometric Modernism Lyrical Modernism Postmodern Postmodern Geometric AaBbCc AaBbCc AaBbCc FUTURA: PAUL RENNER AaBbCcPALATINO: HERMANN ZAPF ESPRIT: JOVICA VELJOVIC OFFICINA: ZUZANA LICKO THE PARSONS INSTITUTE 68 Fifth Avenue 212 229 6825 FOR INFORMATION MAPPING New York, NY 10011 piim.newschool.edu THE CLASSIFICATION OF TYPE The Classification of Type SCRIPT FAT FACE MANUAIRE FRAKTUR SCRIPTS FORME QUE/ N TEXTURA ANTI 19TH CENTURY SOMME GOTH LINEALE CLARENDO IC HUMANIST DISPLAY 25 Systems for Classifying Typography: FRACTURE SCHWABACHER GOTHIC DISPLAY BLACKLETTER BATARD ANTIQUE 18TH CENTURY / ANTIQ BLACKLETTER INCISES UA LINEAL ORNAMENTALS GROTESK MECANES SCRIPT EGYPTIAN SLAB ITALIC EGYPTIENNE ROMAN ROMANS 17TH CENTURY CONDENS VENETIAN OLD STYLE PRECLASSICAL CLASSICAL ROMAN VERNACULAR ELZEVIR ED DIDONE ITALIENNE A Study in Naming Frequency
    [Show full text]
  • Fonts & Encodings
    Fonts & Encodings Yannis Haralambous To cite this version: Yannis Haralambous. Fonts & Encodings. O’Reilly, 2007, 978-0-596-10242-5. hal-02112942 HAL Id: hal-02112942 https://hal.archives-ouvertes.fr/hal-02112942 Submitted on 27 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ,title.25934 Page iii Friday, September 7, 2007 10:44 AM Fonts & Encodings Yannis Haralambous Translated by P. Scott Horne Beijing • Cambridge • Farnham • Köln • Paris • Sebastopol • Taipei • Tokyo ,copyright.24847 Page iv Friday, September 7, 2007 10:32 AM Fonts & Encodings by Yannis Haralambous Copyright © 2007 O’Reilly Media, Inc. All rights reserved. Printed in the United States of America. Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472. O’Reilly books may be purchased for educational, business, or sales promotional use. Online editions are also available for most titles (safari.oreilly.com). For more information, contact our corporate/institutional sales department: (800) 998-9938 or [email protected]. Printing History: September 2007: First Edition. Nutshell Handbook, the Nutshell Handbook logo, and the O’Reilly logo are registered trademarks of O’Reilly Media, Inc. Fonts & Encodings, the image of an axis deer, and related trade dress are trademarks of O’Reilly Media, Inc.
    [Show full text]
  • Intermediate
    University of Houston Graphic Design Program Intermediate Fall 2014 Art 3330 Instructor: M/W Sibylle Hagmann www.design.uh.edu/hagmann/intermediate/ Instructor: T/Th Fiona McGettigan www.design.uh.edu/mcgettigan/intermediate/ Project 1 : Type Classification (Alphabetic Coasters) “Exploding,liquidizing,floating,mutating—theuse Project Introduction oftypetodayhasnobounds.Wheretypographywas We are bombarded by a richness and complexity of typographic forms that confidently communicate once merely a transparent medium for presenting the style or image of a proposed message. These forms are primarily symbol-signs that have meaning, and visually represent our spoken language. When making typographic selections, the designer must be letters and words, today the design of characters aware of the history and stereotypes associated with typographic form. In this assignment, we will use hasbecomeanartform,inwhichlegibilityisnolon- our critical and creative eye to collect and evaluate typographic form from a variety of sources. We will gerthesoleaim.Wordshavebecomepicturesrather study the abstract formal qualities of letterforms and note the differences from one letter to another, thansupportingthem…”from Type in Motion and one type family to another. In doing so, we are better aware of the cultural, historical or stereotypical associations connected to the forms. Letters are beautiful in themselves. Just like the faces Day 3 [M 9.1 no school/T 2 Sept/W 3] of human beings, some letters are intricately complex Project Methodology/Schedule Day 1 [M 25/T 26 August] ++ Present 13 unique letterforms. Notate Typeface/ while others are blank and simple. Kiyoshi Awazu ++ Introduce Syllabus font name, type classification, designer, date, etc. Letterforms that honor and elucidate what humans see ++ Assign : Project 1 Consider placement or cropping within the 3 1/2 x 3 Critically study, compare and contrast the differences 1/2" frame.
    [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]