Adobe Font Folio Opentype Edition 2003
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Inventaris Letterproeven 2013-10-11 1 Inventaris Nummer Land Van
Inventaris Land van Bedrijf Plaats van Titel Opmerkingen Omvang Aantal Datering nummer vestiging vestiging letter- proeven van tot 0001 [onbekend] [onbekend] [onbekend] [Tiervignetten] Ongeïdentificeerde, Duitstalige proef met 32 p. 1890 1910 vignetten van dieren, van gewervelden tot protozoa. 0002 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Diverse formaten. Bevat Mediaeval 10 1900 land, gieterij. Egyptian/Roman/Italic; Eirenne; 0003 [onbekend] [onbekend] [onbekend] Messingschriften für Handvergoldung aus Viertalige catalogus van letters voor 82 p. 1932 Instrument und Matern gegossen boekbinders. 0004 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Inhoud: Intertype Arabic (4); 13 [onbe land, corporatie. Caslon+Locarno (1); Splendor+Splendor kend] Vet+Excelsior (3); cijfers(1), Garamont sierletters cursief, romein, kapitalen cursief (3); Acropolis (1). 0005 Argentinië Curt Berger y Buenos Aires Titulares Series Económicas / Fundidas con 16 p. 1920 Cía metal especial importado direcamente de Alemania 0006 Argentinië Curt Berger y Buenos Aires Letras Inglesas rondas y cursivas / Tipos Bijlage: 3 losse toepassingen. 36 p. 1930 Cía imitación máquina de escribir 0007 Argentinië Curt Berger y Buenos Aires Tipos para textos y titulares / últimas 72 p. 1930 Cía creaciones / series artísticas y modernísmas / matrices originales de la gran fundición de J.G. Schelter & Giesecke 0008 Argentinië Curt Berger y Buenos Aires Tipos para texto / Bastardillas, Negritas y 24 p. 1935 Cía Versalitas ... [...] 0009 Argentinië Curt Berger y Buenos Aires [zonder titel] Brochure. Bijlage: 2 ex van een proef, 2 19 p. 1935 Cía S.R.L. p., van de Silphide. 0010 Argentinië Curt Berger y Buenos Aires Tipos Modernos / Pincel Silfide Vouwblad, met toepassingen en proeven 8 p. -
Cumberland Tech Ref.Book
Forms Printer 258x/259x Technical Reference DRAFT document - Monday, August 11, 2008 1:59 pm Please note that this is a DRAFT document. More information will be added and a final version will be released at a later date. August 2008 www.lexmark.com Lexmark and Lexmark with diamond design are trademarks of Lexmark International, Inc., registered in the United States and/or other countries. © 2008 Lexmark International, Inc. All rights reserved. 740 West New Circle Road Lexington, Kentucky 40550 Draft document Edition: August 2008 The following paragraph does not apply to any country where such provisions are inconsistent with local law: LEXMARK INTERNATIONAL, INC., PROVIDES THIS PUBLICATION “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Some states do not allow disclaimer of express or implied warranties in certain transactions; therefore, this statement may not apply to you. This publication could include technical inaccuracies or typographical errors. Changes are periodically made to the information herein; these changes will be incorporated in later editions. Improvements or changes in the products or the programs described may be made at any time. Comments about this publication may be addressed to Lexmark International, Inc., Department F95/032-2, 740 West New Circle Road, Lexington, Kentucky 40550, U.S.A. In the United Kingdom and Eire, send to Lexmark International Ltd., Marketing and Services Department, Westhorpe House, Westhorpe, Marlow Bucks SL7 3RQ. Lexmark may use or distribute any of the information you supply in any way it believes appropriate without incurring any obligation to you. -
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 -
Essential Chomsky
CURRENT AFFAIRS $19.95 U.S. CHOMSKY IS ONE OF A SMALL BAND OF NOAM INDIVIDUALS FIGHTING A WHOLE INDUSTRY. AND CHOMSKY THAT MAKES HIM NOT ONLY BRILLIANT, BUT HEROIC. NOAM CHOMSKY —ARUNDHATI ROY EDITED BY ANTHONY ARNOVE THEESSENTIAL C Noam Chomsky is one of the most significant Better than anyone else now writing, challengers of unjust power and delusions; Chomsky combines indignation with he goes against every assumption about insight, erudition with moral passion. American altruism and humanitarianism. That is a difficult achievement, —EDWARD W. SAID and an encouraging one. THE —IN THESE TIMES For nearly thirty years now, Noam Chomsky has parsed the main proposition One of the West’s most influential of American power—what they do is intellectuals in the cause of peace. aggression, what we do upholds freedom— —THE INDEPENDENT with encyclopedic attention to detail and an unflagging sense of outrage. Chomsky is a global phenomenon . —UTNE READER perhaps the most widely read voice on foreign policy on the planet. ESSENTIAL [Chomsky] continues to challenge our —THE NEW YORK TIMES BOOK REVIEW assumptions long after other critics have gone to bed. He has become the foremost Chomsky’s fierce talent proves once gadfly of our national conscience. more that human beings are not —CHRISTOPHER LEHMANN-HAUPT, condemned to become commodities. THE NEW YORK TIMES —EDUARDO GALEANO HO NE OF THE WORLD’S most prominent NOAM CHOMSKY is Institute Professor of lin- Opublic intellectuals, Noam Chomsky has, in guistics at MIT and the author of numerous more than fifty years of writing on politics, phi- books, including For Reasons of State, American losophy, and language, revolutionized modern Power and the New Mandarins, Understanding linguistics and established himself as one of Power, The Chomsky-Foucault Debate: On Human the most original and wide-ranging political and Nature, On Language, Objectivity and Liberal social critics of our time. -
Opentype Outline Flavour
OpenType outline flavour: CFF - PostScript-Outlines Contained fonts: Akhbar™ Light Akhbar™ Regular Akhbar™ Bold Albany® Std Regular Albany® Std Italic Albany® Std Bold Albany® Std Bold Italic Albertina™ Std Regular Albertina™ Pro Regular Albertina™ Pro Italic Albertina™ Std Italic Albertina™ Std Medium Albertina™ Pro Medium Albertina™ Pro Medium Italic Albertina™ Std Medium Italic Albertina™ Std Bold Albertina™ Pro Bold Albertina™ Pro Bold Italic Albertina™ Std Bold Italic Albertus® Pro Light Albertus® Pro Roman Albertus® Pro Italic Albertus® Std Light Albertus® Std Roman Albertus® Std Italic Alisal™ Std Regular Alisal™ Pro Regular Alisal™ Pro Italic Alisal™ Std Italic Alisal™ Std Bold Alisal™ Pro Bold Almanac™ Regular Amadeo™ Std Regular Amadeo™ Std Regular SC Amadeo™ Std Bold Amadeo™ Std Bold SC Amanda™ Std Regular Amanda™ Pro Regular Amanda™ Pro Bold Amanda™ Std Bold Amasis™ eText Regular Amasis™ eText Italic Amasis™ eText Bold Amasis™ eText Bold Italic Andale® Mono WGL Regular Andale® Mono WGL Regular Andale® Mono WGL Italic Andale® Mono WGL Italic Andale® Mono WGL Bold Andale® Mono WGL Bold Andale® Mono Std Regular Andale® Mono Pro Regular Andale® Mono Pro Bold Andale® Mono Std Bold Andale® Mono WGL Bold Italic Andale® Mono WGL Bold Italic Andy™ Std Regular Andy™ Pro Regular Andy™ Pro Italic Andy™ Std Italic Andy™ Std Bold Andy™ Pro Bold Andy™ Pro Bold Italic Andy™ Std Bold Italic Antique Roman™ Std Solid Apollo™ Std Roman Apollo™ Pro Roman Apollo™ Pro Italic Apollo™ Std Italic Apollo™ Std Semibold Apollo™ Pro Semibold Aqua Life™ Pi -
Graphics Design
Graphics Design - Typography Exercise 7 - ‘Arial’ ____________________________________________________________________________________________________________________________ Closest Fonts: {Arial, Helvetica, MS Gothic} Closer Fonts: {Newhouse DT Condensed, CG Triumvirate Condensed} Chosen Focus Font: {Arial Narrow Bold Italic} ____________________________________________________________________________________________________________________________ Font: Monotype Grotesque Birth-Date: 1926 Creator: Frank Hinman Pierpont Publisher: Monotype Foundry Based Off: Grotesque (by H. Berthold AG Foundry & William Thorowogood, 1832) Family: Largely-Extended: Multiple Widths (Condensed,...,Extended) Recognition: Easily Recognisable as san-serifs were few and unusual in England. Use: Early 20th Century Avant Garde Printing from Western & Central Europe ____________________________________________________________________________________________________________________________ Font: Arial Alias: (Original) Sonoran Sans Serif, (After Microsoft Acquisition) Arial MT Birth-Date: 1982 Self-Description: “Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can -
In the Vehicle Safety World, High-Tech Appears to Rule Supreme. a Recent MIT Study, Though, Has Proved How
TYPOGRAPHY TYPOGRAPHY Knowledge of all fonts In the vehicle safety world, high-tech appears to rule supreme. A recent MIT study, though, has proved how er Ky Pictures optimising typeface characteristicseiM couldDer s be a simple and hun ryan rG & t aGIN effective method of providingPe iM a significant reduction in ruce Mehler & b , MONOTY ELAB interface demandIT a G and associated distractions Jonathan Dobres,F M b AUTHOR COURTESY o IMAGES e have a strange relationship New Roman or clownish Comic touchscreen by the reader. At the same time, differences between the two typefaces. with typography. Every day Sans. More to the point, few people mounted in the letterforms must not become too Where Frutiger is open, leaving ample we see thousands of words realise that the design of typefaces simulator, with constrained or monotonous, lest the space between letters and the lines composed of millions of – and the way in which their strokes eye-tracking reader’s eye confuse a ‘g’ for a ‘9’. This of individual letterforms, Eurostile is letters. These letterforms and terminations play off each other cameras, an IR tension between legibility, consistency tighter and more closed. Eurostile also Wsurround us, inform us, and entice from letter to letter and word to word illumination pod and variation is at the heart of all enforces a highly consistent squared- us. Yet in our increasingly literate and – can have a significant impact on and the face typographic design. Consider Frutiger off style, while Frutiger allows for information-saturated society, we our ability to read and absorb what video camera – a typeface crafted in the ‘humanist’ more variety in letter proportions take them for granted, and rarely spare they are trying to communicate. -
SY*T*K Ffiptrxt&
SY*T*K ffiPTRXT& POEMS BY Swsan Elizabeth Howe STONtr SPIRITS Redd Center Publications Stone Spirits W Swsan Elizabeth Howe The Charles Redd Center for Western Studies Brigham Young University Provo, Utah 1997 Charles Redd Publications are made possible Hy a grant from Charles Redd. This grant served as the basis for the establishment of the Charles Redd Cenier for Western Studies at Brigham Young University. Center editor: William A. Wilson Cowr photograph courtesy of Aaron Coldenberg lWild Earth Images LiBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Howe, Susan, r949- Stone spirits / Susan trlizabeth Howe. {, p. cm. - (Redd Center publications) rseN r-56o85 -rc7-4 (pbk. : alk. paper) I. Title. II. Series. rs3558.o8935s76 ry97 8n'.54-oczr 97-4874 cIP @ry97 by Charles Redd Center for Western Studies, Brigham Young Universif'. A11 rights reserved. First printing, r997. Printed in the United States of America. Distributed by Signature Books, 564 West 4oo North, Salt Lake City, Utah 84116 Author's acknowledgments appear on page 70. FOR MY PARENTS, Maralyne Haskell Howe and Elliot Castleton Howe Table of Contents Foreword, by Edward A. Ceary ix I. THE WORLD IS HARSH, NOT OF YOUR MAKING Things in the Night Sky 4 ArchAngel 5 The Wisdom of the Pyrotechnician 7 Flying at Night g Feeding rl Alternatives to Winter ry The Paleontologist with an Ear Infection ry Tiger trating a European 6 NorAm I Who I Was Then t7 t Lessons of Erosion rB II. THE BLUES OUT THERE Mountains Behind Her 20 Summer Days, A Painting by Georgia O'Keeffe 22 The Stolen Television Set 23 In the Cemetery, Studying Embryos 24 To the Maker of These Petroglyphs z6 Another Autumn zB Sexual Evolution 30 We Live in the Roadside Motel 32 lviil III. -
New Opentype Fonts on Folio 11
New OpenType Fonts on Folio 11 Postscript Name Preferred Name AdobeArabic-Bold.otf Adobe Arabic Bold AdobeArabic-BoldItalic.otf Adobe Arabic Bold Italic AdobeArabic-Italic.otf Adobe Arabic Italic AdobeArabic-Regular.otf Adobe Arabic Regular AdobeHebrew-Bold.otf Adobe Hebrew Bold AdobeHebrew-BoldItalic.otf Adobe Hebrew Bold Italic AdobeHebrew-Italic.otf Adobe Hebrew Italic AdobeHebrew-Regular.otf Adobe Hebrew Regular AdobeThai-Bold.otf Adobe Thai Bold AdobeThai-BoldItalic.otf Adobe Thai Bold Italic AdobeThai-Italic.otf Adobe Thai Italic AdobeThai-Regular.otf Adobe Thai Regular AmigoStd.otf Amigo Std Regular ArnoPro-Bold.otf Arno Pro Bold ArnoPro-BoldCaption.otf Arno Pro Bold Caption ArnoPro-BoldDisplay.otf Arno Pro Bold Display ArnoPro-BoldItalic.otf Arno Pro Bold Italic ArnoPro-BoldItalicCaption.otf Arno Pro Bold Italic Caption ArnoPro-BoldItalicDisplay.otf Arno Pro Bold Italic Display ArnoPro-BoldItalicSmText.otf Arno Pro Bold Italic SmText ArnoPro-BoldItalicSubhead.otf Arno Pro Bold Italic Subhead ArnoPro-BoldSmText.otf Arno Pro Bold SmText ArnoPro-BoldSubhead.otf Arno Pro Bold Subhead ArnoPro-Caption.otf Arno Pro Caption ArnoPro-Display.otf Arno Pro Display ArnoPro-Italic.otf Arno Pro Italic ArnoPro-ItalicCaption.otf Arno Pro Italic Caption ArnoPro-ItalicDisplay.otf Arno Pro Italic Display ArnoPro-ItalicSmText.otf Arno Pro Italic SmText ArnoPro-ItalicSubhead.otf Arno Pro Italic Subhead ArnoPro-LightDisplay.otf Arno Pro Light Display ArnoPro-LightItalicDisplay.otf Arno Pro Light Italic Display ArnoPro-Regular.otf Arno Pro Regular ArnoPro-Smbd.otf -
Kepler Italic
Brioso™ Pro a® a abcdefghijklmnopqrst An Adobe® Original Brioso Pro a umanistic Composition aily abcdefghijklmnopqrst © Adobe Systems Incorporated. Al rights reserved. uvwxyz 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 assemled as a booklet. Adobe Originals Adobe Systems Incorporated introduces Brioso Pro, a new font soware package in the growing library of Adobe Originals typefaces, designed ecicaly for today’s digital technology. Since the inception of the Adobe Originals program in , Adobe Originals typefaces have been consistently recognized for their quality, originality, and praicality. They combine the power of PostScript® lanuage soware and the most sophisticated electronic design tools with the spirit of crasmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font soware has set a standard for typographic excelence. What is OpenType? Developed jointly by Adobe and Microso, OpenType is a highly versatile new font le format that represents a signicant advance in type functionality on Windows® and Mac OS computers. Perhaps most exciting for designers and typographers is that OpenType fonts offer extendedlayout features that bring unprecedented control and sophistication to contemporary typography. Because OpenType can incorporate al glyphs for a ecic style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and related glyph sets is eliminated. In aplications which suport OpenType layout features, such as Adobe’s InDesign® soware, glyphs are grouped according to their use. -
Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .