DOCSLIB.ORG

Clasificación Tipográfica

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Clasificación Tipográfica Clasificación tipográfica Existen diferentes clasificaciones, ya que categorizar la gran cantidad de tipos existentes es complejo. Además algunos tipos no se ajustan completamente a ninguna clasificación, hay tipos híbridos, mixtos y tipos que presentan diversas variantes adaptables a varias clasificaciones a la vez. romanas serif humanistas Agen Jenson antiguas Agen Garamond transicionales Agen Baskerville modernas Agen Didot egipcias Agen Clarendon grotescas Agen | Franklin gothic sans serif neogrotescas Agen | Helvética humanistas Agen | Gill Sans geométricas Agen | Futura manuales script Agen | Brush script caligráficas Agen | Luminari ornamentales Agen | Saphir romana humanista veneziana Inspiradas históricamente por los tipos venecianos de finales del s.xv Eje de inclinación marcado, moderado contraste entre finos y gruesos Caja de x baja, e minúscula con la barra inclinada, panza de la a minúscula baja, serifs irregulares con rasgos caligráficos Aptas para lectura de textos extensos Jenson Nicholas Jenson (s.xv)| Jenson Pro (1995-2000) Robert Slimbach Centaur Bruce Rogers (1914) Schneidler Fiedrich Hermann Schneidler (1936) Horley old style Frank Hinman Pierpont (1925) Cloister old style Morris Fuller Benton (1913) Golden type William Morris (1890) romana antigua garalda Inspiradas históricamente por los tipos venecianos que utilizó en su imprenta Aldo Manuzio y los tipos franceses de principios del s.xvi Eje de inclinación marcado, moderado contraste entre finos y gruesos Caja de x baja, e minúscula con la barra horizontal, panza de la a minúscula baja, serifs orgánicos Aptas para lectura de textos extensos Bembo Francesco Griffo (s.xv)| Frank Hinman Pierpont (1929) Garamond Claude Garamond (1530)|Francesco Simoncini (1961)| David Stempel (1925) Sabon Jan Tschichold (1967) Palatino Hermann Zapf (1948) Goudy Frederic Goudy (1915) Gradjon George Jones (1928) romana transicional reales Inspiradas históricamente por los tipos utilizados en Inglaterra y Francia entre el s.xvii y xviii Eje de inclinación casi recto, mayor contraste entre finos y gruesos Caja de x más alta que en las romanas antiguas, serifs más rectos y con cartela marcada Aptas para lectura de textos extensos Baskerville John Baskerville (s.xviii)| John Quaranda (1978)| Franco Luin (1995) Caslon William Caslon (1734)|Carol Twombly (1990) Caledonia William Addison Dwiggins (1938) |Alex Kaczun (1982) Perpetua Eric Gill (1925) Goudy Frederic Goudy (1915) Gradjon George Jones (1928) romana moderna didonas Inspiradas históricamente por los tipos utilizados hacia finales del s. xviii Eje de inclinación es recto, alto contraste entre finos y gruesos Caja de x más alta que en las romanas transicionales, serifs filiformes muchas veces sin cartela No tienen buena legibilidad para textos extensos ni en cuerpos chicos Didot Firmin Didot (1784-1811)| Adrian Frutiger (1991) Bodoni Giambattista Bodoni (1800)|Morris Fuller Benton (1911) | Henrich Jost (1926) Torino Edward Benguiat (1960) Walbaum Justus Walbaum (1800)| Charles Nix, Carl Crossgrove (2018) egipcia mecanas bloque serif Para uso en cuerpos grandes, se diseñaron por primera vez a mediados del s.xix Característico serif pesado en forma de bloque, de aspecto general robusto Caja de x alta los tipos históricos tienen cartela, en el s.xx aparecen algunos tipos sin ella y con estructura geométrica No tienen buena legibilidad para textos extensos ni en cuerpos chicos Clarendon Robert Besley (1845)| Hermann Eidenbenz (1953) Rockwell Morris Fuller Benton (1920) Memphis Rudolph Weiss (1929) Serifa Adrian Frutiger (1967) grotescas lineales palo seco Aparecen en catálogos tipográficos a inicios del s.xix, como tipografía secundaria De aspecto general robusto, caja de x alta, suelen tener la g minúscula con descendente cerrado Tienen buena legibilidad tanto en cuerpos chicos como grandes Franklin gothic Morris Fuller Benton (1910) Alternate gothic Morris Fuller Benton (1903) Trade gothic Jackson Burke (1948) neogrotescas lineales palo seco Son propias del s.xx, basadas en las grotescas pero con ajustes que las hacen más amplias en sus contraformas De aspecto general robusto, caja de x alta, la g minúscula con descendente abierto Tienen buena legibilidad tanto en cuerpos chicos como grandes, suelen considerarse neutras Univers Adrian Frutiger (1957) Helvética Max Miedinger, Edouard Hoffmann (1957) Akzidenz grotesk Berthold (1896) Frutiger Adrian Frutiger (1976) humanistas lineales palo seco Son propias del s.xx, su inspiración son los tipos romanos, presentan una modulación notable Gill sans Eric Gill (1929) Johnston Edward Johnston (1913) Optima Hermann Zapf (1955) Goudy sans Frederic Goudy (1930) geométricas lineales palo seco Son propias del s.xx, siguen formas geométricas basadas en las figuras principales del cuadrado, el círculo y el triángulo En muchos casos presenta una a minúscula cursiva Futura Paul Renner (1927) Avant garde Herbert Lubalin (1970) Century gothic Herbert Lubalin (1991) .
Load more

Recommended publications
  • Tv38bigelow.Pdf
    Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950.
    [Show full text]
  • „Bitstream“ Fonts
    Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.
    [Show full text]
  • : : S C H R I F T : T Y P O G R a F I E : G R a F I K : : : D a S 2 0 . J
    ::: S c h r i f t : T y p o g r a f i e : G r a f i k ::: D a s 2 0 . J a h r h u n d e r t ::: S c h r i f t : T y p o g r a f i e : G r a f i k i m 2 0 . J a h r h u n d e r t ::: und die IndustrielleAnfänge::: der WerbegrafikRevolution 1 8 9 0 – 1 9 1 0 : : : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: Frühe Plakatkunst :::um1900:: : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: :::1890–1914:: Art Nouveau/ J u g e n d s t i l : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: Sachlichkeit Informative : : : 1 9 1 0 : : : ::: :::1890–1910:: : 1894 Century Lim Boyd Benton a h r h u n d e r t 1896 Cheltenham Bertram Goodhue 1898 Akzidenz Grotesk (Berthold) 2 0 . J 1900 Eckmann Otto Eckmann D a s 1901 Copperplate Frederic Goudy 1901 Auriol George Auriol G r a f i k 1907 Clearface Morris Fuller Benton : 1908 News Gothic Morris Fuller Benton g r a f i e o T y p : S c h r i f t ::: ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 .
    [Show full text]
  • Bitstream Font Name Aliases Fontotéka 3.0 Compiled by Petr Somol, Based on Jon A
    Bitstream Font Name Aliases fontotéka 3.0 Compiled by Petr Somol, based on Jon A. Pastor‘s list from http://cgm.cs.mcgill.ca/~luc/jonpastor.txt. E-mail: [email protected] The list should not be considered complete, nor accurate. It is more a work in progress than anything else. Bitstream Name Common Name Designer(s) Date(s) Orig. Remarks/Attributions Vend. (all) (M.Macrone/J.Pastor,P.S.) (M.M,P.S.) (J.P., P.S.) Aachen Aachen Colin Brignall, Alan Meeks 1969-1977 17 Ad Lib Ad Lib Freeman Craw 1961 6 Aldine 401 Bembo Stanley Morison after Francesco 1929 after 1,4 Griffo / Giovanni Tagliente 1495 / 1520 Aldine 721 Plantin Frank Hinman Pierpont after ~1930 after 1,4 Robert Granjon‘s type used by 16th ~1550 / 16h century printer Christophe Plantin cent. Alternate Gothic No. 2 Alternate Gothic Morris Fuller Benton 1903 6 Amazone Amazone Leonard H. D. Smit 1958 12 Amelia Amelia Stanley Davis 1967 18, 2 American Text American Text Morris Fuller Benton 1932 6 Americana Americana Richard Isbell, Whedon Davis 1965 6 Aurora Aurora ? 1928 (c.) 11 Baker Signet Baker Signet Arthur Baker 1965 18 Balloon Balloon Max R. Kaufmann 1939 6 Bank Gothic Bank Gothic Morris Fuller Benton 1930-33 6 Baskerville Baskerville George W. Jones after John 1929 after 2 Baskerville ~1754-1775 Baskerville No.2 Baskerville No.2 ? ? 19 Bauer Bodoni Bauer Bodoni Heinrich Jost, Louis Höll after 1926 after 8 Giambattista Bodoni ~1800 Bell Gothic Bell Gothic Chauncey H. Griffith 1938 2 Belwe Belwe Georg Belwe before 1950 20 Bernhard Bold Con- Bernhard Bold Con- Lucian Bernhard
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/75096 Please be advised that this information was generated on 2021-09-27 and may be subject to change. Internationale boekkunst in de universiteitsbibliotheek Nijmegen Catalogus van een bijzondere collectie samengesteld door Robert Arpots Inleiding De verzameling Verbeek “Verder is dit jaar binnengekomen het legaat van mr. Verbeek uit Veghel” Aldus het “Jaarverslag van de bibliotheek” in het Jaarboek Katholieke Universiteit 1966-1967. Summierder kan het haast niet, terwijl de verslaglegger hier toch doelt op een van de aardigste aanwinsten van dat jaar. Wie was deze Verbeek? Eduard D.H.M. Verbeek werd geboren op zondag 8 april 1894, in Veghel, als zoon van de chirurg en dorpsdokter dr. Joannes H.H. Verbeek (1863-1950) en Jonkvrouwe Maria Th.H. de Kuyper (1868-1932), dochter van een notaris, die in juli 1891 in het huwelijk waren getreden. 1 Zijn oudste broer, Alphons Verbeek (1893), gepromoveerd in de geneeskunde in Groningen en chirurg in Eindhoven, publiceerde in 1951 zijn jeugdherinneringen onder de titel Dorp in de Meierij2. Het boek, dat de periode van rond de eeuwwisseling tot 1918 bestrijkt, biedt een aardig beeld van de gelukkige jeugdjaren van de broertjes en zusjes Verbeek. Zij groeiden op in Huize Rustplaats in een niet onbemiddeld gezin, met verschillende dienstmeisjes die toen nog Servantes werden genoemd en die onder meer hielpen bij het aan- en uitkleden van de kinderen. “Mijn moeder”, aldus de auteur, “was zacht en beminnelijk”.
    [Show full text]
  • Aution of Serif Type
    evolutionevolution of ofserif serif type type e p y t if r se of on ti u aol evolution of serif type For Katherine evolution of serif type contents history of old-style serif type history of transitional serif type history of modern serif type history of slab serif type § evolution of serif type timeline old-style serif transitional serif modern serif slab serif 1540 1757 1798 1815 evolution of serif type introduction to serif type Serif fonts are a category of typeface characterized by small details in the form of tiny lines or hooks at the tops and bottoms of certain letters. These details are called serifs. One of the most commonly recognized serif fonts is Times New Roman. The four types of serif fonts are old style, transitional, modern and slab serif. Serif fonts are often recognized as easier to read than sans serif fonts; the term for the kind of font that does not have serifs. Therefore, serif fonts are considered somewhat better than sans serif fonts for body text. A common rule of thumb when selecting typography is to use a sans serif font for the header text and a serif font for the body text. evolution of serif type an introduction to old style serif type evolution of serif type Old style serif fonts are the oldest type of serif font. Old style serif fonts are charac- terized by only moderate transitions between the thinner and thicker parts of the stroke with a diagonal stress, meaning that the thinnest parts of strokes are on a diagonal.
    [Show full text]
  • Times New Roman História E Análise Do Tipo De Letra
    Times New Roman História e análise do tipo de letra O tipo de letra Times New Roman foi "Times Roman" é o nome usado por criado para uso do jornal inglês The Times Linotype, e o nome que eles registraram of London, de onde herdou o nome. Esta como marca para o design nos EUA "Times família tipográfica foi criada para substituir a New Roman" foi, e ainda é, o nome usado Times Old Face, até então usada. pelo The Monotype Corporation. Durante a Segunda Guerra Mundial, a empresa Em 1929, o jornal contratou o tipógrafo Linotype, num espírito generoso de Stanley Morison da Monotype, uma criadora camaradagem, pediu o registo do nome de tipos britânica, para criar um novo tipo. "Times Roman" como seu, e não de Victor Lardent, um designer de publicidade Monotype de ou do The Times, recebendo o do Times, desenhou a letra e Morison dirigiu registro em 1945. o projeto, ficando, apesar disso, conhecido como o criador da Times New Roman. No final dos anos 1980, Monotype redesenhou a sua Times New Roman para Uma nota interessante para o ajustar exatamente as proporções e métrica desenvolvimento de Times New Roman da versão Adobe-Linotype de Times Roman. chega até nós nos dias de hoje. O hardware Monotype afirmou que sua nova versão era original para o tipo de letra - os "golpes" que melhor do que a versão Adobe-Linotype, ajudaram a criar os moldes para o tipo de casting - foram criados em conjunto pela Monotype Corporation e da Linotype Company, os dois principais fabricantes de máquinas de composição automáticos e equipamentos naquele momento.
    [Show full text]
  • A Tally of Types: with Additions by Several Hands Edited by Brooke Crutchley Frontmatter More Information
    Cambridge University Press 978-0-521-09786-4 - Stanley Morison: A Tally of Types: With Additions by Several Hands Edited by Brooke Crutchley Frontmatter More information a tally of types © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-09786-4 - Stanley Morison: A Tally of Types: With Additions by Several Hands Edited by Brooke Crutchley Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-09786-4 - Stanley Morison: A Tally of Types: With Additions by Several Hands Edited by Brooke Crutchley Frontmatter More information stanley morison A with additions by several hands edited by brooke crutchley With a New Introduction by Mike Parker © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-09786-4 - Stanley Morison: A Tally of Types: With Additions by Several Hands Edited by Brooke Crutchley Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Dubai, Tokyo, Mexico City Cambridge University Press The Edinburgh Building, Cambridge cb2 8ru, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521097864 © Cambridge University Press 1973 Introduction © Mike Parker 1999 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. Mike Parker’s Introduction is published by arrangement with David R.
    [Show full text]
  • Logotypes & Typefaces by Kimber A. Mcdevitt
    24 Logotypes & Typefaces by Kimber A. McDevitt 24 Logotypes & Typefaces 24 Copyright © 2017 by Kimber A. McDevitt Logotypes & Version 1.0 All rights reserved. Typefaces Cover photo credit: Public Domain Pictures http://www.publicdomainpictures.net/view- image.php?image=106887&picture=geology Leader page photos credit: Geoscience News and Information geology.com Essays provided by students in by Kimber A. the Summer 1 Type 1 Course at Northeastern University and Isabella Mordini, a prior student of Mark McDevitt Laughlin, our instructor. A primary source is Wikipedia.org Contents Serif San Serif 1 Baskerville 8 Minion 13 Akzidenz Grotesk Book 20 Gotham John Baskerville . 1750 Robert Slimbach . 1989 H Berthold AG . 1898 Tobias Frere-Jones . 2000 Quartz, p7 Malachite, p35 Zicron, p55 Amethyst, p83 2 Bembo 9 Palatino 14 DIN 21 Helvetica Francesco Griffo . 1495 Herman Zapf . 1950 Deutsches Institut für Max Meidinger & Lapis, p11 Diorite, p39 Normung . 1931 Eduard Hoffman . 1957 Granite, p59 Jade, p87 3 Bodoni 10 Rockwell Giambattista Bodoni Frank Hinman Pierpont 15 Franklin Gothic 22 Myriad 1999 1934 Morris Fuller Benton Robert Slimbach & Talc, p15 Novaculite, p43 1902 Carol Twombly . 1992 Volcanic Rock, p63 Unakite, p91 4 Caslon 11 Sabon William Caslon . 1722 Jan Tschichold . 1964 16 Frutiger 23 Optima Chalk, p19 Flint, p47 Adrian Frutiger . 1976 Hermann Zapf . 1950 Wollastonite, p67 Hematite, p95 5 Clarendon 12 Times New Roman Robert Beasley . 1845 Stanely Morison & 17 Futura 24 Univers Nephelinite, p23 Victor Lardent . 1932 Paul Renner . 1928 Adrian Frutiger . 1957 Sand, p51 Ovaline Basalt, p71 Iron Pyrite, p99 6 Didot Firman Didot . 1784 18 Gill Sans Bold Jaspilite, p27 Eric Gill .
    [Show full text]
  • Monotype Plantin
    Monotype Plantin A Digital Revival by Brigitte Schuster Monotype Plantin A Digital Revival by Brigitte Schuster An Essay for the Master of Design © Brigitte Schuster 2010 in Type and Media Course at KABK, the Royal Academy of Fine Arts, Den Haag, The Netherlands, January 2010 1 The cover of Fables Choisies II in original size. This book is the base for this essay. Abstract When interpreting a typeface from the past into a digitized format, a type designer has to go through various steps of decision making, including determining how close his design will be to the original, as well as considering past and present cultural and technological contexts. Eventually, the new digital revival is supposed to differ from existing revivals of the typeface in question. The project was based on the typeface Monotype Plantin from a book (figures 1, 36) entitled Fables Choisies II by La Fontaine, dated 1934, and printed in letterpress. In the theoretical part of the project, I analyzed the typeface by researching its historical context, in particular Monotype Plantin's historical model named Gros Cicero, which is its base. In the practical part, I created my own digital revival. I drew average shapes for each letter, tested the colour of the type, decided on details, and spaced the created character set. As a result, my design contains relatively low contrast, and roundish serif shapes. I succeeded in creating a personal interpretation of the typeface model that on the one hand comes close to its original appearance in letter- press printed book, but on the other hand is in contrast to existing revivals.
    [Show full text]
  • Project Collection
    SCHOOL OF GRAPHIC DESIGN > AAU > FALL 2013 > INSTRUCTOR: NITA YBARRA PROJECT COLLECTION Type 1: Hierarchy & Form CHRIS TARAMPI PROJECTS 1 > TYPE ANATOMY 2 > PROTO TYPEFACE 3 > (OPTICALLY IMPROVISED) 4 > STRUCTURE (GRID SYSTEM) 5 > ALIGNMENTS & LINESPACING 6 > VISUAL SEMANTICS 7> TYPE CLASSIFICATION POSTERS 8 > SUMMARY POSTER CHRIS TARAMPI > TYPE 1: HIERARCHY & FORM | TYPE ANatOMY tHe pARts Of a LEtTeR D n x g - / CHRIS TARAMPI > TYPE 1: HIERARCHY & FORM | PROTOTYPEFACE (SHUTTER) CHRIS TARAMPI > TYPE 1: HIERARCHY & FORM | STRUCTURE (OPTICALLY IMPROVISED) Davies Symphony Hall Davies Symphony Hall Wednesday 201 Van Ness Avenue Davies Symphony Hall October 30, Davies201 Van Symphony Ness Avenue Hall San Francisco, CA 94102 Wednesday 201 Van Ness Avenue San Francisco, CA 94102 October2013 30, 201 Van Ness Avenue San Francisco, CA 94102 San Francisco, CA 94102 2013 8:00 p.m. 8:00 p.m. City Art & Lectures City Art & Lectures Jaron Lanier JARON LANIER Davies Symphony Hall In conversation with Phil Bronstein In conversation with Phil Bronstein 201 Van Ness Avenue Jaron Lanier JARON LANIER Davies Symphony Hall In conversation with Phil Bronstein In conversation with Phil Bronstein San Francisco, CA 94102 201 Van Ness Avenue Wednesday San Francisco, CA 94102 Wednesday October 30, 2013 Wednesday October 30 8:00 p.m. Wednesday October 30, 2013 2013 October 30 8:00 p.m. 2013 City Art & Lectures 8:00 p.m. City Art & Lectures 8:00 p.m. City Art & Lectures jaron lanier City Art & Lectures INj CONVERSATIONaro WITHn PHIL lanier BRONSTEIN IN CONVERSATION WITH PHIL BRONSTEIN www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net Davies Symphony Hall City Art & Lectures 201 Van Ness Avenue www.cityarts.net Davies Symphony Hall City Art & Lectures San Francisco, CA 94102 201 Van Ness Avenue www.cityarts.net San Francisco, CA 94102 City Art & Lectures Wednesday City Art & Lectures October 30, 2013 Wednesday 8:00 p.m.
    [Show full text]
  • ROCKWELL Se Caracteriza Por Ser Ovalada Geometrica Y Circular, Esto Se Proporcionalmente Espaciada Gracias a Su Identifica En Letras Como
    ********************************* ÍNDICE Una publicación de Módulo Editorial, U.P.B. Medellín. Copyright © 2013 por Tomás Saldarriaga Villegas. Publicado mediante un acuerdo con Harper & Row, Publishers, Inc. Introducción Prohibida la reproducción total o parcial de Fundiciónes esta obra, por cualquier medio sin permiso escrito de la editorial. 06 tipográficas Dirección editorial, Tomás Saldarriaga Villegas Edición, Tomás Saldarriaga Villegas 18 Dirección de arte: Tomás Saldarriaga Villegas ISBN: 958-04-1900-0 Diseñadores Familia y 12 24características **************************** INTRODUCCIÓN Procedencia de este nuevo estilo tipográfico, historia y descripción ROCKWELL Se caracteriza por ser ovalada geometrica y circular, esto se Proporcionalmente espaciada gracias a su identifica en letras como... serif, lo que la hace fácil de leer ******************************************** n 1910 la fundición “Inland type foundry” creó la tipografía Rockwell. Más tarde esta fundición se une con otras com- pañías formando así American Type Foundries (ATF), allí re- E diseñaron la antigua rockwell bajo la dirección de Morris Full- er Benton. Benton es reconocido como uno de los mayores tipografos de la historia, siendo el director de diseño en American Type Foundries, completó aproximadamente 221 tipografías incluyendo tipografías como: Franklin Gothic, Broadway, ATF Bodoni y muchas otras. En 1934 una compañía especializada en diseño de tipografías y textos, The Monotype Corporation publicó una nueva versión de la rockwell en una época donde los serifs cuadrangulares estaban experimentando un nuevo auge. La dirección y revisión de este rediseño estuvo a cargo de Frank Hinman Pierpont. Es una tipografía clasificada bajo el nombre de las egipcias o de serif cuadrangular, usando pesados remates rectan- gulares que por lo general tienen el mismo grosor que la mayoría de los trazos en sus letras.
    [Show full text]