A Catalogue of the Wood Type at Rochester Institute of Technology David P
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Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
ISSN 0022-2224 August 2016 Published Continuously Since 1967
the journal of visual communication research special issue: reecting of 50 years of Typography Charles Bigelow and Kevin Larson Guest Editors 50 .2 ISSN 0022-2224 august 2016 Published continuously since 1967. Visible Language the journal of visual communication research special issue: Relecting on 50 years of Typography Charles Bigelow and Kevin Larson Guest Editors August 2016 Visible Language 50.2 Contents The Xerox Alto Font Design System Patrick Baudelaire 12 — 25 The Digital Typefoundry Matthew Carter 26 — 37 Advisory Board Naomi Baron – The American University, Washington, D.C. two letters: 1968 & 2016 Michael Bierut – Pentagram, New York, NY Charles Bigelow – Type designer Schmoller & Matteson Matthew Carter – Carter & Cone Type, Cambridge, MA 38 — 39 Keith Crutcher – Cincinnati, OH Mary Dyson – University of Reading, UK Jorge Frascara – University of Alberta, Canada / Universidad de las Americas Puebla Ken Friedman – Swinburne University of Technology, Melbourne, Australia Communication of Mathematics with TEX Michael Golec – School of the Art Institute of Chicago, Chicago, IL Barbara Beeton, Richard Palais Judith Gregory – University of California-Irvine, Irvine, CA Kevin Larson – Microsoft Advanced Reading Technologies 40 — 51 Aaron Marcus – Aaron Marcus & Associates, Berkeley, CA Per Mollerup – Swinburne University of Technology, Melbourne, Australia Commercial at @ Tom Ockerse – Rhode Island School of Design, Providence, RI Sharon Poggenpohl – Estes Park, CO James Mosley Michael Renner – The Basel School of Design – Visual Communication Institute, 52 — 63 Academy of Art and Design, HGK FHNW Stan Ruecker – IIT, Chicago, IL Katie Salen – DePaul University, Chicago, IL Letterform Research: an academic orphan Peter Storkerson – Champaign, IL Karl van der Waarde – Avans University, Breda, The Netherlands Soie Beier Mike Zender – University of Cincinnati, Cincinnati, OH 64 — 79 2 3 Visible Language special issue: Typography 50.2 Orthographic Processing and Reading Jonathan Grainger 80 — 101 Reading Digital with Low Vision Gordon E. -
Jul 9 1975 -2
GENERATION OF ROMAN PRINTED FONTS by Philippe J.M. Coueignoux M.S., Massachusetts Institute of Technology (1973) SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 1975 Signature of Author........'... .ffV ... 4~...... ......v Department of Electrical Engineering, June Certi fied by.............................................0 a 0 a 00 0 0 Thesis Supervisor Accepted b0 ' Chairman, Departmental Committe&6n Graduate Students JUL 9 1975 -2- GENERATION OF ROMAN PRINTED FONTS by Philippe J.-M. Coueignoux Submitted to the Department of Electrical Engineering and Computer Science on May the 23rd, 1975, in partial fulfill- ment of the requirements for the Degree of Doctor of Philosophy. ABSTRACT Three contributions are made to the generation of Roman printed fonts: a descriptive model, a generating program, CSD, and a line setting program, FRANCE. The model is based on a linguistic study of the con- sistency of Roman printed characters. Characters are de- composed into primitives. To represent a letter by a char- acter, one uses a specific combination of primitives; a grammar is given, which governs these combinations within the Roman style. The repeated use of the same drawing to represent a primitive in more than one combination differ- entiates the characters of a font from other fonts; further- more, parameters are used to specify the drawings and there exist relationships among the parameters for the different drawings of a font. Related parameters are gathered into families; global transformations for each of the families well describe elementary operations on fonts like boldening, size variations, etc. -
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. -
INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam. -
Frequently Asked Questions (FAQ) 1 / 2 © 2020
Apex Type Foundry Frequently Asked Questions (FAQ) www.apextypefoundry.com Please carefully read 1. LICENSES this document before any purchase. Who needs to buy the license? We recommend you Everyone who needs to install the font on its computer must have a license. to keep a copy Most of the time, graphic designers or agencies (End User) are buying the license. for future reference. Nevertheless, if a designer sells a template for which the client needs to install the font software, then the client needs to purchase its own license according to the number of workstations the font software will be installed on. How long is my license valid? All our licenses are perpetual licenses, not subscriptions: they are valid for life and only need to be payed once. Our licenses don’t have a limitation on media: you can use the font you purchased on as many projects as you want (print, web, apps…). Can I share or transfer my license? Our licenses are not intended to be shared or transferred. Each of our four types of licenses specify the number of workstations on which you can install the font software. These work- stations must be owned by the same End-User’s company and located in the same premises. If an agency hires a freelance to work within its premises and using a company-owned computer that is already included in your license, then there is no need for an additional license. However if this freelance works in another place or if he brings his own computer in the agency’s premises, then a Solo license in his name must be purchased for him. -
Tracing Helvetica
TRACING HELVETICA MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography ARTG106 TYPOGRAPHY Fall 2016 : Sec. 1 Min Choi // Fall 2017 Rosemary Rae email: [email protected] TRACING HELVETICA INFO ABOUT HELVETICA HELVETICA— Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas’sche Schriftgiesserei type foundry of Switzerland. Its name is derived from Helvetia, the Roman name for Switzerland. The font is based on the earlier Akzidenz Grotesk typeface from around 1898. The typeface, originally titled Haas-Grotesk, is a very clean sans-serif Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger face. The typeface became extremely popular in the 1960s, when it was widely used. In 1983, Linotype released the Helvetica Neue (German for “New Helvetica”) typeface, based on Helvetica. in 1957 for the Haas’sche Schriftgiesserei type foundry of Switzerland. Its name is derived from The typeface Arial, distributed with Microsoft Windows, has the same widths as Helvetica and almost identical characters, and was essentially created as a cheaper unauthorized Helvetica clone, which has led to criticism of Microsoft. One of the easiest ways to Helvetia, the Roman name for Switzerland. The font is based on the earlier Akzidenz Grotesk distinguish the two is their uppercase “R.” Another way is looking at the “tail” of the “a” (lower right). Another is the lowercase “e”; Helvetica cuts the lower hook straight across, while Arial cuts it at an angle. typeface from around 1898. The typeface, originally titled Haas-Grotesk, is a very clean sans-serif While Univers is acknowledged to be the most used Latin typeface in the world, Helvetica is widely used in countries such as face. -
Role Serif Display Pro
Morisawa Inc. Role Serif Display Pro Role Serif is part of the first stand-alone Latin typeface family released by Morisawa. Other genres in the family include Slab, Sans and Soft. Role Serif has the clearest image of seriousness or faithfulness among other styles. Text has the lowest contrast and the sturdy serifs for high legibility. The contrast gets higher for Display and Banner to help the look become more elegant. The letterforms are optimised for the target usage of each optical range. The letterforms of Text are consistent but morphs into the more decorative design for Display and Banner. The Display is in between Text and Banner and looks more graceful than Text but not too prominent to affect the versatility. Ban- ner is the most elegant design. The characteristic is more emphasised especially for the heavier weights where the widths narrow down. PUBLISHED: LANGUAGE: OPENTYPE FEATURES: 2019 Latin (98+) Proportional lining figures Proportional oldstyle figures FORMAT: SERIES & SCRIPTS: Fraction OpenType Role Serif Text Pro Case Sensitive form Role Serif Banner Pro Superscript/Subscript STYLES: Small Caps 14 Styles (7 weight with Italics) Caps to Small Caps Zero Slash Scientific Inferior DESIGNED BY: Localised Forms Matthew Carter Sakura Taruno Kunihiko Okano https://en.morisawa.co.jp | © 2019 Morisawa Inc. All rights reserved. Role Serif Display Pro STYLE SAMPLE Role Serif Display Pro Extralight Role Serif Display Pro Extralight Italic Role Serif Display Pro Light Role Serif Display Pro Light Italic Role Serif Display Pro Regular Role Serif Display Pro Italic Role Serif Display Pro Medium Role Serif Display Pro Medium Italic Role Serif Display Pro Bold Role Serif Display Pro Bold Italic Role Serif Display Pro Extrabold Role Serif Display Pro Extrabold Italic Role Serif Display Pro Heavy Role Serif Display Pro Heavy Italic https://en.morisawa.co.jp | © 2019 Morisawa Inc. -
Lucida Sans the Quick Brown Fox Jumps Over a Lazy Dog
Facing up to Fonts Richard Rutter “When the only font available is Times New Roman, the typographer must make the most of its virtues. The typography should be richly and superbly ordinary, so that attention is drawn to the quality of the composition, not the individual letterforms.” Elements of Typographic Style by Robert Bringhurst ≠ Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper, The Times, in 1931, designed by Stanley Morison and Victor Lardent at the English branch of Monotype. It was commissioned after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. Arial Arial is a sans-serif typeface designed in 1982 by Robin Nicholas and Patricia Saunders for Monotype Typography. Though nearly identical to Linotype Helvetica in both proportion and weight, the design of Arial is in fact a variation of Monotype Grotesque, and was designed for IBM’s laserxerographic printer. Georgia Georgia is a transitional serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It is designed for clarity on a computer monitor even at small sizes, partially due to a relatively large x-height. The typeface is named after a tabloid headline titled Alien heads found in Georgia. Verdana Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand-hinting done by Tom Rickner. Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen. Trebuchet A humanist sans-serif typeface designed by Vincent Connare for the Microsoft Corporation in 1996. -
Standard Formed Styles by Group
Plastic Letters Formed Plastic Standard Formed Styles by Group Medium Block Styles Medium Serif Styles Arial Bold Helvetica Architectural Palatino Avant Garde Helvetica Italic Century Bold Condensed ROMAN NEO SB ClearviewOne Bold Helvetica Round Consort Condensed Roman Round FRUTIGER 65 Standard Block gemco ROMAN CLASSIC Futura Standard Block Round Goudy Old Style Times Bold Gil Sans Bold Univers 67 Optima Times New Roman Light & Condensed Block Styles Bold & Italic Serif Styles Antique Olive Impact Round Benguiat Goudy Extra Bold Futura Condensed KABEL CASLON ADBOLD Lotus Bold HELVETICA LIGHT standard block cond. CENTURY SCHOOLBOOK BOLD Optima Semi Bold Helvetica Condensed Consort TIMES BOLD ITALIC FRIZ QUADRATA TRAJAN BOLD Bold & Extended Block Styles Garamond Bold Italic EUROSTYLE BOLD EXT. ITALIC FUTURA EXTRA BOLD ITALIC Bold & Extended Serif Styles Helvetica Bold Ext. Bodoni Italic COPPERPLATE HELVETICA BOLD ITALIC Clarendon Fortune Bold Cooper Black Helvetica Italic Round clarion G a r a m ond B ol d R ou nd ® MICROGRAMMA BOLD EXT. CONSORT ROUND Herman Italic MICROGRAMMA EXT. COOPER BLACK ITALIC Times Bold Round Bold & Black Block Styles Bauhaus HARRIER Script & Decorative Styles EUROSTYLE BOLD Helvetica Bold Round BARNUM COUNTRY GOTHIC (Woodgrain Texture) Futura Bold Helvetica Bold CLASSIC BARNUM Italicized Script Futura Round Brush Script LITHOS BOLD Casual Italic Script Old English Bevel Comic Sans Bold SCULPTURED (Textured) Commercial Script Plastic Letters Formed Plastic MEDICAL SYMBOLS HEIGHT WIDTH DEPTH 12” 10” 1” 15 12 1 1/4 Staff of Asclepius Chiropractic Veterinary Symbol of Life 18 14 1 1/2 24 18 2 The Staff of Asclepius is the officially recognized medical DDS OD symbol of the American Medical Association. -
TYP O G R a P H Y Three
CHAPTER 03three ⁄ <<< / facing page POSTER: WERNER HERZOG RETROSPECTIVE TYPOGRAPHY • MENDEDESIGN, SAN FRANCISCO • ART DIRECTOR: JEREMY MENDE • DESIGNERS: AMADEO DESOUZA, STEVEN KNODEL, JEREMY MENDE • CLIENT: SAN FRANCISCO MUSEUM OF MODERN ART MOST OBJECTIVES PEOPLE WHO BECOME DESIGNERS HAVE AN Gain knowledge of nomenclature AFFINITY FOR IMAGERY. CREATING IMAGERY OR UNDERSTANDING IMAGERY and anatomy COMES FAIRLY EASILY TO THEM. PEOPLE WITH AN AFFINITY FOR TYPE—WHO Become familiar with the CONSIDER TYPE AN INTEGRAL ELEMENT OF VISUAL COMMUNICATION—TEND classifi cations of type TO HAVE MORE FACILITY DESIGNING WITH TYPE. IF YOU VIEW TYPE MERELY Differentiate among alignments AS LITERAL CONTENT, TYPOGRAPHY BECOMES A CHALLENGE. ONCE YOU Pick up the basic principles of designing with type EMBRACE TYPE’S CRITICAL ROLE IN GRAPHIC DESIGN, YOU CAN BEST THINK Consider spacing ABOUT TYPE AND DESIGN WITH TYPE. Mix typefaces with purpose If you are designing with type for a branded environment, that context is different from designing type for a business card. However, there are basic guiding principles. Type is form and should be evaluated based on aesthetic criteria of shape, proportion, and balance. Type commu- nicates on a denotative and connotative level. Type has to be thoughtfully integrated with visuals. Type should be readable. Margins present text type and need to be respected. Transitions between letters, words, and paragraphs are critical—spacing can make or break communication. Typography is the design of letterforms and the arrangement of them in two-dimensional space (for print and screen-based media) and in space and time (for motion and interactive media). Type is used as display or as 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.