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Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine -
Afgbaskerville (The Type Face)
gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo. -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
Serif Fonts Vol 2
Name Chaparral Pro Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Italic Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Italic Basic Latin ! " # $ % & ' ( ) * + , - . -
Suitcase Fusion 8 Getting Started
Copyright © 2014–2018 Celartem, Inc., doing business as Extensis. This document and the software described in it are copyrighted with all rights reserved. This document or the software described may not be copied, in whole or part, without the written consent of Extensis, except in the normal use of the software, or to make a backup copy of the software. This exception does not allow copies to be made for others. Licensed under U.S. patents issued and pending. Celartem, Extensis, LizardTech, MrSID, NetPublish, Portfolio, Portfolio Flow, Portfolio NetPublish, Portfolio Server, Suitcase Fusion, Type Server, TurboSync, TeamSync, and Universal Type Server are registered trademarks of Celartem, Inc. The Celartem logo, Extensis logos, LizardTech logos, Extensis Portfolio, Font Sense, Font Vault, FontLink, QuickComp, QuickFind, QuickMatch, QuickType, Suitcase, Suitcase Attaché, Universal Type, Universal Type Client, and Universal Type Core are trademarks of Celartem, Inc. Adobe, Acrobat, After Effects, Creative Cloud, Creative Suite, Illustrator, InCopy, InDesign, Photoshop, PostScript, Typekit and XMP are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apache Tika, Apache Tomcat and Tomcat are trademarks of the Apache Software Foundation. Apple, Bonjour, the Bonjour logo, Finder, iBooks, iPhone, Mac, the Mac logo, Mac OS, OS X, Safari, and TrueType are trademarks of Apple Inc., registered in the U.S. and other countries. macOS is a trademark of Apple Inc. App Store is a service mark of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. Elasticsearch is a trademark of Elasticsearch BV, registered in the U.S. -
Sponsored Programs New Developments and Important Reminders
Sponsored Programs New Developments and Important Reminders Rebecca Trahan Office of Sponsored Programs January 16, 2019 1 NSF Updates NIH Updates Federal Update OSP Updates Q & A 2 1 3 4 2 NSF 19-1 effective 1/28/2019 Effective for proposals submitted or due on or after 1/28/2019. Slides and video from NSF PAPPG Webinar on 11/27/2018: https://nsfgrantsconferences.com/pappg- webinar-19/. 5 Proposal Submission via Research.gov . Research.gov is an alternative to NSF FastLane and Grants.gov proposal submission. Can be used for full, research non-collaborative proposals. On-screen instructions in Research.gov must be followed when different than PAPPG. Project Description – Proposed Subawards . The description of the work to be performed by the proposed subrecipient must be included in the project description. 6 3 Proposals with international subrecipients or consultants . NSF rarely provides funding support to foreign organizations. In cases where the proposer considers the foreign organization’s involvement to be essential to the project (e.g., through subawards or consultant arrangements), the proposer must explain why local support is not feasible and why the foreign organization can carry out the activity more effectively. In addition, the proposed activity must demonstrate how one or more of the following conditions have been met: . The foreign organization contributes a unique organization, facilities, geographic location and/or access to unique data resources not generally available to U.S. investigators (or which would require significant effort or time to duplicate) or other resources that are essential to the success of the proposed project; and/or . -
AVENIR Family
An Introduction To The AVENIR Family By Stacey Chen O V E R V I E W l Avenir was designed by Adrian Frutiger. l The typeface was first released in 1988 with three weights, before being expanded to six weights. l In 2004, together with Akira Kobayashi, Frutiger reworked the Avenir family. l Avenir has now become a common font in web, print, and graphic design, etc. l Frutiger was born in Unterseen, Switzerland 1928. l At age 16, Frutiger was apprenticed as a compositor to a printer, while taking classes in woodcuts and drawing. l With his second wife, Frutiger had two daughters, who both experienced mental health problems and committed suicide as adolescents. l Frutiger spent most of his professional career working in Paris and living in France, returning to Switzerland later in life. A D R I A N F R U T I G E R l Charles Peignot of Deberny Et Peignot recruited Frutiger based on the quality of the wood- engraved illustrations of his essay. l Impressed by the success of Futura typeface, Peignot encouraged a new, geometric sans-serif type in competition. l Frutiger disliked the regimentation of Futura, and persuaded Peignot that the new sans-serif be based on the realist model. l In 1988, Frutiger completed the family Avenir. Frutiger intended the font to be a more human version of geometric sans-serif types popular in the 1930s, such as Erbar and Futura. A D R I A N F R U T I G E R “Avenir” = “Future” French English A V E N I R i s l Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. -
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. -
Hoefler Text Eruieruieruieruieruieruieu
HOEFLER TEX T eruieruieruieruieruieruieu Regular 30 pt Hoefler Text eruieruieruieruieruieruieu Copyright © 2014 by Kristina Davis All rights reserved. Typography Source: Wikipedia Italic 14 pt, Regular 12 pt Hoefler Text WRI tt EN AN D DESIGNE D BY KRIS T INA DAVIS Regular 36, 18, 12 pt CON T EN T S Hoefler Text 7 History 8 Type variations 14 Ligatures 15 Features BY 17 Colophon KRIS T INA DAVIS Regular 48, 13 eruieruieruieruieruieruieu HIS T ORY Hoefler Text is a contemporary serif Antiqua font that was designed for Apple Computer to demonstrate advanced type technologies. Hoefler Text was created to allow the composition of complex typography; as such it takes cues from a range of classic fonts, such as Garamond and Janson. It was designed by Jonathan Hoefler in 1991. A version of Hoefler Text has been included with every version of Mac OS since System 7.5. Regular 54, 11 7 Hoefler Text Regular ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 8 Regular 24, 16 Hoefler Text Italic ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 Italic 24, 16 9 Hoefler Text Black ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 10 Black 24, 16 Hoefler Text Black Italic ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890 Black Italic 24, 16 11 12 Hoefler Text Symbols ! @ # $ % & ? © ¶ ® § ™ = + { } [ ] 3/4 1/2 1/3 Ornaments ABCDEFGHIJKLMNOPQRSTTTTTTT abcdefghijklmnopqrstuvwxyz 1234TTT890 Regular 24, 16 13 Ligatures Œ œ ff fi fl ffi ffl st 14 Regular 36, 24 eruieruieruieruieruieruieu FEA T URES Hoefler Text incorporates automatic ligatures, the round and long s, real small capitals, old style figures and swashes. Hoefler Text also has a matching ornament font. -
Download Futura Font Word
1 / 5 Download Futura Font Word Futuristic Fonts Download Free futuristic fonts at UrbanFonts.com Our site carries ... '80s generator gives your words a neon retro tribute Oct 07, 2016 · Well, if you ... Futuristic Logos Futura Fonts generator tool will let you convert simple and .... Download Futura fonts from UrbanFonts.com for PC and Mac. Futura EF Fonts Free ... Futura Lt Font. How to Install Futura Font in Adobe, Ms Word, Mac or Pc?. 11 Free Chrome Graphics Generators Welcome to MyFonts, the #1 place to download great @font-face webfonts and desktop fonts: classics (Baskerville, Futura, .... Mar 12, 2020 — Want to use beautiful custom fonts in your WordPress theme? ... First thing you need to do is download the font that you like in a web format.. Download Futura PT font (22 styles). Futura PT FuturaPTBold.otf 126 Kb | Futura PT Bold Italic FuturaPTBoldOblique.otf 125 Kb | Futura PT FuturaPTBook.otf ... Download Futura PT Font click here: https://windows10freeapps.com/futura-pt-font-free-download .... Free Font for Designers! High quality design resources for free. And helps introduce first time customers to your products with free fonts downloads and allow .... I'll use Futura PT Heavy which I downloaded from Adobe Typekit, but any font will work: ... This Font used for copy and paste and also for word generator.. Sep 23, 2011 — This is the page of Futura font. You can download it for free and without registration here. This entry was published on Friday, September 23rd .... ... the text it generates may look similar to text generated using the HTML or tags or the CSS attributes font-weight: bold or font-style: italic , it isn't.