DOCSLIB.ORG

Designed by Zuzana Licko Licensed and Distributed by Emigre * Mr Eaves Type Specimen Mr Eaves Type Specimen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Designed by Zuzana Licko Licensed and Distributed by Emigre * Mr Eaves Type Specimen Mr Eaves Type Specimen mr eaves type specimen 1 MReaves DesigneD by ZuZana Licko LicenseD anD DistributeD by emigre *www.emigre.com mr eaves type specimen mr eaves type specimen 2 Mr Eaves Design Notes 3 Mr Eaves is the often requested sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this latest addition to the Emigre Type Library is based on the proportions of the original Mrs Eaves. aa gg tt Mr Eaves Sans and Mr Eaves Modern counterparts. A matching Modern family provides a less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off aOriginal Mrs Eavesa Sans in black.d Mr Eaves Sans companiond font in white.ee terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves’ DNA. Licko took some liberty with the design of Mr Eaves. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique charac- teristics. mMr Eaves Sans and Mrm Eaves Modern counterparts. ww The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is f f tt cc desired. Deviations from the Mrs Eaves model are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look. Some characters had to be balanced out differently, such as the lower case c after it lost its top ball terminal. aaMr Eaves Sans and Alternate aaMr Eaves Modern and Alternate Each version (Sans and Modern) also contains its own set of alternate the quick brown fox jumps characters providing unique options for applications such as headlines, the quick brown fox jumps word logos, letterheads, pull quotes, and other customized text settings. With the loss of serifs, the set width of Mr Eaves is narrower. CAPTIONS SET IN MR EAVES XL BOLD 6 PT. | TEXT SET IN XL BOLD 8/10 PT. emigre fonts www.emigre.com mr eaves type specimen mr eaves type specimen 4 Mr Eaves Sans and Modern Mr Eaves XL Sans and Modern 5 Mr Eaves exists of two complimentary families: Mr Eaves Sans and Mr Eaves Mr Eaves XL Sans, has a larger x-height with shorter ascenders and Modern. Mr Eaves Sans most closely resembles the original Mrs Eaves typeface, descenders and overall tighter spacing. Mr Eaves XL allows for a wide while the Modern version has a cleaner, simplified look. Both Mr Eaves Sans variety of uses, specifically those requiring space economy. The larger and Modern are also available with a larger x-height (see right). x-height also maintains superior readability at smaller point sizes. Large x-height } Small x-height } Mr AaEaves Sans Mr AaEaves XL Sans Large x-height } Small x-height } Mr AaEaves Modern Mr AaEaves XL Modern emigre fonts www.emigre.com mr eaves type specimen mr eaves type specimen 6 Mr Eaves Sans and Modern Mr Eaves XL Sans and Modern 7 Mr Eaves Sans and Modern feature three weights each with Mr Eaves XL Sans and XL Modern feature four weights each with accompanying italics, small caps and alternate characters. accompanying italics, small caps and alternate characters. a a a a a a a Regular Bold Heavy Regular Bold Heavy Ultra Typography Typography Typography Typography Mr Eaves Sans Modern Mr Eaves XL Sans XL Modern Typography Typography Typography Typography Mr Eaves Sans Italic Modern Italic Mr Eaves XL Sans Italic XL Modern Italic Typography Typography Typography Typography Mr Eaves Sans Small Caps Modern Small Caps Mr Eaves XL Sans Small Caps XL Modern Small Caps Typography Typography Typography Typography Mr Eaves Sans Alternates Modern Alternates Mr Eaves XL Sans Alternates XL Modern Alternates Typography Typography Typography Typography Mr Eaves Sans Italic Alternates Modern Italic Alternates Mr Eaves XL Sans Italic Alternates XL Modern Italic Alternates emigre fonts www.emigre.com mr eaves type specimen mr eaves type specimen 8 Mr Eaves Sans Mr Eaves XL Sans 9 ABCDEFGHIJK ABCDEFGHIJK LMNOPQQRRS LMNOPQQRRS TUVWXYZ TUVWXYZ aabcdefgghijkllm aabcdefgghijkllm nopqrstvwxyz nopqrstuvwxyz 1234567890 1234567890 !?$%&() !?$%&() Mr Eaves Sans Regular and Alternates Mr Eaves XL Sans Regular and Alternates Typography extravagant Typography extravagant Typography extravagant Typography extravagant Typography extravagant Typography extravagant Mr Eaves Sans Regular, Bold, and Heavy Typography extravagant Mr Eaves XL Sans Regular, Bold, Heavy, and Ultra emigre fonts www.emigre.com mr eaves type specimen mr eaves type specimen 10 Mr Eaves Sans Italic Mr Eaves XL Sans Italic 11 ABCDEFGHIJK ABCDEFGHIJK LMNOPQQRRS LMNOPQQRRS TUVWXYZ TUVWXYZ abcdeffghijklmnopp abcdeffghijklnopp qqrrstuvvwwxyyzz qqrrstuvvwxyyzz 1234567890 1234567890 !?$%&() !?$%&() Mr Eaves Sans Italic Regular and Alternates Mr Eaves XL Sans Italic Regular and Alternates Typography extravagant Typography extravagant Typography extravagant Typography extravagant Typography extravagant Typography extravagant Mr Eaves Sans Italic Regular, Bold, and Heavy Typography extravagant Mr Eaves XL Sans Italic Regular, Bold, Heavy, and Ultra emigre fonts www.emigre.com mr eaves type specimen mr eaves type specimen 12 Mr Eaves Modern Mr Eaves XL Modern 13 ABCDEFGHIJK ABCDEFGHIJK LMNOPQQRS LMNOPQQRS TUVWXYZ TUVWXYZ aabcddefghijklmn aabcddefghijklmn opqrsttuuvwxyyz opqrsttuuvwxyyz 1234567890 1234567890 !?$%&() !?$%&() Mr Eaves Modern Regular and Alternates Mr Eaves XL Modern Regular and Alternates Typography extravagant Typography extravagant Typography extravagant Typography extravagant Typography extravagant Typography extravagant Mr Eaves Modern Regular, Bold, and Heavy Typography extravagant Mr Eaves XL Modern Regular, Bold, Heavy, and Ultra emigre fonts www.emigre.com mr eaves type specimen mr eaves type specimen 14 Mr Eaves Modern Italic Mr Eaves XL Modern Italic 15 ABCDEFGHIJK ABCDEFGHIJK LMNOPQQRS LMNOPQQRS TUVWXYZ TUVWXYZ aabcddeffghijklmn aabcddeffghijklmn opqrsttuuvwxyyz opqrsttuuvwxyyz 1234567890 1234567890 !?$%&() !?$%&() Mr Eaves Modern Italic Regular and Alternates Mr Eaves XL Modern Italic Regular and Alternates Typography extravagant Typography extravagant Typography extravagant Typography extravagant Typography extravagant Typography extravagant Mr Eaves Modern Italic Regular, Bold, and Heavy Typography extravagant Mr Eaves XL Modern Italic Regular, Bold, Heavy, and Ultra emigre fonts www.emigre.com mr eaves type specimen mr eaves type specimen 16 Mr Eaves Sans Mr Eaves XL Sans 17 For your viewing pleasure. For your viewing pleasure. Denote simple fat denied add worthy little use. As some he so high Denote simple fat denied add worthy little use. As some he so down am week. Conduct esteems by cottage to pasture we winding. high down am week. Conduct esteems by cottage to pasture On assistance he cultivated considered frequently. Person how we winding. On assistance he cultivated considered fre- having tended direct own day man. Saw sufficient indulgence one quently. Person how having tended direct own day man. Saw own you inquietude sympathize. sufficient indulgence one own you inquietude sympathize. HEADLINE SET IN HEAVY | TEXT SET IN REGULAR | 10/12 PT. HEADLINE SET IN ULTRA | TEXT SET IN REGULAR | 10/12 PT. For your viewing pleasure. For your viewing pleasure. Denote simple fat denied add worthy little use. As some Denote simple fat denied add worthy little use. As he so high down am week. Conduct esteems by cottage some he so high down am week. Conduct esteems to pasture we winding. On assistance he cultivated by cottage to pasture we winding. On assistance considered frequently. Person how having tended direct he cultivated considered frequently. Person how own day man. Saw sufficient indulgence one own you having tended direct own day man. Saw sufficient inquietude sympathize. indulgence one own you inquietude sympathize. HEADLINE SET IN HEAVY | TEXT SET IN REGULAR | 12/14 PT. HEADLINE SET IN ULTRA | TEXT SET IN REGULAR | 12/14 PT. QUARTERBACK AffairBinocular Shipping Creative freedom Culture Minimum floodwatchMr Eaves Sans Regular JanuaryMr Eaves XL Sans Regular emigre fonts www.emigre.com mr eaves type specimen mr eaves type specimen 18 Mr Eaves Modern Mr Eaves XL Modern 19 For your viewing pleasure. For your viewing pleasure. Son agreed others exeter period myself few yet nature. Mention Son agreed others exeter period myself few yet nature. Men- mr manners opinion if garrets enabled. To an occasional dissimilar tion mr manners opinion if garrets enabled. To an occasional impossible sentiments. Do fortune account written prepare invited dissimilar impossible sentiments. Do fortune account written no passage. Garrets use ten you the weather ferrars venture friends. prepare invited no passage. Garrets use ten you the weather Solid visit seems again you nor all. ferrars venture friends. Solid visit seems again you nor all. HEADLINE SET IN HEAVY | TEXT SET IN REGULAR | 10/12 PT. HEADLINE SET IN ULTRA | TEXT SET IN REGULAR | 10/12 PT. For your viewing pleasure. For your viewing pleasure. Son agreed others exeter period myself few yet nature. Son agreed others exeter period myself few yet Mention mr manners opinion if garrets enabled. To an of nature. Mention mr manners opinion if garrets occasional dissimilar impossible sentiments. Do fortune enabled.
Load more

Recommended publications
  • Zuzana Licko’Dur
    Slovak dilini konuşup geleneklerini servet kazanmak için kestirme sürdürürken, okulda ikinci bir dili bir yol olacağını düşünmüşlerdi. ve yeni âdetleri öğreniyordum. Başlangıçta amaç sadece Hollandalı Bu benim farklılıkların farkına sanatçılara odaklanmaktı, ama varmamı sağladı ve bana bir sonraları içeriği yurt dışında yabancının bakış açısını verdi. Aynı çalışanları kapsar hale gelince ismi, zamanda muhtemelen her şeyi uygun biçimde, Emigre oldu. Uzun sorgulama eğilimimi geliştirdi ve ön lafın kısası, Rudy’nin arkadaşları yargıları sorgulamayı öğretti, bunlar derginin umdukları gibi kârlı da beni tasarım mesleğine çeken olmayacağını anlayınca dergiyi bize şeyler oldu. bırakıp gittiler. O sıralar ben zaten Mac ile yarattığım bitmap fontları doğmuş ama Kaliforniya Dijital yazıtipi tasarımıyla dergide kullanıyordum. Fontların dolaylarında yetişmişlerdi ilgilenmeye başlayan ilk grafik 1985’te Emigre’yi çıkartmaya tasarımcılardan ve Mac kullanan başladığımızda Mac’te sayfa ve bu yüzden girişimlerine ilk yazıtipi tasarımcılarından düzeni programları yoktu. arkasındaki Emigre (Göçmen) Grafik birisiniz. Bu nasıl oldu? PostScript ve lazer yazıcılar bile adını koydular. Aslında Resim yapmayı, Legolarla oynamayı henüz yoktu. Yazıtiplerini nokta yüzler gurbetçiler için mizahi ve matematiği seven bir çocuktum. vuruşlu ImageWriter yazıcılarda bir sanat dergisi olarak Bu yüzden mimar olmak istediğimi düşündüm ve UC Berkeley’de MRS EAVES OT Zuzana başlamış olan Emigre Çevre Tasarımı Bölümüne girdim. Dergisi zaman içinde Okula başladığımda, fotoğrafçılık, tipografi için son derece tipo ve tipografi gibi yan derslerle Licko etkin bir vitrin haline daha fazla ilgili olduğumu fark ettim. Bölüm Görsel Çalışmalar MyFonts, Creative Characters, gelmiş ve yazıtiplerinin programını durdurmuştu, ancak sayı 105, Haziran 2016 tartışıldığı avangard birçok mimarlık öğrencisinin Çeviri: Ayşe Dağıstanlı bir foruma dönüşmüştür. ufkunu genişleteceği düşünüldüğü Yaratıcı yeniden için bu dersler iptal edilmemişti.
    [Show full text]
  • 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.
    [Show full text]
  • Methods for a Critical Graphic Design Practice
    Title Design as criticism: methods for a critical graphic design p r a c tic e Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12027/ Dat e 2 0 1 7 Citation Laranjo, Francisco Miguel (2017) Design as criticism: methods for a critical graphic design practice. PhD thesis, University of the Arts London. Cr e a to rs Laranjo, Francisco Miguel Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London – London College of Communication February 2017 First submission: October 2015 2 Abstract This practice-led research is the result of an interest in graphic design as a specific critical activity. Existing in the context of the 2008 financial and subsequent political crisis, both this thesis and my work are situated in an expanded field of graphic design. This research examines the emergence of the terms critical design and critical practice, and aims to develop methods that use criticism during the design process from a practitioner’s perspective. Central aims of this research are to address a gap in design discourse in relation to this terminology and impact designers operating under the banner of such terms, as well as challenging practitioners to develop a more critical design practice. The central argument of this thesis is that in order to develop a critical practice, a designer must approach design as criticism.
    [Show full text]
  • Emigre No.40
    Fall Information is in a way the opposite 1996 of garbage, although in our contemporary Guest Editor: THE INFO Andrew Blauvelt PERPLEX commercialized world they may at times Designer: Rudy VanderLans Copy Editor: appear identical. As a rule, information is Alice Polesky Emigre Fonts: something to preserve, garbage is Zuzana Licko Sales, distribution, and administration: Tim Starback something to be destroyed. However, both Sales John Todd and Darren Cruickshank can be looked on as a kind of waste product, a physical burden, and for contemporary society both are among the most pressing 1 Emigre no.40 This issue of Emigre problems today. was typeset in Base-9 and Base-12, designed – B i l l V i o l a by Zuzana Licko. Postmaster: Emigre (ISSN 1045-3717) is published quarterly for $28 per year by Emigre, Inc. 4475 D Street, Sacramento, CA 95819, U.S.A. Second class postage paid at Sacramento, CA. Postmaster please send address changes to: Emigre 4475 D Street, Sacramento, CA 95819, U.S.A. Copyright: © 1996 Emigre, Inc. All rights reserved. No part of this publication may be reproduced without written permission from the contributors or Quotes on inside front and back covers by Bill Viola. Emigre, Inc. Emigre is From HISTORY, 10 YEARS, AND THE DAYDREAM, in Reasons for knocking at an Empty House . Cambridge, MA a registered trademark of and London: MIT Press, 1995 Emigre Graphics. Phone: 916.451.4344 / Fax: 916.451.4351 Email (Editorial): [email protected] / Email (Subscriptions, etc.): sales @emigre.com 1 27 1 We write not to be understood 2 28 2 but to understand.
    [Show full text]
  • Ambition/Fear by Zuzana Licko and Rudy Vanderlans Visions of Bold
    Ambition/Fear ously hinged between disciplines will find that digital technology By ZuZana Licko and Rudy VandeRLans allows them that crossover necessary for their personal expression. One such new area is that of digital type design. Custom typefaces can now be produced letter, by letter, as called for in day-by-day ap - plications. This increases the potential for more personalized type - Visions of bold-italic-outline-shadow Helvetica “Mac” tricks have faces as it becomes economically feasible to create letter forms for sent many graphic designers running back to their T-squares and specific uses. rubber cement. Knowing how and when to use computers is difficult, since we have only begun to witness their capabilities. Some design - By making publishing and dissemination of information faster and ers have found computers a creative salvation from the boredom of less expensive, computer technology has made it feasible to reach a familiar methodologies, while others have utilized this new technol - smaller audience more effectively. It is no longer necessary to market ogy to expedite traditional production processes. For this eleventh for the lowest common denominator. There is already a growth in issue of Emigre we interviewed fifteen graphic designers from around the birthrate of small circulation magazines and journals. Although the world, and talked about how they work their way through the this increases diversity and subsequently the chances of tailoring sometimes frustrating task of integrating this new technology into the product to the consumer, we can only hope that such abundance their daily practices. will not obliterate our choices by overwhelming us with options.
    [Show full text]
  • Mrs. Eaves 14 Modern: Bodoni 18 Slab Face: Clarendon
    FLAUNT YOUR FONT g k & g O H & h l k 8 mH f f f f f f f f f f 7 f U b b b b b b b b M Pb 8 2 X O O O 3 i O k 1 P m v c m f f f n a g 8 O m d X a nFLAUNT g n k k 1 h P P t A R g h h h h h h U k j j j YOUR 3 O m H g O 8 k k O FONT i a t & O b h & g 3 3 3 3 k k k v h h k & H d m X X X X X X X X X X m m m a t f f fh O 8 O O O O O O f O h v h k k k k k k k k k k k k k k k k k k k k k k k k k k a kX 3 t P P o P f f f f f f f M M M M M M b bM X 7 k l l l h h h h h g h H 8 t k O m g a t g k & g O H & h l k 8 mH f f f f f f f f f f 7 f U b b b b b b b b M Pb 8 X O O O 3 i O k 1 P m v c m f f f n a g 8 O m d X a nFLAUNT g n k k 1 h P P t A R g h h h h h h U k j j j YOUR 3 O m H g O 8 k k O FONT i a t & O b h & g 3 3 3 3 k k k v h h k & H d m X X X X X X X X X X m m m a t f f fh O 8 O O O O O O f O h v h k k k k k k k k k k k k k k k k k k k k k k k k k k a kX 3 t P P o P f f f f f f f M M M M M M b bM 3 X 7 k l l l h h h h h g h H 8 t k O m g a t A font specimen book by: Julia Brooke Rothstein 4 Contents: Serif: 4 Old Stylt: Garamond 10 Traditional: Mrs.
    [Show full text]
  • Use One Typeface
    01 Flush Left When in doubt, set your type flush left rag right. Why? In western culture, people read from top to bottom, left to right. By justifying type left, the eye is able to find the edge and read copy much more easily. Avoid indenting the first line of a paragraph for this reason. Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 02 Use One Typeface Using two typefaces successfully within a layout requires an understanding of the chosen faces in order to be confident that they are complementary. In general, avoid using two typefaces of the same classification. For example, do not use two sans serif, serif, slab serif or script faces together. The reason—contrast. Stay with one typeface until you have achieved mastery. Helvetica Neue Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 03 Skip A Weight Go from light to bold, or from medium to extra bold when changing font weights. The key to great design is contrast. Slight changes in weight change make it harder for the audience to notice the difference. Try mixing bold for the headline and light for the body copy for greater contrast. Light/Bold Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 04 Double Point Size A good rule of thumb when changing point sizes, is to double or half the point size you are using.
    [Show full text]
  • Lecture Slides — PDF 2.7 MB
    Overview 1 Desktop Publishing 1 2 The Digitial Era 11 3 Conclusion 27 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / OVerVIEW II / XXVII GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITAL ERA 1 / 27 Desktop Publishing 1984 The introduction of drag-and-drop publishing tools cracked open unprecedented design opportunities not unlike Gutenberg’s advancement in movable typography. GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 2 / 27 1984 Apple Computer • Apple Computer develops the Mac • Makes personal computing affordable • Uses a grahical user interface instead of command line • Allows mouse-driven navigation · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 3 / 27 1984 Susan Kare • Apple Computer design department • Early bitmapped fonts • Letterform design was controlled by the matrix of dots in these early fonts • Icon set (pictograms) · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 4 / 27 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 5 / 27 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 6 / 27 1984 PostScript • Adobe Systems invents PostScript • Programming language • Ran concurrently with page layout programs and electronically generated typography · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 7 / 27 1985 Aldus PageMaker • Early software application • Based on PostScript • Allows pages to be built in real-time on the computer screen • Could alter type size, choice of font, and column dimensions. • Integrated text with other elements, such as scans of pictures, ruled lines, headlines, and borders • WYSIWYG • Eventually bought by Adobe · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE DIGITIAL ERA / HUMan-coMPUter InteractIon 8 / 27 1985 Aldus PageMaker • Early software application • Based on PostScript • Allows pages to be built in real-time on the computer screen • Could alter type size, choice of font, and column dimensions.
    [Show full text]
  • A Brief History of Typefaces the Invention of Printing Movable Type Was Invented by Johannes Gutenberg in Fifteenth-Century Germany
    A brief history of typefaces The invention of printing Movable type was invented by Johannes Gutenberg in fifteenth-century Germany. His typography took cues from the dark, dense handwriting of the period, called “blackletter.” The traditional storage of fonts in two cases, one for majuscules and one for minuscules, yielded the terms “uppercase” and “lowercase” still used today. Working in Venice in the late fifteenth century, Nicolas Jenson created letters that combined gothic calligraphic traditions with the new Italian taste for humanist handwriting, which were based on classical models. )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) The Venetian publisher Aldus Manutius distributed inexpensive, small-format books in the late fifteenth and early sixteenth centuries to a broad, international public. His books used italic types, a cursive form that economized printing by allowing more words to fit on a page. This page combines italic text with roman capitals. Integrated uppercase and lowercase typefaces. The quick brown fox ran over lazy d the lazy dog 2 or 3 times. ITC Garamond, 1976 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Adobe Garamond, 1986 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Garamond Premier Regular, 2005 Garamond typefaces, based on the Renaissance designs of Claude Garamond, sixteenth century Enlightenment and abstraction The painter and designer Geofroy Tory believed that the proportions of the alphabet should reflect the ideal human form.
    [Show full text]
  • Emigre Specimen
    min EMIGRE F O N T S EMIGRETypE SPECIMENS Emigre music{[ sampler no.no. 11 Mr Eaves XL Sans Mr Eaves Sans Rr) EST. 1984 Hotel 2 Alpha INDIA 3 Juliet FREE CATALOG BRAVO WITH EACH TYPE Charlie kiloLIMA PURCHASE delta mike november Echofoxtrot PRINTED TYPE golf OSCAR SPECIMENS MR California State Assembly Available eaves Aldaalda RegulaR 95 pt MADE BY EMIGRE Mr Eavesa XL new Modern text typeface Minimum alda RegulaR 23 pt * DESIGNED BY Papa alda light 14 pt Instrumentalists VictorBErTon Quebecwhiskey alda bold 35 pt ROMEO ONTERRELEASED AND HASEBE DISTRIBUTED BY alda bold 54 pt Sierra XrayConceived and developed EMIGRE Yankee alda RegulaR italic 14 pt Tango at the renowned Sunsetalda light 16 pt Sound) Recorders TYPE & MEDIA Rr alda bold 24 pt ZU Environmentally Recycledwww.emigre.com Paper Products UNI- master course alda light italic 26 pt www.emigre.com at the RoyalImpressed academy of aRt Mr Eavesform Modern lu alda RegulaR small caps 16 pt THE HaGuE, THE nETHErlandS alda boldTriumphantly small caps 10 pt RELEASED AND DISTRIBUTED BY EMIGRE ) narm Rr WEIGHTS www.emigre.com The logical outcomeA aofd perseverancel in art Unified Alda Emigre.Eye.Alda.indd 7 6/5/11 9:13 AM 4 5 Rr V E N D E T T A A Type Specimen E .5 4 A New Series of Venetian Old Style Printing Types Designed by John Downer THE LAST WAVE here first used in an adaptation of: EMIGRETypO u r A rE a bSPECIMENS y Palm Springs and the Garden of the Sun by J. Smeaton Chase {[first published in 1920 THE EMIGRE 48ENDUNTITLED Layout and Photography by Rudy VanderLans 8II emigre fonts
    [Show full text]
  • A Type Specimen Booklet by Alex Morales
    SS P A A C EE a type Specimen bookletP by Alex Morales C Palatino 4 Mrs Eaves 6 Didot 8 Rockwell 10 gill sans 12 univers 14 Futura 16 snell roundhand 18 expletus sans 20 Inknut Antiqua 22 exo 2 24 Averia Sans Libre 26 Tillana 28 ubuntu mono 30 Palatino {Old style Serif} Herman Zapf created Palatino at the start of his type designing career- the typeface was re- leased in 1948 by the Linotype foundry. The typeface grew popular very rapidly, finding usage in hundreds of American newspapers, as well as in high profile publications in Zapf’s native Germany. The harmonious forms of the design are reminiscent of the Renaissance and, combined with Zapf’s economical fit, make the typeface well-suited for anything rang- ing from headlines and advertisements to newspaper body text and instruction manuals. Halley [Palatino LT Std Light] Encke [Palatino LT Std Roman] Biela [Palatino LT Std Medium] Faye [Palatino LT Std Bold] Brorsen [Palatino LT Std Black] d’Arrest [Palatino LT Std Light Italic] Pons-Winecke [Palatino LT Std Italic] Finlay [Palatino LT Std Medium Italic] Westphal [Palatino LT Std Bold Italic] [Palatino LT Std Black Italic] Kopff Periodic Comets 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 1 2 3 4 5 6 7 8 9 0 # ( ) { } [ ] % & ! ? .
    [Show full text]
  • Automation and the Map Label Placement Problem
    Number 60, Spring 2008 cartographicCartographic perspectives Perspectives 1 Journal of the North American Cartographic Information Society Number 60, Spring 2008 From the Editor In this Issue As I look out over the synclinal OPINION valley unfolding below Big Sav- Manifestos 5 age Mountain I can already see Mark Denil spots of crimson, amber, and brown dotting the forested land- Just to Make Clear “Where the Roots Come From”: A Response to 14 scape. Autumn comes early to the Mark Denil’s “Manifestos” mountains in Western Maryland Steven R. Holloway and winter is not too far behind. There is a saying by those who FEATURED ARTICLES live in Garrett County Maryland, Automation and the Map Label Placement Problem: A Comparsion 22 which is located immediately west of Two GIS Implementations of Label Placement of Frostburg State University and Jill Phelps Kern and Cynthia A. Brewer is on the Appalachian Plateau, that “there are only two seasons here: Addressing Map Interface Usability: Learning from the Lakeshore 46 July and winter.” Of course, as Nature Preserve Interactive Map autumn approaches, this change in Robert E. Roth and Mark Harrower seasons has different meanings to people. For the NACIS community, REVIEWS this means the next annual NACIS Bomb after Bomb: A Violent Cartography 67 conference isn’t too far distant. I Reviewed by Daniel G. Cole hope you are making plans to at- tend this year’s conference held in Bomb After Bomb: A Violent Cartography 68 Missoula, Montana. Reviewed by Mark Denil In this issue of CP you will find a mix of cartographic writ- London: A Life in Maps 71 ings which I hope you will find Reviewed by Julia Siemer interesting.
    [Show full text]