DOCSLIB.ORG

Futura (Typeface) 1 Futura (Typeface)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Futura (Typeface) 1 Futura (Typeface) Futura (typeface) 1 Futura (typeface) Category Sans-serif Classification geometric sans-serif Designer(s) Paul Renner Edwin W. Shaar (Extra Bold, Extra Bold Italic) Tommy Thompson (Extra Bold Italic) Foundry Bauer Type Foundry Date created 1927 Re-issuing foundries Intertype Design based on Bauhaus In typography, Futura is a geometric sans-serif typeface designed in 1927[1] by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–1933.[2] Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922, Futura was commercially released in 1936.[3] The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson. Matrices for machine composition were made by Intertype. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner's initial design included several geometrically constructed alternative characters and ranging (old-style) figures, which can be found in the typeface Architype Renner. Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals. Futura (typeface) 2 The original Futura design also included small capitals and old-style figures, which were dropped from the original metal issue of the type. The digital versions of these glyphs were first produced by Neufville Digital under the Futura ND family. Futura Black Released in 1936,[4] Futura Black is an alternate design that uses stencil letter forms. The public safety departments (Police, Fire, EMS and others) of Boston, Massachusetts use Futura Black as a typeface for their department vehicles. Futura Display (Futura Schlagzeile) Released in 1932, Futura Display uses more angular strokes, resulting in rectangular letter forms. This is also the font used on the covers of the classic Region 2 Doctor Who DVD covers. Futura Condensed Futura Condensed is a condensed version of the original Futura font family. Bold and bold oblique fonts were released in 1930. Medium, medium oblique, extra bold, and extra bold oblique fonts were released in 1936. Light and light oblique fonts were released in 1950. Steile Futura Steile Futura was Paul Renner's attempt to create a typeface that would be closer to the nineteenth century sans serifs than to the geometric model. During the course of development, Renner developed several intermediate versions. Some of the early design could be found in the experimental font called Renner-Grotesk, which appeared as a trial type casting from the Stempel type foundry in 1936. Renner kursiv, a true italic companion to the regular version, was made after Stempel had been taken over by Bauer in 1938. The work on the type family continued in the 1940s, but Renner's poor health had slowed down the development. Renner started to work again on this project in 1951 under the name of Steile Futura (steil in German means "upright" or "steep"). The font family released by Bauer consist of mager (light), halbfett (medium), fett (bold), kursiv halbfett (medium italic), and kursiv fett (bold italic). The font family was released in 1952–1953. It was sold in German, English, Spanish, and French markets as Steile Futura, Bauer Topic, Vox, Zénith respectively.[5] The font family has rounder letters than Futura Display. For the first time, italic type features are incorporated in the italic fonts. The fonts incorporate handwriting features, especially in italic version. Futura ND This version is based on the original sources of the Bauersche Giesserei, which had passed its typefaces to its Barcelona branch, Fundición Tipográfica Bauer SL. Released in 1999 by Neufville Digital – a joint venture of Fundición Tipográfica Bauer SL and Visualogik Technology & Design b.v – it includes small capitals and the old-style figures that had not been made in metal types. Neufville Digital issued Futura, Futura Black, Futura Condensed, and Futura Display (Futura Schlagzeile) under the Futura ND family. Futura (typeface) 3 ParaType version The ParaType fonts added Cyrillic characters. They were developed at ParaType (ParaGraph) in 1995 by Vladimir Yefimov. They came in only Light, Book, Medium, Demi weights. Futura Futuris Futuris is a redesign at ParaType (ParaGraph) in 1991 by Vladimir Yefimov that includes Cyrillic characters. Condensed styles were added in 1993 by Vladimir Yefimov and Alexander Tarbeev. It is available in Light, Medium, Bold, Black (without oblique) weights, while condensed fonts were made in Bold, Extra Bold, all without obliques. Also available are Cameo Extra Bold (black in reverse), Shadow Light, Shadow Extra Bold (black with shadow), Volume Light. Futura PT This version is based on the previous ParaType design by Vladimir Yefimov, but expanded to include 7 weights, with Book, Medium, Bold, Extra Bold weights for condensed fonts. Additional Cyrillic styles were developed in 2007 by Isabella Chaeva. Futura Eugenia This version is based on the Futura Black, but designed at the Polygraphmash type design bureau in 1987 by Elvira Slysh. Bukra Bukra is an Arabic variant designed by Pascal Zoghbi. It consists of Bukra Extra Bold, which was used as an Arabic display typeface for Ibn Battuta Mall in Dubai as a complement for Futura Extra Bold. The design was based on Kufi script, but using shortened descenders. Influence on other typefaces Though Erbar was the first of the new geometric sans-serif faces, the enormous success of Futura fostered the creation of many new geometric sans-serif faces by competing foundries including Kabel, Metro, Vogue, Spartan, Twentieth Century, and Century Gothic among others. Some were near identical copies as in Spartan and Vogue, but others, were uniquely different including Nobel and Kabel. Typeface designer Adrian Frutiger acknowledges Futura as one of his inspirations for his 1988 typeface Avenir. More recently Futura has been the basis of Ikea Sans and Opel Sans, fonts designed (for Ikea and Opel, respectively) by Robin Nicholas.[6] The subway system of the city of Toronto has their own Toronto Subway Font based on Futura. Tasse is a revival of Steile Futura. Beteckna is inspired by Futura. Braggadocio is based on Futura Black. Fujiyama is a clone of Futura. The 2000 typeface Gotham is similarly geometric and based on 1920s signage. Passata is a modernised version of Futura specifically designed to replace Futura as the corporate branding font of Aarhus University. Futura (typeface) 4 Usage Futura's success spawned a range of new geometric sans-serif typefaces from competing foundries, and remains one of the most used sans-serif types into the twenty-first century. Particularly during the 1950s it was used extensively by the publishing industry as a general purpose font. Futura remains an important typeface family and is used on a daily basis for print and digital purposes as both a headline and body font. The font is also used extensively in advertisements and The commemorative plaque left on the Moon in logos, notably by IKEA (until 2010), Volkswagen, Royal Dutch Shell July 1969 features text set in Futura. and HP in their print ads. For example, the font is used for the title logo of the 1999 film American Beauty. It was also used in various TV shows including Doug, Lost, Warehouse 13, the American version of Sesame Street, etc. Futura is also featured ubiquitously throughout the film adaptation of V for Vendetta, used for everything from the title logo and ending credits, to signs, newspapers, computer screens and other props. Wes Anderson is also fond of the font and has used it in all of his films. Futura was also Stanley Kubrick's favorite typeface.[7] In 1997, the Pittsburgh Steelers (an American Football team) switched to rounded numbers on the jersey to match the number font (Futura Condensed) on their helmets. It is also used on the Bell Canada and the current TV5 (Philippines) logo. Futura is also Animax Asia's main typeface. The Boston Celtics' championship banners are also in Futura Condensed. 2008 science fiction-fantasy film City of Ember features Futura Medium in many prints through the story. The condensed version was used in the 2011 role-playing video game The Elder Scrolls V: Skyrim, as well as being used extensively throughout the Watchmen graphic novel as well as the movie based on it. In season 2 of Stargate: Universe, Episode "Common Decent-Part 1" the ancestors of the crew state that one of the two continents was named "Futura". There are several references to the name being a font in the episode. References [1] http:/ / www. linotype. com/ 472/ futura-family. html [2] The Bauhaus Designer Paul Renner (http:/ / www. creativepro. com/ article/ the-bauhaus-designer-paul-renner). Creativepro.com. [3] http:/ / www. linotype. com/ 472/ futura-family. html [4] http:/ / www. linotype. com/ 472/ futura-family. html [5] About Steile Futura (http:/ / mitja-m. com/ writings/ steile_futura. htm). Mitja-m.com. [6] Hausschriften-Liste (http:/ / www.
Load more

Recommended publications
  • Tracing Futura
    MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography Min Choi // Fall 2017 TRACING FUTURA FUTURA— the prototype of the family of geometric sans-serif typefaces. It was designed in 1927 by Paul Renner. As opposed to earlier sans-serif designs, the strokes appear to be even weight and geometric. This seems most visible in the almost perfectly round stroke of the O but Futura is actually slightly imperfect. It is often said that Futura was directly related to the Bauhaus. Renner him- self was not associated with the Bauhaus although many of the modern principles taught at the Bauhaus are incorporated into the letterform design of Futura. Futura was developed during a competitive period in the 1920s when various foundries were developing modern san serif type faces for various lead type setting technology. It would be followed by Gill Sans by U.K. Monotype designed by Eric Gill and Metro by U.S. Linotype designed by W. A. Dwiggins. Futura was one of the most popular fonts in use in the 20th century, especially in the 1950s and 1960s, and is in use in the corporate Roman- design of Volkswagen to this day. (See classic ad at left). Check out more of Volkswagen’s iconic print advertising: http://fontsinuse. The basic letterform style so com/uses/1976/volkswagen-of-america-ads-1960-66 called because it is derived from inscriptions on Roman Futura remains an important typeface family and is used world wide on a daily basis for print and digital purposes as both a headline monuments. and text font.
    [Show full text]
  • Futura Franklin Gothic
    Franklin Gothic Morris Fuller Paul Benton & Renner Futura Futura 1927 Designer Paul Renner created the designed by Renner. Futura has con- typeface Futura in 1927. Futura is a tinued to thrive even to this day with nice geometric sans-serif font, which the help of it’s nice and clean design, unlike typical sans-serif fonts used and is a staple in the typographic in the display world, featured a low world. Young, thriving designers look X-height. Renner wanted to stay to typefaces such as Futura as inspi- away from any decoration when de- ration in the use their own work. signing the font, leaving it with just a crisp and clean typeface. Futura also included some features such as small capitals and old style figures. Renner is a German citizen, so Futura was designed in Germany. Since it’s re- lease, Futura has become one of the most popular fonts, and a common- ly used one for headlines, posters, banners, etc. There have been a few versions that have stemmed off of it’s creation and popularity, including Futura Black, Futura Display, Futu- ra Condensed, and Steile Futura, all Franklin Gothic 1902 Franklin Gothic is a grotesque, over the years. Franklin Gothic is the sans-serif font, designed by Ameri- most popular of the gothic series can designer Morris Fuller Benton in that Benton designed throughout his 1902. Since he was American, nat- career. Due to it’s fame, this typeface urally Franklin Gothic was created is frequently talked about in high in the United States. The typeface is regards in classrooms and schools bolder than a regular font and named where typography history is taught.
    [Show full text]
  • 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.
    [Show full text]
  • Surviving the TEX Font Encoding Mess Understanding The
    Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Fonts for 2021!
    Fonts for 2021! Amienne* Basic Class Display Fonts 1234567890 1234567890 * Font families available abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Anaconda Baveuse Abigail * 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz avbcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Argentine Belinda* Abyss* 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Arizona Benjamin* Adria Deco 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Austere Berkley* Agnes 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Ballad Script Bernhard Fashion FS Aladdin* 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Bamboo Big Fiction* Alex Brush 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Banker
    [Show full text]
  • 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.
    [Show full text]
  • Photo/Graphics Michel Wlassikoff
    SYMPOSIUMS 1 Michel Frizot Roxane Jubert Victor Margolin Photo/Graphics Michel Wlassikoff Collected papers from the symposium “Photo /Graphisme“, Jeu de Paume, Paris, 20 October 2007 © Éditions du Jeu de Paume, Paris, 2008. © The authors. All rights reserved. Jeu de Paume receives a subsidy from the Ministry of Culture and Communication. It gratefully acknowledges support from Neuflize Vie, its global partner. Les Amis and Jeunes Amis du Jeu de Paume contribute to its activities. This publication has been made possible by the support of Les Amis du Jeu de Paume. Contents Michel Frizot Photo/graphics in French magazines: 5 the possibilities of rotogravure, 1926–1935 Roxane Jubert Typophoto. A major shift in visual communication 13 Victor Margolin The many faces of photography in the Weimar Republic 29 Michel Wlassikoff Futura, Europe and photography 35 Michel Frizot Photo/graphics in French magazines: the possibilities of rotogravure, 1926–1935 The fact that my title refers to technique rather than aesthetics reflects what I take to be a constant: in the case of photography (and, if I might dare to say, representation), technical processes and their development are the mainsprings of innovation and creation. In other words, the technique determines possibilities which are then perceived and translated by operators or others, notably photographers. With regard to photo/graphics, my position is the same: the introduction of photography into graphics systems was to engender new possibilities and reinvigorate the question of graphic design. And this in turn raises another issue: the printing of the photograph, which is to say, its assimilation to both the print and the illustration, with the mass distribution that implies.
    [Show full text]
  • Menupro 9 User Guide Getting Started • I
    MenuPro® by SoftCafé Version 9 MenuPro® User's Guide Copyright © 1994-2010 SoftCafe, LLC. All rights reserved. Microsoft is a registered trademark of Microsoft Corporation. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark Office and elsewhere. Adobe and Acrobat are trademarks of Adobe Systems Incorporated. Abadi, Albertus, Arial, Bembo, Corsiva, Gill Sans, Pepita and Swing are trademarks of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. Binner Gothic, Braggadocio, Broadway, Colonna, Coronet, Forte, Gallia, Ginger, Impact, Imprint, Matura, Palace Script, and Runic are trademarks of The Monotype Corporation and may be registered in certain jurisdictions. American Diner is a trademark of HandCraftedFonts Company. Buffalo Gal is a trademark of Thomas A. Rickner. Curlz is a trademark of The Monotype Corporation. Ginko is a trademark of Paul Pegoraro. Lebeau is a trademark of Bo Berndal. Andy and Looseprint are trademarks of Steve Matteson. Caslon Antique, Choc, Mistral, Ortem and Zambesi are trademarks of Polyvroom BV. Cruz Handy and Woodcut Alpha are trademarks of Agfa Monotype Corporation may be registered in certain jurisdictions. Balmoral, ITC Braganza, ITC Juanita, ITC Rastko and Papyrus are trademarks of the International Typeface Corporation and may be registered in certain jurisdictions. ITC Eras and ITC Rennie Mackintosh are trademarks of the International Typeface Corporation registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions. Ashley Crawford, Galaxy Run, Goudy Ornate, Haarlemmer and Othello are trademarks of Agfa Monotype Corporation and may be registered in certain jurisdictions.
    [Show full text]
  • The Monotype Library Opentype Edition
    en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project.
    [Show full text]
  • Linotype Matrix 4.2—The Legend Continues
    Mergenthaler Edition releases second issue of the new Linotype Matrix Linotype Matrix 4.2—the legend continues. Bad Homburg, 16 May 2006. Following its highly successful relaunch of Linotype Matrix in magazine format last year, Linotype’s publishing label, Mergenthaler Edition, is now releasing the second issue of the classic typographic journal. Linotype Matrix Issue 4.2 takes an exciting and informative look at typography in history – with a thematic focus on the great 20th century type designer William Addison Dwiggins. Within the 64 pages of this richly illustrated issue readers will find articles contributed by some of the best talents working in typography today. For instance, writer and typographer John D. Berry explores the legacy of the Deberny & Peignot type foundry, while the article on Dwiggins’ life and work has been penned by type designer and scholar Paul Shaw, an established Dwiggins authority. Additionally, renowned type historian Sylvia Werfel takes a look at how type systems make designing texts easier. 2006 marks the 50th anniversary of W. A. Dwiggins’ death—an appropriate moment to look back at the contributions of one of the first truly significant type designers from the U.S. As Paul Shaw is currently working on a doctoral dissertation at Columbia University about Dwiggins, he is able to offer an in- depth look at his prolific career as an illustrator, and tells us how, in his late forties, he began a second remarkable career in typeface design at Linotype. Dwiggins was, in fact, the first major type designer to work for the Mergenthaler Linotype Co. in New York and was responsible for creating many great designs, including Metro and Electra, and his most enduring typeface, Caledonia.
    [Show full text]