The Questa Project Specimen.Pdf
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Fontfont Focus Nexus.Pdf
★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆ three-way conversation in type, Threesome and The new cala? are just three qualifications that were given to Martin Majoor’s type family ff Nexus, when it was released in 2004. The fact that ff Nexus has three variants – a serif, a sanserif and a slabserif (a mix between serif and sans) – makes it a highly versatile typeface. Its third extension, the slabserif, is a logical result of Majoor’s type design philosophy which started with the release of ff Scala and ff Scala Sans some 15 years ago. first serif, then sans Almost 20 years ago, during the time Majoor started designing Scala, he almost intuitively developed a process in which the sans serif version was derived from the serif version: first the serif, then the sans. Later he called this theory, ‘2 typefaces, 1 form principle’, and the immediate success of ff Scala and ff Scala Sans was proof that he was on the right track. It turned out that his ‘theory’ wasn’t new at all, but thanks to digital techniques he was able to bring it into practice in a way that had not been seen before in type design. Features like old style figures and small caps, in all weights, in serif and sans and in 1 ★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★☆★ regular and italic, simply had not been possible in the time of hot metal type. But at the start of the digital type era, this versatility was something new. It was 1993 and it was the first time ever that italic small caps were designed for a sans serif typeface. -
Tv38bigelow.Pdf
Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950. -
Scala OT Regular Scala Pro Regular
FontFont OpenType® nnIK nnnnABEM nnnnnn1032G9 nnZ5 nnND nnnn.,cR FontFont Info Guide Scala OT Regular Scala Pro Regular Version 01 | Nov 2005 Sections a | Introduction to OpenType® b | Font and Designer Information c | Supported Layout Features d | Language Support e | Type Specimens SECTION A INTRODUCTION TO OPENTYPE® What is OpenType® is a cross-platform font file format developed jointly by OpenType? Adobe and Microsoft. The two main benefits of the OpenType format are its cross-platform compatibility (the same font file works on Macintosh and Windows computers), and its ability to support widely expanded character sets and layout features, which provide rich linguistic support and advanced typographic control. OpenType fonts can be installed and used alongside PostScript® Type 1 and TrueType fonts. The range of supported layout features may differ in the various FontFont OpenType packages, therefore each OpenType package will be accompanied by this ff Info Guide listing the layout features supported by this specific font package. You’ll find a glossary of all available OpenType layout features in Section B of the general ff OpenType User Guide. Please see the FontFont OpenType® User Guide at http://www.fontfont.com/opentype ©fsi, 2005 All rights reserved. All information in this document is provided “AS IS” without warranty of any kind, either expressed or implied, and is subject to change without notice. All trademarks mentioned in this document are the trademarks or registered trademarks of their respective holders. You may reproduce and distribute this document as long as you do not remove fsi’s copyright information and do not make any changes in the document. -
Writing with Scala
writing by Ellen Lupton writing with s c a l a Scala by Martin Majoor i first used scala in 1991, when Robin Kinross mailed it to me in New York City on a fl oppy disk. Robin was writing an essay for an exhibition catalogue I was editing, Graphic Design in the Netherlands: A View of Recent Work. His essay was about typeface design, and this is what he had to say about Scala, designed by the brilliant young typographer Martin Majoor: Scala sums up many characterististics of recent Dutch type design. It is an “old style” face, perhaps, but it follows no established model— it invokes memories of W. A. Dwiggins and Eric Gill. Scala has a definite, sharp character of its own, which escapes the Van Krimpen mold. As usual with the Dutch, the italic has a strong, insistent rhythm, perhaps to an extreme. Much love and attention has gone into the “special sorts,”—there is even an x-height ampersand (&)—and the figures are, of course, non-lining.1 Presented on the following pages are specimens of texts that I have written over the years, sampled and reconfigured to provide a showing of this amazing typeface. All of these texts were originally written in Scala. As a writer who is also a designer, I often compose my words directly on the page, and I am happiest when writing in Scala. Its crisp geometry and humanist refer- ences make Scala at home with both the visual and literary qualities of the written word. Scala’s x-height, which may be unfashionably large by today’s standards, has always sat well with me, reminding me of my own bottom-heavy figure. -
Experimental Typography: Process Documentation 1
New School University communication? A larger part of this question is: “Is Parsons School of Design typography a mean of reproduction or a mean of Communication Design Department expression?”This question has always been in the back of my head and I thought that there should be a Experimental Typography: possible experiment around this area. However, as I Process Documentation 1 was trying to form my thoughts into words and coming up with a defined experiment, I found that the idea was too vague and abstract. This did not 01:11:02:00 yield me any meaningful experiment. Initially, I thought that I can form some kind of a study / First Proposal experiment group and gather people who are not so aware of typography, but as it was pointed out in a Despite a very unstable start of this semester, on 4th class discussion, it seemed impossible to conduct of October, the students were able to present many that kind of experiments. I thought that it will be very diverse experiments to the class. After the first helpful if I could get some kind of a response from assignment – counting the number of typefaces in the class. the world – and also during the process, I was trying to think and scribble down my thoughts on typography. When Christian and I was brain storming to put together a conclusion for the first assignment, many interesting views and problems arose. The process and conclusion is documented and discussed in our papers. (“Experimental Typography: Number of Typefaces, Research Analysis and Interpretation”, Schmidt, C. -
Types and Characters – Martin Majoor
ff Scala ff Scala Sans FF Scala Jewels ff Seria ff Seria Sans ff Nexus Serif ff Nexus Sans ff Nexus Mix FF Nexus Typewriter FontFont presents to you two brochures concerning excellent type designers and their approach to designing fonts: the scribbling, the computer work, their sources of inspiration … The aim of the brochures is to provide an insight into the work of the nice people behind the letters. Have a glance at the work of the two type super heroes Xavier Dupré and Martin Majoor. types & characters Martin Majoor www.fontfont.com www.fontshop.com Æ 10 Questions to Martin Majoor What are your inspirations and Do you think there is a connection You design books. ff Scala what do you like about being a type between Dutch type designers? Do you like reading? designer? There is no jealousy between us, I don’t have enough time for reading, ff Scala Sans Old books, especially old books set rather respect, unlike in other unfortunately. But when I have time in hot metal type, are inspiring professions maybe. But after all, I love reading. Although I recently FF Scala Jewels 1988 – 1997 for me, although new books are the Netherlands are so small that noticed that I’ve become such a nerd inspiring, too, of course. What I like you see each other quite often. that I don’t see any texts but just type. in my profession is that I often see my typefaces out there used by other What problems did you have Are you living with your family in designers. -
Thinking with Type Go Wrap Your Tiny, Atrophying Arms Around Some Willing Typeface
tyPe is to PaPer as butter is to bread classic typefaces Sabon This is not a book about fonts. It is a book about Selecting type with 14 Pt how to use them. Typefaces are essential resources wit and wisdom requires knowledge for the graphic designer, just as glass, stone, steel, of how and why and other materials are employed by the architect. letterforms evolved. sabon 9/12 7/9 Baskerville This is not a book about fonts. It is a book about how Selecting type with wit 14 Pt to use them. Typefaces are essential resources for the and wisdom requires knowledge of how graphic designer, just as glass, stone, steel, and other and why letterforms materials are employed by the architect. evolved. baskerville 9/12 7/9 Bodoni This is not a book about fonts. It is a book about how Selecting type with 14 Pt to use them. Typefaces are essential resources for the wit and wisdom requires knowledge of graphic designer, just as glass, stone, steel, and other how and why materials are employed by the architect. letterforms evolved. bodoni book 9.5/12 7.5/9 Clarendon This is not a book about fonts. It is a book about Selecting type with wit and wisdom 14 Pt how to use them. Typefaces are essential resources requires knowledge for the graphic designer, just as glass, stone, steel, of how and why and other materials are employed by the architect. letterforms evolved. clarendon light 8/12 6/9 Gill Sans This is not a book about fonts. -
Ff Scala Is Named After the Teatro Alla Scala (1776–78) in Milan
=f fontfont focus nº 1 scala @ Q g < n y g F O N T F O N T F O C U S 1 ff Scala is named after the Teatro alla Scala (1776–78) in Milan. There were two reasons for this name: ff Scala was made especially for a concert hall, the Vredenburg in Utrecht, and the design has it roots in around the time Teatro alla Scala was built, the mid- eighteenth century. Furthermore the word ‘scala’ has the meaning ‘a whole range’, which ff Scala certainly is: from a to z and from serif to sans serif, from light to black and from formal to decorated. As first released (1991) ff Scala had only four styles: Regular, Italic, Bold and small caps. Since then ff Scala has grown to 28 styles. ff Scala & ff Scala Sans: two typefaces, one form principle ff Scala and ff Scala Sans are two di=erent typefaces sharing a common form principle. The character of a seri=ed typeface mainly arises from the form principle and from elements such as serifs and contrast of the strokes. A sans serif design depends almost entirely on the form principle. ff Scala Sans was made simply by cutting the serifs o= from the characters of Scala and by adjusting their contrast. So the skeletons of both ff Scala and ff Scala Sans are identical. the skeleton of both ff scala and ff scala sans F O N T F O N T F O C U bembo fournier ff scala S 2 ff scala The form principle of ff Scala find its roots in the first vertically- stressed typefaces of the French typographer Pierre Simon Fournier (mid-eighteenth-century). -
Digital Typography
Digital Typography CPSC 453 – Fall 2018 Sonny Chan What is the difference between a font and a typeface? Outline for Today • A short history lesson • Categorizing typefaces • Terms and nomenclature • Digital representations of typefaces • Rendering fonts A very brief account of the history of type The Greek Alphabet ca. 800 BC Very Early Reproduction first millennium The Book of Kells ca. 9th century AD Beowulf ca. 11th century AD Johannes Gutenberg Gutenberg Press, ca. 1450 The Origin of “Cases” Upper Case, Lower Case, and a California Job Case 425 Years Later… TRS-80, Tandy Corporation, ca. 1977 AppleWorks Word Processor Apple Computer, ca. 1984 John Warnock Steve Jobs Categorizing typefaces Many Categories… but we’ll start with these six Terms and nomenclature ascender x-height Big Caslon xq baseline descender ??? What do you mean by 12 points? Units of Measurement 1 inch = 6 picas = 72 points 1 pica = 12 points What is a 12 point font? Type Size is the size of the body on which the type is theoretically meant to be cast Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. “single spaced” – 12/16 Leading Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve is the distance from one baseline well-chosen letters; these in their turn to the next deserve to be set with affection, intelligence, knowledge and skill. -
Intermediate Graphic Design Art 3330
UNIVERSITY OF HOUSTON | SCHOOL OF ART | GRAPHIC DESIGN Fall 2015 Intermediate Graphic Design Art 3330 Tuesday/Thursday Associate Professor Cheryl Beckett Contact [email protected] | design.uh.edu/beckett | Time 8:30–11:30 AM Monday/Wednesday Associate Professor Fiona McGettigan Contact [email protected] | design.uh.edu/mcgettigan | Time 8:00–11:00 AM Typography : Research + Classification Study 1. Ed Benguiat (over 600 typefaces including Bookman, and ITC Ben- Due Monday August 31/Tuesday Sept 1 guiat) 1. 2. Morris Fuller Benton (America’s most prolific type designer, having Having been assigned one of the type designers to the left, research their completed 221 total typefaces, including: Franklin Gothic, Century typefaces and their work, their process and their design philosophy. Present Schoolbook, News Gothic, Bank Gothic) the work, the context and any other relevant narratives along with representa- 3. William Addison Dwiggins (36 completed typefaces including Electra, tions of their contribution to the world of type design. Caledonia, Metro) 4. Frederic Goudy (90 completed typefaces including: Copperplate, Present the work of the assigned type designer (5 min. max.) Goudy Old Style, Berkeley Oldstyle) Include: 5. Chauncey H. Griffith (34 typefaces including Bell Gothic, 1937; 1. A brief statement about the designer and their work specifically Poster Bodoni, 1938) related to their typographic contribution 6. Jonathan Hoefler (Knockout, Hoefler Text, Gotham, Archer, Sentinel, 2. 5 images of their work with particulars about their typeface design, partner with Tobias Frere-Jones) classifications and application. 7. Robert Slimbach (Minion, Adobe Garamond, Utopia, Garamond Premier) You may present digitally (screen) or on the wall. -
Martin Majoor
Martin Majoor Geboren am 14. Oktober 1960 in Baam. Schriftentwerfer seit Mitte der 80er Jahre. Lehrt an verschiedenen Schulen Typographie. Er ar- beitet in Arnhem und Warschau. http://www.martinmajoor.com FF Nexus Mix 2004 FontShop FontShop ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 FF Nexus Mix Italic 2004 FontShop FontShop ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 FF Nexus Mix Bold 2004 FontShop FontShop FF Nexus Mix Bold Italic 2004 FontShop FontShop FF Nexus Sans 2004 FontShop FontShop ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 FF Nexus Sans Italic 2004 FontShop FontShop ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 http://www.klingspor-museum.de FF Nexus Sans Bold 2004 FontShop FontShop FF Nexus Sans Bold Italic 2004 FontShop FontShop FF Nexus Serif 2004 FontShop FontShop ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 FF Nexus Serif Italic 2004 FontSho FontShop ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 FF Nexus Serif Bold 2004 FontShop FontShop FF Nexus Serif Bold Italic 2004 FontShop FontShop FF Nexus Typewriter 2004 FontShop FontShop ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 FF Nexus Typewriter It. 2004 FontShop FontShop ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 FF Nexus Typewriter Bold 2004 FontShop FontShop FF Nexus Type. Bd. It. 2004 FontShop FontShop Questa Light 2014 Fontspring fontspring.com Questa Light Italic 2014 Fontspring fontspring.com Questa 2014 -
A Brief History of Fonts in Transit
A Brief History of Fonts Before you fall back on the old standbys of Helvetica and Gotham, here are a few fonts favored by wayfinding in Transit designers and the histories behind them. Font histories provided by Wikipedia, the Font Bureau, and myFonts.com DIN DIN PRO LIGHT HISTORY ABCDEFGHIJKLMNOPQRS DIN, an acronym for the German Deutsches Institut für Normung (German Institute for Standardization), abcdefghijklmnopqurstuvwxyz and the name of an increasingly large realist sans- serif typeface family. In 1936 the German Standard 12345678910$%&()“”‘’ Committee selected DIN 1451 as the standard typeface for use in the areas of engineering, technology, traffic, administration and business. Among the other recommendations adopted by DIN PRO REGULAR this committee was an early precursor to the ABCDEFGHIJKLMNOPQRS typographic grid. abcdefghijklmnopqurstuvwxyz The earliest version of a DIN typeface was released by the D Stempel AG foundry in 1923. Stempel’s 12345678910$%&()“”‘’ design was based on a 1905 typeface for the Königlich Preußische Eisenbahn-Verwaltung (Royal Prussian Railway Administration) and was applied mostly to schematics and blueprints. This version later became the basis for DIN-Engschrift DIN PRO MEDIUM (Condensed). In 1929, the Berthold foundry released ABCDEFGHIJKLMNOPQRS a version, and it, too, was used mostly for technical drawings. Both of the early DIN typefaces were abcdefghijklmnopqurstuvwxyz made available as lettering templates cut from an acetate material for drafting use. Both of the 12345678910$%&()“”‘’ earliest DIN typefaces were used primarily in oblique form. Popularity grew rapidly, once the DIN typeface DIN PRO BOLD was adopted. The most widely-used of the DIN- 1451 group was DIN-Mittelschrift (Medium). It ABCDEFGHIJKLMNOPQRS was released as a metal type, as acetate stencils for smaller applications, as larger metal stencils abcdefghijklmnopqurstuvwxyz for application to vehicles and in train yards, and as cast metal lettering for street and building 12345678910$%&()“”‘’ signage.