Wk2 Classifications (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

Wk2 Classifications (PDF) WEEK 2: Typeface Classification Overview Most typefaces can be classified into one of four basic groups: those with serifs, san serifs, scripts and decorative Sans Serif: Gill Sans styles. Over the years, typographers and scholars of typog- raphy have devised various systems to more definitively Serif: Baskerville categorize typefaces, some of these systems have scores of sub-categories. In this class we will focus on 7 catergories: Egyptian: Clarendon Sans Serif The term “Sans Serif” is derived from French and means “without serifs”. Some examples of Sans Serif types are Helvetica, Frutiger, Optima, Avenir and Futura. Serif A small decorative line added as embellishment to the Italic: Avenir Italic basic form of a character, sometimes called “feet”. Common serif typefaces include Times Roman, Baskerville and Garamond. Egyptian (or slab serif) Slab serif typefaces became popular in the 19th century for advertising display. These Script:Decorative: Bickman Metal Lord typefaces have very heavy serifs. Generally, changes in stroke weight are imperceptible. To many readers, slab serif type styles look like sans serif designs with the simple addition of heavy (stroke weight) serifs. Blackletter Blackletter, also sometimes referred to as Gothic, Fraktur or Old English, was used in the Guthenburg Bible, one of the first books printed in Europe. This type- face is recognizable by its dramatic thin & thick strokes, and in some fonts, the elaborate swirls on the serifs. Blackletter typefaces are based on early manuscript lettering. Italic Italic type is a cursive font based on a stylized form of calligraphic handwriting. Initially it was designed to save space. Today italics are used to show emphasis. Script These typefaces are derived from 17th century formal writing styles. Many characters have strokes that join them to other letters. Decorative Decorative or display fonts became popular in the 19th century and were used extensively on posters and advertisements. This style of type and lettering is artistic and eye-catching, and typically is not used for body text..
Recommended publications
  • 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.
    [Show full text]
  • Volume 18-4 (Low Res).Pdf
    A a Bb Cc Dd Ee Ff Gg Hh liJj Kk LI MmNnOoPp Qq RrSsTt UuVvWwXxYyZz1234567890&fECE$$(£.%!?0 [] Brookie ilaxtt7e11: Walking Up Dream .Street tl hat Modern {Vas Italian Beach Signs Book Jackets of t he 1920s & 1930s Hidden Music: A Print by Glaser 3 The Cat's Out of the Bag. On September 10, 1991, PC Magazine called Arts & Letters "the easiest-to-use illustration product for the PC' PC Magazine made it official. However, Arts & Letters clip-art images. The Editor offers a list of features you owners have known for years how easy it is to use. can really sink your teeth into; like multi-tasking of screen Instructions are clear and concise. Commands are kept redraw, data-driven charting, gradient fills and blends, to a minimum. Everything is object-oriented, and what text-along-a-path, lock/hide/name, warp/perspective, you see is what you get. To top it off, the latest version hole cutting, and object and text masking. Automatic spot of the Graphics Editor (3.1) is even quicker and more and four-color separations are also available. powerful than its predecessors. Rave reviews about Arts & Letters are commonplace. Arts & Letters offers several built-in advantages: you The Arts & Letters clip-art collection also received can draw upon the award-winning 5,000-image clip-art Publish magazine's Readers' Choice award two years in collection, 80 superb typefaces, Bezier drawing tools and a row and PC Magazine named it a host of spectacular special effects. Editors' Choice for 1991. There is no limit to the kinds of electronic artwork Try your hand at turning a you can create with the Arts & Letters Graphics Editor: tabby into a tiger.
    [Show full text]
  • Zapfcoll Minikatalog.Indd
    Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf.
    [Show full text]
  • Typestyle Chart.Pub
    TYPESTYLE CHART This is an abbreviated list of the typestyles available from 2/90. ADA fonts are designated with either one or two asterisks. Those with two asterisks comply with ANSI A.117.1 standards for enhanced readability of tactile signage elements. Use typestyle abbreviations in parentheses when placing an order. For additional fonts not on this list, contact Customer Service at 800.777.4310. Albertus (ALC) Commercial Script Connected (CSC) Americana Bold (ABC) *Compacta Bold®2 (CBL) Anglaise Fine Point (AFP) Engineering Standard (ESC) *Antique Olive Nord (AON) *ITC Eras Medium®2 (EMC) *Avant Extra Bold (AXB) *Eurostile Bold (EBC) **Avant Garde (AGM) *Eurostile Bold Extended (EBE) *BemboTM1 (BEC) **Folio Light (FLC) Berling Italic (BIC) *Franklin Gothic (FGC) Bodoni Bold (BBC) *Franklin Gothic Extra Condensed (FGE) Breeze Script Connecting (BSC) ITC Friz Quadrata®2 (FQC) Caslon Adbold (CAC) **Frutiger 55 (F55) Caslon Bold Condensed (CBO) Full Block (FBC) Century Bold (CBC) *Futura Medium (FMC) Charter Oak (COC) ITC Garamond Bold®2 (GBC) City Medium (CME) Garth GraphicTM3 (GGC) Clarendon Medium (CMC) **Gill SansTM1 (GSC) TYPESTYLE CHART (CON’T) Goudy Bold (GBO) *Optima Semi Bold (OSB) Goudy Extra Bold (GEB) Palatino (PAC) *Helvetica Bold (HBO) Palatino Italic (PAI) *Helvetica Bold Condensed (HBC) Radiant Bold Condensed (RBC) *Helvetica Medium (HMC) Rockwell BoldTM1 (RBO) **Helvetica Regular (HRC) Rockwell MediumTM1 (RMC) Highway Gothic B (HGC) Sabon Bold (SBC) ITC Isbell Bold®2 (IBC) *Standard Extended Medium (SEM) Jenson Medium (JMC) Stencil Gothic (SGC) Kestral Connected (KCC) Times Bold (TBC) Koloss (KOC) Time New Roman (TNR) Lectura Bold (LBC) *Transport Heavy (THC) Marker (MAC) Univers 57 (UN5) Melior Semi Bold (MSB) *Univers 65 (UNC) *Monument Block (MBC) *Univers 67 (UN6) Narrow Full Block (NFB) *V.A.G.
    [Show full text]
  • Choosing-A-Font-For-Legal-Briefs Copy
    Choosing a Font for Legal Briefs MANY LAWYERS MISTAKENLY THINK that court rules require absorb and retain your message. them to submit briefs in Times New Roman. But most Of course, designing a better legal document involves a lot jurisdictions actually allow a wide variety of fonts. more than simply choosing the “right” font. But the simple California, for example, requires only that you use a font act of using a font other than Times New Roman can have a “essentially equivalent to” Courier, Times New Roman or noticeable (and positive) impact on your briefs. Arial. CRC 2.105. In other words, any monospaced, serif or So which font should you use instead? In an ideal world, sans serif font (just not something like Comic Sans or we would all purchase top-quality fonts that are designed Braggadocio). Other states, such as Oregon, don’t for our purpose (e.g., long-form text). But the reality is that mention fonts at all in their rules. See, e.g., UTCR 2.010. most of us are limited to the system fonts installed on our But even if court rules allow fonts other than Times New computers. Even in that limited set, however, there are Roman, why should lawyers bother to switch? Because Times better and worse options. Below is a list of system fonts that New Roman is actually a really bad typeface for legal briefs. It was I would recommend for legal briefs. To add some variety to designed for newspapers—that is, for small columns of tiny your document, try pairing two different fonts—a serif for text.
    [Show full text]
  • Standard Formed Styles by Group
    Plastic Letters Formed Plastic Standard Formed Styles by Group Medium Block Styles Medium Serif Styles Arial Bold Helvetica Architectural Palatino Avant Garde Helvetica Italic Century Bold Condensed ROMAN NEO SB ClearviewOne Bold Helvetica Round Consort Condensed Roman Round FRUTIGER 65 Standard Block gemco ROMAN CLASSIC Futura Standard Block Round Goudy Old Style Times Bold Gil Sans Bold Univers 67 Optima Times New Roman Light & Condensed Block Styles Bold & Italic Serif Styles Antique Olive Impact Round Benguiat Goudy Extra Bold Futura Condensed KABEL CASLON ADBOLD Lotus Bold HELVETICA LIGHT standard block cond. CENTURY SCHOOLBOOK BOLD Optima Semi Bold Helvetica Condensed Consort TIMES BOLD ITALIC FRIZ QUADRATA TRAJAN BOLD Bold & Extended Block Styles Garamond Bold Italic EUROSTYLE BOLD EXT. ITALIC FUTURA EXTRA BOLD ITALIC Bold & Extended Serif Styles Helvetica Bold Ext. Bodoni Italic COPPERPLATE HELVETICA BOLD ITALIC Clarendon Fortune Bold Cooper Black Helvetica Italic Round clarion G a r a m ond B ol d R ou nd ® MICROGRAMMA BOLD EXT. CONSORT ROUND Herman Italic MICROGRAMMA EXT. COOPER BLACK ITALIC Times Bold Round Bold & Black Block Styles Bauhaus HARRIER Script & Decorative Styles EUROSTYLE BOLD Helvetica Bold Round BARNUM COUNTRY GOTHIC (Woodgrain Texture) Futura Bold Helvetica Bold CLASSIC BARNUM Italicized Script Futura Round Brush Script LITHOS BOLD Casual Italic Script Old English Bevel Comic Sans Bold SCULPTURED (Textured) Commercial Script Plastic Letters Formed Plastic MEDICAL SYMBOLS HEIGHT WIDTH DEPTH 12” 10” 1” 15 12 1 1/4 Staff of Asclepius Chiropractic Veterinary Symbol of Life 18 14 1 1/2 24 18 2 The Staff of Asclepius is the officially recognized medical DDS OD symbol of the American Medical Association.
    [Show full text]
  • „Bitstream“ Fonts
    Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.
    [Show full text]
  • Macintosh HD:Users:Williamwolff:Spideroak
    1 body { 2 width: auto; 3 background-color: #fff; 4 } 5 6 #content { 7 width: 98.3333333%; /* 1180 / 1200 */ 8 margin: auto; 9 text-align: center; 10 } 11 12 img { 13 margin: auto; 14 max-width: 80%; 15 margin-top: 3%; 16 } 17 18 p { 19 font: normal .875em Century Schoolbook, Helvetica, Arial, sans-serif; 20 color: #666; 21 letter-spacing: 0.05em; 22 } 23 24 p.small { 25 26 font-size: .625em; /* 10px / 16px */ 27 } 28 29 .clear { 30 clear: both; 31 } 32 33 h1 { 34 background: #333; 35 color: #FFF; 36 font: normal 3.625em/0.9 "League Gothic", "Arial Narrow", Arial, sans-serif; /* 58px / 16px */ 37 text-transform: uppercase; 38 text-align: center; 39 } 40 41 h2 { 42 font-size: 1.5em /* 24px / 16px */; 43 font-style: italic; 44 font-weight: normal; 45 font-family: Futura, Helvetica, Arial, sans-serif; 46 } 47 48 a { 49 color: orange; 50 } 51 52 #statement { 53 float: left; 54 width: 49.189815%; 55 } 56 57 #photos { 58 float: right; Macintosh HD:Users:williamwolff:SpiderOak Hive:st-joes:courses:web-desgn:sample-style.css: 1/3 59 width: 49.189815%; 60 } 61 62 hr { 63 position: absolute; 64 top: -9999px; 65 left: -9999px; 66 } 67 68 69 @media screen and (max-width: 768px) { /*for media query phones and tables in portrait mode */ 70 71 body { 72 position: relative; 73 margin: 5px; 74 width: auto; 75 background-color: #e7f6f8; 76 } 77 78 79 img { 80 margin: auto; 81 max-width: 90%; 82 margin-top: 2%; 83 } 84 85 h1 { 86 font-size: 1.25em /* 20px / 16px */; 87 font-style: italic; 88 font-weight: normal; 89 font-family: Futura, Helvetica, Arial,
    [Show full text]
  • Letter Arts Review 29:3 . a Tribute to Hermann Zapf Broadside Made For
    letter arts review 29:3 . A Tribute to Hermann Zapf Broadside made for Jackson Burke in 1959 . Hermann Zapf $14.50 Letter Arts Review A Tribute to Hermann Zapf Volume 29 Number 3 2 The editor’s letter Summer 2015 4 Remembering Hermann Zapf By Jerry Kelly 40 The lessons we learned By Rick Cusick, Marsha Brady, Larry Brady, Luca Barcellona, Julian Waters, and Ina Saltz 52 Notes from class . 1980 A reproduction of selected class notes taken by Ina Saltz on the front cover: The main artwork shown on the cover is a handmade broadside created by Hermann Zapf in 1959. A description of the project appears in Jerry Kelly’s article on pages 9 and 13. left: The letter A in the metal version of the typeface Sistina. on the back cover: The letter Z in the metal version of the typeface Sistina. Letter Arts Review 29:3 1 REMEMBERING HERMANN ZAPF By Jerry Kelly . Over the tomb of Sir Christopher campaign (though that did not help him against opposite: Hermann Wren (1632-1723) in Saint Paul’s Cathedral, which Barack Obama and Tobias Frere-Jones’ Gotham!). Zapf at Baruch College he designed, a Latin inscription reads: If you Michele Bachmann used Palatino for hers. Cornell in New York City, taken seek his monument—look around you. For Wren, University uses Palatino for their logo, as does when he was interviewed that is true if you are standing in St. Paul’s or Queen’s University in Kingston, Ontario. On the for their short-lived other selected parts of London, but in the case of Vietnam Veterans Memorial in Washington, journal, Artograph.
    [Show full text]
  • LATEX Font Packages
    LATEX font packages Mark Gates January 3, 2012 This guide is available from http://web.eecs.utk.edu/∼mgates3/ Copyright ⃝c 2012 by Mark Gates. You may freely copy and modify this document under the Creative Commons Attribution-ShareAlike license. When distributing modified versions, please include your Latex file. Traditionally, a Latex package is loaded to provide a font or set of fonts. Table 1, adapted from the PSNFSS documentation, summarizes the commonly used Latex font packages. PSNFSS provides the default Type 1 fonts listed, excluding Computer Modern (CM), Utopia, Fourier, and Euler. Package Roman Math Sans serif Typewriter (none) CM Roman CM Roman CM Sans CM Typewriter mathpazo Palatino Palatino mathptmx Times Times helvet Helvetica avant Avant Garde courier Courier chancery Zapf Chancery bookman Bookman Avant Garde Courier newcent New Century Schoolbook Avant Garde Courier charter Charter fourier Utopia Fourier eulervm Euler Table 1: Latex font packages. Blanks indicate package does not set font for that category. The sectsty package is useful to set the font for chapter and section headers. (The examples I've included below all use fontspec, but sectsty works with or without fontspec.) xelatex enables you to use any font on your Mac OS X or Windows system. The fontspec package loads system fonts, as shown in examples below. When loading fontspec, it reverts the main roman font to Computer Modern (actually, Latin Modern). It will, however, leave the math font alone if you use the no-math option. Thus, to set a math font, load one of the above pack- ages, then load fontspec, then set the main font again using fontspec.
    [Show full text]
  • Bitstream Font Name Aliases Fontotéka 3.0 Compiled by Petr Somol, Based on Jon A
    Bitstream Font Name Aliases fontotéka 3.0 Compiled by Petr Somol, based on Jon A. Pastor‘s list from http://cgm.cs.mcgill.ca/~luc/jonpastor.txt. E-mail: [email protected] The list should not be considered complete, nor accurate. It is more a work in progress than anything else. Bitstream Name Common Name Designer(s) Date(s) Orig. Remarks/Attributions Vend. (all) (M.Macrone/J.Pastor,P.S.) (M.M,P.S.) (J.P., P.S.) Aachen Aachen Colin Brignall, Alan Meeks 1969-1977 17 Ad Lib Ad Lib Freeman Craw 1961 6 Aldine 401 Bembo Stanley Morison after Francesco 1929 after 1,4 Griffo / Giovanni Tagliente 1495 / 1520 Aldine 721 Plantin Frank Hinman Pierpont after ~1930 after 1,4 Robert Granjon‘s type used by 16th ~1550 / 16h century printer Christophe Plantin cent. Alternate Gothic No. 2 Alternate Gothic Morris Fuller Benton 1903 6 Amazone Amazone Leonard H. D. Smit 1958 12 Amelia Amelia Stanley Davis 1967 18, 2 American Text American Text Morris Fuller Benton 1932 6 Americana Americana Richard Isbell, Whedon Davis 1965 6 Aurora Aurora ? 1928 (c.) 11 Baker Signet Baker Signet Arthur Baker 1965 18 Balloon Balloon Max R. Kaufmann 1939 6 Bank Gothic Bank Gothic Morris Fuller Benton 1930-33 6 Baskerville Baskerville George W. Jones after John 1929 after 2 Baskerville ~1754-1775 Baskerville No.2 Baskerville No.2 ? ? 19 Bauer Bodoni Bauer Bodoni Heinrich Jost, Louis Höll after 1926 after 8 Giambattista Bodoni ~1800 Bell Gothic Bell Gothic Chauncey H. Griffith 1938 2 Belwe Belwe Georg Belwe before 1950 20 Bernhard Bold Con- Bernhard Bold Con- Lucian Bernhard
    [Show full text]
  • Parent Ad Style Guide
    Harvard Yearbook Publications Guide to Parent Ads Celebrate your student’s ADVERTISEMENTS graduation by purchasing a parent JOHN HARVARD ad and receive a complimentary Full Page Ad (8”x10.25”).............$1600 embossed yearbook. CRIMSON SUBMISSION GUIDELINES 1/2 Page Ad (8”x5”).............$800 PLATINUM Once we receive your order, you 1/4 Page Ad (3.875”x5”).............$500 will receive a confirmation email from us with details about SILVER uploading the materials on our 1/8 Page Ad (3.875”x2.5”).............$300 website and selecting your ad BRATTLE STREET template, design, and fonts. Our No Ad (Name Mention).............$170 Layout team will then design your *Parent ad templates are on the next ad to your specifications. They will pages of this packet. replicate any ideas you have and then email back to you a PDF proof for approval. Please ensure that all photos are of high PAYMENT OPTIONS Order online at harvardyearbook.com quality. Blurry photos or photos or order using the enclosed paper under 500KB will be rejected. order form. Checks made out to All parent ads must be submitted Harvard Yearbook Publications should by November 30th to be included be sent to PO Box 380002, Cambridge, in the yearbook. MA 02238. ADVERTISEMENT SIZE: SILVER (1/8 PAGE) - 3.875 x 2.5 in. Layout: Silver #1 John Harvard Font: Times (Bold & Regular) Congratulations on all of your accomplishments! We are so very proud of you. Love, Mom, Dad, and Drew Layout: Silver #2 John Harvard Font: Arial (Bold & Regular) Congratulations on all of your accomplishments! We are so very proud of you.
    [Show full text]