ITC C 127 P 426 0543251 50 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C N Dsplay

Total Page:16

File Type:pdf, Size:1020Kb

ITC C 127 P 426 0543251 50 � 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C N �Dsplay UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF GRAPHIC DESIGN AND DIGITAL MEDIA PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION VOLUME 24, NUMBER 2, FALL 1997 $5.00 US, $9.90 AUD, .£4.95 *********************5-D IGIT 54117 ITC C 127 P 426 0543251 50 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C n Dsplay. i A resource t h a t w i I I last f o nleash your creativity with the ITC On Display CD ROM. This limited edition, unlocked CD ROM contains the entire ITC Fontek Now for the first and last time, over 375 unmatched display faces from Display Library. ITC On Display the ITC® Fontek® Library are offered together on an unlocked CD Rom. has been created to provide Here's just a sampling: graphic designers with unparal- ITC A;tiftearnim leled access to typefaces that are known for their timeless Ai•ctlefgh;jkinioripv-zsfi4wxyz beauty and exceptional quality. 12-345 4 77.90!@#$%Abc()?/ Now you can design with PX-G Zfackactireim confidence, knowing that you have at your fingertips over 375 a Eccrefilii ijkimon cpyrz otuutacyz display typefaces in TrueType 12,4,5678y o .1 ® #4%; " 1 * ? / and Type 1 formats for both 11C Macintosh and Windows. The hiejg- hij%iikon.fr,ffr.2.14A),eg2 cost for this invaluable tool is $2,999. A limited number of ( 1234 5- ‘7cr9 ./@ rl 7 CDs have been produced. So when they're gone, they're gone. 1"6114 0 Tm AbC -6 fl i [ hi 11/4/1 011f:IGKA_Stk4t4 X ITC On Display. 1 S45 7" 8 9 0 ! ?# ==" ? A resource that will last for years. ITC RENNIE MACKINTOSH' An opportunity that won't. ABCDErQIIIJKLMONPTRZSTUWXYZ 1234567899.!AT#%ACT*()?{}%R For a participating reseller near you, see page 36. ITC Novo- For more information, call 1-800-634-9325 x124, write to us at bcdefghijklmonpirzstawxyz International Typeface Corporation 228 East 45th St, New York, NY 10017, 11545C7890!@#$%" lr * ? / { } < > or visit us at www.esselte.com/ITC. Circle 1 on Reader Service Card ears. An opportunity that won't. Type Trancformationv Wes ITC continues to transform with new type and a new Web site. R/Greenberg's opening sequence for Night Falls on Manhattan creates EXECUTIVE PUBLISHER: a masterful optical deception. By Peter Hall. MARKJ. BATTY EDITOR/PUBLISHER: MARGARET RICHARDSON MANAGING EDITOR: JOYCE RUTTER KAYE Four new typefaces from ITC build on the influential 1950s script CONTRIBUTING EDITORS: faces of Roger Excoffon. Text by John Berry. PETER HALL, KAREN S. CHAMBERS GRAPHIC DESIGN : Although pundits believe print is dead, HardWired proves them ROGER BLACK INCORPORATED: all wrong, writes Steven Heller. ROGER BLACK, MARYJANE FAHEY, ARIEL CEPEDA, LAURA EISMAN A collective and selective surfing of Web sites on type, travel and literature. CREATIVE SERVICES DIRECTOR: CLNECHIU By Matthew Butterick, Joyce Rutter Kaye and Margaret Richardson. ART/PRODUCTION: JAMES MONTALBANO An annual supplement featuring International Typeface Corporation's entire collection, including Fontek typefaces. ASSOCIATE PUBLISHER: REBECCA L. PAPPAS ADVERTISING SALES: Adobe Acrobat's latest version of PDF may BARBARA H.ARNOLD be the ideal graphics solution for print and the Web. By Gene Gable. BHA ASSOCIATES INC. PHONE: (617) 259-9207 FA/I: (617)259-9883 Contemporary magazines are using visual styles to create enveloping DISTRIBUTION: EDWARD WORMLY lifestyles of their own. By Rhonda Rubinstein. FOR INFORMATION ON EXISTING SUBSCRIPTIONS, Handwritten letterforms are the main influences FAX: (516) 756-2604 for these 11 new Fontek typeface designs. UST RENTAL OFFICE: CMG INFORMATION SERVICES (800)677-7959 1111 - Four new books address Web graphics issues. INTERNATIONALTYPEFACE CORPORATION 1997. 116 LI kingt Matthew Butterick describes how to refine U8tic (ISSN 0362 6245) IS PUBLISHED QUARTERLY BY digital typefaces for the computer screen. INTERNATIONAL TYPEFACE CORPORATION, 228 EAST 45TH STREET, International Typeface Corporation would like to thank Roger Black Incorporated for the design NEW YORK, NY 10017. ITC IS A SUBSIDIARY OF ESSELTE LETRASET. of this issue of U&lc. US. SUBSCRIPTION RATES, $30 FOR THREE YEARS; FOREIGN AIRMAIL SUBSCRIPTIONS, $60 U.S. FOR THREE YEARS; U.S. FUNDS DRAWN ON U.S. BANK. TO CONTACT ITC CALL: (212) 949-8072 FAX: (212)949-8485 E-MAIL YPE ON THE PAGE, on the big screen, and on the ITC has also transformed its capability to introduce, GENERAL: infokitcfonts.com monitor are all included in an overview of type display and provide information about new ITC and Web: vewitefonts.com transformations in this issue designed by Roger Fontek typefaces by launching a revised and expanded Web EDITORIAL/PRODUCTION: T r, z-., [email protected] Black Incorporated. Type, as always, informs a design site at www.itcfonts.com . Designed by Interactive Bureau CIRCULATION: UlcRPappas@aolcom with appropriate nuances and an enhancement of con- in New York, the revised site allows type users to preview ADVERTISING: bhaeatekiac.net tent. Type transforms text, and, when effectively used, ITC typefaces and learn more about the inspirations and PERIODICALS POSTAGE PAID AT NEW YORK, NY AND ADDITIONAL type embodies ideas and provides style. Here we fea- designers behind the designs. By using the Euripedes util- MAILING OFFICES. POSTMASTER: ture projects from film credits to Web pages with type ity, type users also are able to set their own anti-aliased SEND ADDRESS CHANGES TO U&Ic SUBSCRIPTION DEPARTMENT, in transition as the focus. type samples onscreen and to compare two different type P.O. BOX 129, Also in this issue, ITC continues its commitment to samples at the same time. Finally, once a desired type design PLAINVIEW, NY 11803-0129. creating innovative type styles with a range of new Fontek is found, users can quicldy and securely purchase Type i ITC OPERATING EXECUTIVE BOARD 1997 faces. For example, Mistral Light, Choc Light, Banco MARK J. BATTY, PRESIDENTAND CEO and TrueType versions of the typeface online using a credit RANDY S. WEITZ, CONTROLLER Light and Bold by ITC are contemporary interpretations card, and have the typeface immediately downloaded to ILENE STRIZVER, of typefaces created by Roger Excoffon and rendered by their computer. The new Web site also offers information DIRECTOR OF TYPEFACE DEVELOPMENT Phill Grimshaw. These capture the flair and flourish of for aspiring designers who would like to submit a type- ITC FOUNDERS: AARON BURNS, HERB LUBAUN, the Excoffon style for a digital market. Also premiered face idea to ITC, serves as a technical support center for EDWARD RONDTHALER here are ii display fonts ranging from John Peter's artful . type users, and acts as a springboard to other type-related ITC, U&Ic ANDTHE U&Ic LOGOTYPE and witty tribute to Joan Mira with ITC Peter's Miro sites covering technical, creative and legal issues. Lastly, ARE REGISTERED TRADEMARKS OF INTERNATIONALTYPEFACE CORPORATION. to Timothy Donaldson's robust ITC Musclehead. the new Web site is the home of UCIc Online, a supple- MICROFILM (16mm OR 35mm) This issue also presents the second L/c.'':71c supple- ment to our printed quarterly publication, that features AND MICROFICHE (105mm ) COPIES ment of the entire ITC type collection including Fontek expanded text and visuals and frequent editorial updates. OF Mc ARE AVAILABLE FROM UMI, 300 NORTH ZEEB ROAD, fonts. The ITC typeface collection cover, also designed International Typeface Corporation continues to trans- ANN ARBOR, MI 48106-1346. by Roger Black Incorporated re-interpets the main cover form and to transform its range and scope of typefaces, PHONE: (800) 521-0600 OR (313) 761-4700. design and the collection is organized by styles of type: and www. itCfOrITS.com provides constant access to ITC. FAX: (313) 761-3221. serif, sans serif, display, ornaments and illustration fonts. —Mingaret Richardson VBPA ezigm FRONT COVER: ITC FRANKLIN GOTHIC HEAVY; ITC GALLIARD ROMAN, ITALIC TABLE OF CONTENTS HEADLINE/TEXT: ITC FRANKLIN GOTHIC HEAVY. BOOK. BOOK ITALIC SUBHEADS: BANCO — HEAVY BY ITC MESSAGE FROM ITC HEADLINE: ITC FRANKLIN GOTHIC HEAVY: BANCO — HEAVY BY ITC TEXT: ITC FRANKUN GOTHIC BOOK: ITC GALLIARD ROMAN, ITALIC MASTHEAD: ITC FRANKLIN GOTHIC MEDIUM, MEDIUM CONDENSED, MEDIUM CONDENSED ITALIC. BOLD CONDENSED 4 Ui r1 AUSTRALIA FontShop FontShop Tel +61(3) 9686 2066 Tel +33 (1) 44 38 11 40 Tel +41 (1) 722 77 00 Fax +61 (3) 9686 2088 Fax +33 (1) 43 06 54 85 Fax +41 (1) 722 77 01 www.fontshop.com.au www.fontnews.com www.compress.ch/fontfont/ fonthome.htm AUSTRIA GERMANY FontShop FontShop UNITED KINGDOM Tel +43 (1) 523 29 46-0 Tel +49 (30) 69 58 95 Faces Ltd. Fax +43 (1) 523 29 47-22 Fax +49 (30) 692 88 65 Tel +44 (1276) 38888 Bare necessity. Can't do without. Must have. www.fontshop.co.at www.fontshop.de Fax +44 (1276) 38111 106064.5000compuserve.com BRAZIL ITALY Linotype-Hell Ltd. Sunflower Happy Books Tel +44 (1242) 285100 You work with fonts. You care about finding the perfect typeface for Tel +55 (21) 285 1258 Tel +39 (59) 45 08 04 Fax +44 (1242) 285101 Fax +55 (21) 245 1900 Fax +39 (59) 45 03 43 Monotype Typography Ltd. vnvw.happybooks.it your message. So how on earth are you getting by without the new Tel +44 0800 371242 (toll-free) CANADA Fax +44 0800 220692 (toll-free) JAPAN FontFont catalog? FontShop [email protected] Tel +1 888 44 fonts (toll-free) FontShop Fax +1 (416) 364 1914 Tel +81 (3) 5474-77 41 USA [email protected] Fax +81 (3) 5474-77 44 FontShop San Francisco, Inc. www.digitaloguesco.ip/fontshop/ Tel +1888 FF fonts (toll-free) DENMARK If you don't have the FontFont catalog, well, you probably haven't Fax +1 (415) 398 7678 NORWAY Agfa-Gevaert A/S www.fontfont.com Tel +45 4326 6766 FontShop/Luth 8 Co.
Recommended publications
  • The French Communist Party and the Algerian
    THE FRENCH COMMUNIST PARTY AND THE ALGERIAN WAR Also by Daniele Joly IMMIGRANT ASSOCIATIONS IN EUROPE (editor with John Rex and Czarina Witpert) RELUCTANT HOSTS: EUROPE AND ITS REFUGEES (editor with Rnbin Cohen) The French COlDlDunist Party and the Algerian War Daniele J oly Senior Research Fellow University of Warwick Palgrave Macmillan ISBN 978-1-349-21289-7 ISBN 978-1-349-21287-3 (eBook) DOI 10.1007/978-1-349-21287-3 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 Softcover reprint of the hardcover 1st edition 1991 First published in the United States of America in 1991 Phototypeset by Input Typesetting Ltd, London Library of Congress Cataloging-in-Publication Data Joly, Daniele The French Communist Party and the Algerian War/Daniele Joly. p. em. Includes bibliographical references. ISBN 978-0-312-04211-0 I. Algeria-History-Revolution, 1954--1962-Public opinion. 2. Parti communiste fran<;;ais. 3. Communists-France-Attitudes. 4. Public opinion-France. I. Title. DT295.J63 1991 90-34612 965' .04-dc20 CIP Contents Glossary vi Preface IX Acknowledgements xiv Introduction xv Algeria under French Colonisation 1 2 The PCF and the Colonial Question: A Historical Perspective 20 3 The PCF, the International Situation and the Algerian War 42 4 The French Nation 55 5 The PCF and the Algerian Nation 68 6 France's Military Involvement in Algeria: The PCF and the Oppositionnels 100 7 Synthesis on the Opposition 130 Conclusion Notes and References 149 Bibliography 165 Index 176 v Glossary VOCABULARY Appeles The French army is composed of conscripts and professionals.
    [Show full text]
  • Cloud Fonts in Microsoft Office
    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
    [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]
  • Afgbaskerville (The Type Face)
    gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo.
    [Show full text]
  • Copyrighted Material
    INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets,
    [Show full text]
  • Type ID and History
    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
    [Show full text]
  • Approaches to Applying Spacing Methods in Seriffed and Sans-Serif Typeface Designs
    Approaches to applying spacing methods in seriffed and sans-serif typeface designs Fernando de Mello Vargas January 2007 Essay submitted in partial fulfilment for the requirements for the Master of Arts in Typeface Design Department of Typography and Graphic Communication The University of Reading, United Kingdom, 2007 This paper cannot be reproduced or published, partially or integrally, without the written consent of the author. Acknowledgments The author would like to thank Nicolien Van der Keur for providing the Asa Types ‘Trinité 1, 2, 3’ catalog and Daniel Rathigan for proof reading. Set in FF Scala and FF Scala Sans in Adobe InDesign CS2. Contents 1 introduction 4 2 optical spacing concepts 5 2.1 Spacing a sequence of different shapes 5 2.2 Balancing internal and external white spaces in letterforms 6 2.3 Simultaneous contrast issue 6 2.4 Vertical optical centres 7 2.5 Influence of ascenders and descenders 7 3 applying spacing methods in seriffed and sans-serif typeface designs 8 3.1 Experiment procedures 8 3.2 Description of spacing methods used 9 3.2.1 Walter Tracy’s method 9 3.2.2 Miguel Sousa’s method 10 3.3 Analysis of the results 11 3.3.1 First approach: comparing paragraphs and phrases 11 3.3.2 Second approach: comparing words 14 4 epilogue 16 5 image sources 17 6 references 18 Approaches to applying spacing methods in seriffed and sans-serif typeface designs 1. Introduction 1 W. Tracy, ‘Letters of credit: a view The adjustment of space between letters in typeface design, a process commonly of type design’, p.
    [Show full text]
  • New Opentype Fonts on Folio 11
    New OpenType Fonts on Folio 11 Postscript Name Preferred Name AdobeArabic-Bold.otf Adobe Arabic Bold AdobeArabic-BoldItalic.otf Adobe Arabic Bold Italic AdobeArabic-Italic.otf Adobe Arabic Italic AdobeArabic-Regular.otf Adobe Arabic Regular AdobeHebrew-Bold.otf Adobe Hebrew Bold AdobeHebrew-BoldItalic.otf Adobe Hebrew Bold Italic AdobeHebrew-Italic.otf Adobe Hebrew Italic AdobeHebrew-Regular.otf Adobe Hebrew Regular AdobeThai-Bold.otf Adobe Thai Bold AdobeThai-BoldItalic.otf Adobe Thai Bold Italic AdobeThai-Italic.otf Adobe Thai Italic AdobeThai-Regular.otf Adobe Thai Regular AmigoStd.otf Amigo Std Regular ArnoPro-Bold.otf Arno Pro Bold ArnoPro-BoldCaption.otf Arno Pro Bold Caption ArnoPro-BoldDisplay.otf Arno Pro Bold Display ArnoPro-BoldItalic.otf Arno Pro Bold Italic ArnoPro-BoldItalicCaption.otf Arno Pro Bold Italic Caption ArnoPro-BoldItalicDisplay.otf Arno Pro Bold Italic Display ArnoPro-BoldItalicSmText.otf Arno Pro Bold Italic SmText ArnoPro-BoldItalicSubhead.otf Arno Pro Bold Italic Subhead ArnoPro-BoldSmText.otf Arno Pro Bold SmText ArnoPro-BoldSubhead.otf Arno Pro Bold Subhead ArnoPro-Caption.otf Arno Pro Caption ArnoPro-Display.otf Arno Pro Display ArnoPro-Italic.otf Arno Pro Italic ArnoPro-ItalicCaption.otf Arno Pro Italic Caption ArnoPro-ItalicDisplay.otf Arno Pro Italic Display ArnoPro-ItalicSmText.otf Arno Pro Italic SmText ArnoPro-ItalicSubhead.otf Arno Pro Italic Subhead ArnoPro-LightDisplay.otf Arno Pro Light Display ArnoPro-LightItalicDisplay.otf Arno Pro Light Italic Display ArnoPro-Regular.otf Arno Pro Regular ArnoPro-Smbd.otf
    [Show full text]
  • Adihaus-Ps-Font.Pdf
    1 / 2 Adihaus Ps Font Jul 30, 2020 — Listen to Kisi Kisi Soal Bahasa Indonesia Semester 1 Kelas 6 Sd.rar and 194 more episodes by Adihaus Ps Font, free! No signup or install.. adihaus font adidas adihaus font download for mac adihaus bold font download adihaus regular font free download adihaus din font adihaus ps font free. adihaus.. Newtone vst plugin free download adihaus ps font podcast. Alitools помощник в покупках. Лотос схема оригами Фогейм скачать лаунчер Фартовые скачать .... Dec 19, 2020 — ... League).rar · Pdplayer X64 Crack · Adobe Photoshop Lightroom 5.4 [PL] [Portable] .rar ... Adihaus Ps Font Ttf hettliset · 2020.12.19 12:01.. megaupload www.doorway.ru;adihaus ps fonts,adik main romenromen dengan kakak,adihaus font, unatata peramicapdf download,adieu. poulet. Labels:Almost ... AdiHaus PS Md Regular AdiHaus Regular AdiHaus Bold . If you want to make the adidas font,.... Download, view, test-drive, bookmark free fonts. Features more .... Adihaus Free Download · Josefin Sans Bold · Wallau Unzial Bold V1 · SF Orson Casual Light Oblique V2 · Nue Medium V1 · Tooney Noodle NF · Mafra Display W01 .... ... on Posted OTF) & (TTF Font Kit Third 2020/2021 Munchen Bayern Font UCL ... AdiHaus Regular AdiHaus Regular Md PS AdiHaus Regular PS AdiHaus #9 .... 977 search results for adihaus+ps+reg. Download more than 10000 free fonts hassle free, desktop and mobile optimized, around for more than 20 years.. Jan 31, 2021 — Explore amazing typefaces created by independent creatives from around the world. Tag: adihaus ps font.. May 16, 2013 — AdiHaus PS Md Regular AdiHaus Regular AdiHaus Bold AdiNeue Bold Regular AdiNeue Light AdiNeue Regular [Mod edit : Link removed, ...
    [Show full text]
  • Eurostile Masking Film and Many Other Graphic the Strong Solid Look of Eurostile Is EXTRA BOLD Croissant Ron* Aids Illustrated
    ( £.%!?() H AaBbCcDdFeFfGgHhIiJjKkLIMmNnOoPp Qq Rr SsTt UuVvWwXxYyZz1234567890&7ECESS PUBLISHED BY INTERNATIONALTYPEFACE CORPORATION,VOLUME SEVEN, NUMBER ONE,MARCH 1980 UPPER AND LOWER CASE.THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS VOLUME SEVEN. NUMBER ONE, MARCH, 1980 HERB LUBALIN. EDITORIAL & DESIGN DIRECTOR AARON BURNS, EDITORIAL DIRECTOR EDWARD RONOTHALER. EDITORIAL DIRECTOR MARION MULLER, ASSOCIATE EDITOR MICHAEL ARON. JASON CALFO, HAU-CHEE CHUNG. CLAUDIA CLAY, TONY DISPIGNA, SHARON GRESH. LESLIE MORRIS. KAREN ZIAMAN. JUREK WAJDOWIC2. ART 6 PRODUCTION EDITORS JOHN PRENTKI, BUSINESS MANAGER, LORNA SHANKS, ADVERTISING MANAGER EDWARD GOTTSCHALL. EDITORIAL COORDINATOR. HELENA WALLSCHLAG. TRAFFIC AND PRODUCTION MANAGER INTERNATIONAL TYPEFACE CORPORATION 1979 PUBLISHED FOUR TIMES A YEAR IN MARCH. JUNE. SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 216 EAST 4STH STREET. NEW YORK. N.,10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO.LETTERING, INC. AND LUBALIN. BURNS ar CO., INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK. N.Y. AND AT FARMINGDALE. N.Y. USTS PURL 073430 PUBLISHED IN U.S.A. ITC OFFICERS, EDWARD RONOTHALER, CHAIRMAN AARON BURNS. PRESIDENT HERB LUBALIN. EXECUTIVE VICE PRESIDENT JOHN PRENTKI,VICE PRESIDENT. GENERAL MANAGER BOB FARBER. SENIOR VICE PRESIDENT ED BENGUIAT.VICE PRESIDENT STEPHEN KOPEC.VICE PRESIDENT U.S. SINGLE COPIES 51.50 ELSEWHERE. SINGLE COPIES 52.50 TO QUALIFY FOR FREE SUBSCRIPTION COMPLETE AND RETURN THE SUBSCRIPTION FORM IN THIS ISSUE TO ITC OR WRITE TO THE ITC EXECUTIVE OFFICE. 2 HANIMARSKJOLD PLAZA. NEW YORK, N.Y. 10017 In This Issue: Editorial Are You Confused? ITC is producing a 100,000 word diagrammatic and pictorial report on the new typographic technologies. Do the new technologies get you up, or down? Do you know which ones matter It's called Vision'80s, and Ed Gottschall tells you to you—and how? Do you feel challenged or threatened by them? about it.
    [Show full text]
  • Consuming Fashions: Typefaces, Ubiquity and Internationalisation
    CONSUMING FASHIONS: TYPEFACES, UBIQUITY AND INTERNATIONALISATION Anthony Cahalan School of Design and Architecture University of Canberra ACT ABSTRACT Typefaces are essential to a designer’s ability to communicate visually. The late twentieth century witnessed the democratisation and internationalisation of typeface design and usage due to the ease of access to desktop computer technology and a related exponential growth in the number of typefaces available to users of type. In this paper, theories of fashion, consumption and material culture are used to explain and understand this phenomenon of the proliferation of typefaces. Theories are explored from outside art and design to position typeface designing as an activity, and typefaces as artefacts, within a more comprehensive societal picture than the expected daily professional practice of graphic designers and everyday computer users. This paper also shows that by tracking and thereby understanding the cultural significance of ubiquitous typefaces, it is possible to illustrate the effects of internationalisation in the broader sphere of art and design. CONSUMING FASHIONS: TYPEFACES, UBIQUITY AND INTERNATIONALISATION Technological and stylistic developments in the design, use and reproduction of text since the invention of the alphabet three-and-a-half thousand years ago were exponential in the last two decades of the twentieth century, due significantly to the ready access of designers to the desktop computer and associated software. The parallels between fashion and typefaces—commonly called ‘fonts’— are explored in this paper, with particular reference to theories of fashion, consumption and material culture. This represents the development of a theoretical framework which positions typeface design as an activity, and typefaces as artefacts, within a broader societal picture than the expected daily professional practice of graphic designers and everyday computer users.
    [Show full text]
  • FSI: FF Scala Sans Offc Condensed Regular
    fontfont opentype® ▪▪▪��� fontfont info guide for ff Scala Sans Condensed Regular Offc | Offc Pro or Web | Web Pro Sections a | Font and Designer Information b | Language Support c | Type Specimens section a FONT & DESIGNER INFORMATION Handgloves about ff Scala Sans Condensed Martin Majoor enhanced his elegant serif ff Scala with a companion sans- Regular serif family. Again it is the simplicity that makes Scala Sans so captivating, while at the same time its distinct character is immediately recognizable. First, the family comprised six variants including an italic small caps style, a fairly rare beast in the typographic zoo. Later, two Condensed weights as well as the two missing Small Caps fonts were added making the Scala family suitable for complex book typography. There is also a collection of Scala Hands, pointing hands with and without serifs, right and left handed, feminine and masculine, thumbs up and thumbs down ... the list goes on. Finally, light and black weights were added. The design of a serif typeface and an accompanying sans resulted in a very happy combination for graphic designers around the world. about Martin Majoor has been designing type since the mid-1980s. After a martin majoor student placement at URW in Hamburg, he started in 1986 as a typographic designer in the Research & Development department at Océ- Netherlands. In 1988 he started working as a graphic designer for the Vredenburg Music Centre in Utrecht, for whom he designed the typeface Scala for use in their printed matter. Two years later FSI FontShop International published ff Scala as the first serious text face in the then- new FontFont-Library.
    [Show full text]