Monotype LETS Fonts Catalog

Total Page:16

File Type:pdf, Size:1020Kb

Monotype LETS Fonts Catalog 文字見本 pt Page / Ad Lib ICG Agmena W0G Bold Agmena W0G Bold Italic Agmena W0G Book Agmena W0G Book Italic Agmena W0G Italic Agmena W0G Regular Agmena W0G SemiBold Agmena W0G SemiBold Italic Akko WG Akko WG Black Akko WG Black Italic 文字見本 pt Page / Akko WG Bold Akko WG Bold Italic Akko WG Italic Akko WG Light Akko WG Light Italic Akko WG Medium Akko WG Medium Italic Akko WG Thin Akko WG Thin Italic Albertus Nova Black Albertus Nova Bold Albertus Nova Light 文字見本 pt Page / Albertus Nova Regular Albertus Nova Thin Aldus nova Bold Aldus nova Bold Italic Amasis eText Amasis eText Bold Amasis eText Bold Italic Amasis eText Italic Andale Mono Andale Mono Bold Andale Mono Bold Italic Andale Mono Italic 文字見本 pt Page / Andale Sans WGL Andale Sans WGL Bold Andale Sans WGL Bold Italic Andale Sans WGL Italic Arial Black Arial MT Arial MT Bold Arial MT Bold Italic Arial MT Italic Arial Rounded MT Arial Unicode MS Arial Unicode MS Bold 文字見本 pt Page / Ascender Sans Ascender Sans Bold Ascender Sans Bold Italic Ascender Sans Italic Ascender Sans Mono Ascender Sans Mono Bold Ascender Sans Mono Bold Italic Ascender Sans Mono Italic Ascender Sans Narrow Ascender Sans Narrow Bold Ascender Sans Narrow Bold Italic Ascender Sans Narrow Italic 文字見本 pt Page / Ascender Serif Ascender Serif Bold Ascender Serif Bold Italic Ascender Serif Italic Ascender Uni Ascender Uni Duo Avenir Next W0G Bold Avenir Next W0G Bold Italic Avenir Next W0G Demi Avenir Next W0G Demi Italic Avenir Next W0G Heavy Avenir Next W0G Heavy Italic 文字見本 pt Page / Avenir Next W0G Italic Avenir Next W0G Light Avenir Next W0G Light Italic Avenir Next W0G Medium Avenir Next W0G Medium Italic Avenir Next W0G Regular Avenir Next W0G Thin Avenir Next W0G Thin Italic Avenir Next W0G Ultra Light Avenir Next W0G Ultra Light Italic Bariton LT WG Baskerville BT WGL 文字見本 pt Page / Baskerville BT WGL Bold Baskerville BT WGL Bold Italic Baskerville BT WGL Italic Baskerville eText Baskerville eText Bold Baskerville eText Bold Italic Baskerville eText Italic Book Antiqua Book Antiqua Bold Book Antiqua Bold Italic Book Antiqua Italic Bookman Old Style Bold 文字見本 pt Page / Bookman Old Style Bold Italic Bookman Old Style Italic Bookman Old Style Pro Grk Bookman Old Style Pro Grk Bold Bookman Old Style Pro Grk Bold Italic Bookman Old Style Pro Grk Italic Bookman Old Style WGL Bookman Old Style WGL Bold Bookman Old Style WGL Bold Italic Bookman Old Style WGL Italic Brewery No WG Black Brewery No WG Black Italic 文字見本 pt Page / Brewery No WG Bold Brewery No WG Bold Italic Brewery No WG Heavy Brewery No WG Heavy Italic Brewery No WG Italic Brewery No WG Light Brewery No WG Light Italic Brewery No WG Medium Brewery No WG Medium Italic Brewery No WG Regular Brewery No WG XBold Brewery No WG XBold Italic 文字見本 pt Page / Cavolini Bold Cavolini Bold Italic Cavolini Condensed Cavolini Condensed Bold Cavolini Condensed Bold Italic Cavolini Condensed Italic Cavolini Italic Cavolini Regular CentSchbook BT WGL CentSchbook BT WGL Bold CentSchbook BT WGL Bold Italic CentSchbook BT WGL Italic 文字見本 pt Page / Century Gothic Pro Grk Century Gothic Pro Grk Bold Century Gothic Pro Grk Bold Italic Century Gothic Pro Grk Italic Century Gothic WGL Century Gothic WGL Bold Century Gothic WGL Bold Italic Century Gothic WGL Italic Century Schlbk Pro Grk Century Schlbk Pro Grk Bold Century Schlbk Pro Grk Bold It Century Schlbk Pro Grk Italic 文字見本 pt Page / Chianti BT WGL Chianti BT WGL BdIt Chianti BT WGL Bold Chianti BT WGL It Compatil Fact LT WG Bold Compatil Fact LT WG Bold Italic Compatil Fact LT WG Italic Compatil Fact LT WG Regular Compatil Text LT WG Regular Corsiva Corsiva Bold Corsiva Bold Italic 文字見本 pt Page / Corsiva Italic Courier New Bold Italic CourierP BT WGL CourierP BT WGL Bold CourierP BT WGL Bold Italic CourierP BT WGL Italic DIN LT WG Mittelschrift DIN Next Stencil DIN Next Stencil Black DIN Next Stencil Bold DIN Next Stencil Heavy DIN Next Stencil Light 文字見本 pt Page / DIN Next Stencil Medium DIN Next Stencil UltraLight DIN Next WG Black DIN Next WG Black Italic DIN Next WG Bold DIN Next WG Bold Italic DIN Next WG Heavy DIN Next WG Heavy Italic DIN Next WG Italic DIN Next WG Light DIN Next WG Light Italic DIN Next WG Medium 文字見本 pt Page / DIN Next WG Medium Italic DIN Next WG Regular DIN Next WG UltraLight DIN Next WG UltraLight Italic Dante eText Dante eText Bold Dante eText Bold Italic Dante eText Italic Dempster Droid Sans Mono Pro Droid Sans Mono Pro Bold Droid Sans Pro 文字見本 pt Page / Droid Sans Pro Bold Droid Serif Pro Droid Serif Pro Bold Droid Serif Pro Bold Italic Droid Serif Pro Italic Dutch Rm BT WGL Dutch Rm BT WGL Bold Dutch Rm BT WGL Bold Italic Dutch Rm BT WGL Italic Endurance Pro Endurance Pro Black Endurance Pro Black Italic 文字見本 pt Page / Endurance Pro Bold Endurance Pro Bold Italic Endurance Pro Cond Endurance Pro Cond Bold Endurance Pro Cond Light Endurance Pro Cond Semi Bold Endurance Pro Italic Endurance Pro Light Endurance Pro Light Italic Ergo LT GRK Ergo LT GRK Bold Ergo LT GRK Bold Italic 文字見本 pt Page / Ergo LT GRK Demi Ergo LT GRK Demi Italic Ergo LT GRK Italic Ergo LT GRK Medium Ergo LT GRK Medium Italic Ergo LT WG Ergo LT WG Bold Ergo LT WG Bold Italic Ergo LT WG Demi Ergo LT WG Demi Italic Ergo LT WG Italic Ergo LT WG Medium 文字見本 pt Page / Ergo LT WG Medium Italic Eurostile Next WG Eurostile Next WG Bold Eurostile Next WG Bold Italic Eurostile Next WG Cn Eurostile Next WG Cn Bold Eurostile Next WG Cn Bold It Eurostile Next WG Cn It Eurostile Next WG Cn Light Eurostile Next WG Cn Light It Eurostile Next WG Cn SemiBd Eurostile Next WG Cn SemiBd It 文字見本 pt Page / Eurostile Next WG Cn UltLt Eurostile Next WG Cn UltLt It Eurostile Next WG Ext Eurostile Next WG Ext Bold Eurostile Next WG Ext Bold It Eurostile Next WG Ext It Eurostile Next WG Ext Light Eurostile Next WG Ext Light It Eurostile Next WG Ext SmBd Eurostile Next WG Ext SmBd It Eurostile Next WG Ext UltLt Eurostile Next WG Ext UltLt It 文字見本 pt Page / Eurostile Next WG Italic Eurostile Next WG Light Eurostile Next WG Light Italic Eurostile Next WG Nr Eurostile Next WG Nr Bold Eurostile Next WG Nr Bold It Eurostile Next WG Nr It Eurostile Next WG Nr Light Eurostile Next WG Nr Light It Eurostile Next WG Nr SemiBd Eurostile Next WG Nr SemiBd It Eurostile Next WG Nr UltLt 文字見本 pt Page / Eurostile Next WG Nr UltLt It Eurostile Next WG SemiBold Eurostile Next WG SemiBold It Eurostile Next WG UltraLt Eurostile Next WG UltraLt It Eurostile Next WG Wide Eurostile Next WG Wide Bold Eurostile Next WG Wide Bold It Eurostile Next WG Wide Italic Eurostile Next WG Wide Lt Eurostile Next WG Wide Lt It Eurostile Next WG Wide SmBd 文字見本 pt Page / Eurostile Next WG Wide SmBd It Eurostile Next WG Wide UltLtIt Eurostile Next WG Wide UltraLt Ford's Folly Francker WG Black Francker WG Bold Francker WG Condensed Black Francker WG Condensed Bold Francker WG Condensed Light Francker WG Condensed Medium Francker WG Condensed Regular Francker WG Condensed Semibold 文字見本 pt Page / Francker WG Condensed X Black Francker WG Condensed X Bold Francker WG Condensed X Light Francker WG Extra Black Francker WG Extra Bold Francker WG Extra Light Francker WG Light Francker WG Medium Francker WG Regular Francker WG Semibold Frutiger Neue LT WG Frutiger Neue LT WG Book 文字見本 pt Page / Frutiger Neue LT WG Book Bold Frutiger Neue LT WG Book Bold Italic Frutiger Neue LT WG Book Italic Frutiger Neue LT WG Cn Book Frutiger Neue LT WG Cn Book Bold Frutiger Neue LT WG Cn Book Bold Italic Frutiger Neue LT WG Cn Book Italic Frutiger Neue LT WG Cn Light Frutiger Neue LT WG Cn Light Italic Frutiger Neue LT WG Cn Medium Frutiger Neue LT WG Cn Medium Bold Frutiger Neue LT WG Cn Medium Bold Italic 文字見本 pt Page / Frutiger Neue LT WG Cn Medium Italic Frutiger Neue LT WG Cn Regular Frutiger Neue LT WG Cn Regular Bold Frutiger Neue LT WG Cn Regular Bold Italic Frutiger Neue LT WG Cn Regular Italic Frutiger Neue LT WG Cn Thin Frutiger Neue LT WG Cn Thin Italic Frutiger Neue LT WG Cn UltLt Frutiger Neue LT WG Cn UltLt Italic Frutiger Neue LT WG Cn XBlack Frutiger Neue LT WG Cn XBlack Italic Frutiger Neue LT WG Heavy 文字見本 pt Page / Frutiger Neue LT WG Heavy Italic Frutiger Neue LT WG Italic Frutiger Neue LT WG Light Frutiger Neue LT WG Light Italic Frutiger Neue LT WG Medium Frutiger Neue LT WG Medium Bold Frutiger Neue LT WG Medium Bold Italic Frutiger Neue LT WG Medium Italic Frutiger Neue LT WG Thin Frutiger Neue LT WG Thin Italic Frutiger Neue LT WG UltLt Italic Frutiger Neue LT WG Ultra Light 文字見本 pt Page / Frutiger Neue LT WG XBlack Frutiger Neue LT WG XBlack Italic Frutiger Next LT GRK Black Frutiger Next LT GRK Black Condensed Frutiger Next LT GRK Black Italic Frutiger Next LT GRK Bold Frutiger Next LT GRK Bold Condensed Frutiger Next LT GRK Bold Italic Frutiger Next LT GRK Condensed Frutiger Next LT GRK Heavy Frutiger Next LT GRK Heavy Condensed Frutiger Next LT GRK Heavy Italic 文字見本 pt Page / Frutiger Next LT GRK Italic Frutiger Next LT GRK Light Frutiger Next LT GRK Light Condensed Frutiger Next LT GRK Light Italic Frutiger Next LT GRK Medium Frutiger Next LT GRK Medium Condensed Frutiger Next LT GRK Medium Italic Frutiger Next LT GRK Regular Frutiger Next LT GRK UltraLight Frutiger Next LT GRK UltraLight Condensed Frutiger Next LT GRK UltraLight Italic Frutiger Next LT WG Black 文字見本 pt Page / Frutiger Next LT WG Black Condensed Frutiger Next LT WG Condensed Frutiger Next LT WG Light Frutiger Next LT WG Light Condensed Frutiger Next LT WG Medium Frutiger Next LT WG Medium Condensed Frutiger Next LT WG Regular Frutiger Next LT WG UltraLight Frutiger Next LT WG UltraLight Condensed
Recommended publications
  • Century 100 Years of Type in Design
    Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
    [Show full text]
  • Design One Project Three Introduced October 21. Due November 11
    Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer.
    [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]
  • Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano Margaret Ann Southwick Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1547 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Margaret Ann Southwick 2005 All Rights Reserved PARAGONIPARAGONE: RAPHAEL'S PORTRAIT OF BALDASSARE CASTIGLIONE (1 5 14-16) IN THE CONTEXT OF IL CORTEGIANO A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Cornmonwealtli University. MARGARET ANN SOUTHWICK M.S.L.S., The Catholic University of America, 1974 B.A., Caldwell College, 1968 Director: Dr. Fredrika Jacobs Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia December 2005 Acknowledgenients I would like to thank the faculty of the Department of Art History for their encouragement in pursuit of my dream, especially: Dr. Fredrika Jacobs, Director of my thesis, who helped to clarify both my thoughts and my writing; Dr. Michael Schreffler, my reader, in whose classroom I first learned to "do" art history; and, Dr. Eric Garberson, Director of Graduate Studies, who talked me out of writer's block and into action.
    [Show full text]
  • Titling Fonts
    Titling Fonts by Ilene Strizver HISTORICALLY, A “titling font” WAS A FONT OF METAL TYPE designed specifically for use at larger point sizes and display settings, including headlines and titles. Titling fonts, a specialized subset of display typefaces, differ from their text counterparts in that their scale, proportion and design details have been modified to look their best at larger sizes. They often have a more pronounced weight contrast (resulting in thinner thins), tighter spacing, and more condensed proportions than their text- sized cousins. Titling fonts may also have distinctive refinements that enhance their elegance and impact. Titling fonts are most often all-cap, single-weight variants created to complement text families, such as the These titling faces are stand-alone designs, rather than part of a larger family. a lowercase; Perpetua Titling has three ITC Golden Cockerel Titling (upper) is more streamlined than its non-titling cousin (lower). weights; and Forum Titling, based on a It also has different finishing details, as shown Frederick Goudy design, has small caps on the serif ending stroke of the C. in three weights that were added later. The overall design of most (but not all) titling fonts designed as part of the titling fonts is traditional or even historic Dante, Plantin, Bembo, Adobe in nature. In the days of metal type, Garamond Pro, and ITC Golden Cockerel titling capital letters took up the full typeface families. point size body height. For example, 48 point Perpetua titling caps were They can also be standalone designs, basically 48 points tall, whereas regular 48 point Perpetua was sized such that Dante Titling (upper) has greater weight such as Felix Titling, Festival Titling, and the tallest ascender and longest contrast and is slightly more condensed than Victoria Titling Condensed.
    [Show full text]
  • Suggested Fonts List
    Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog.
    [Show full text]
  • Subsyllabic Processing in Word Reading of Dutch Beginning Readers Wolters, G.E
    Subsyllabic processing in word reading of Dutch beginning readers Wolters, G.E. Citation Wolters, G. E. (2004, December 15). Subsyllabic processing in word reading of Dutch beginning readers. Retrieved from https://hdl.handle.net/1887/1974 Version: Corrected Publisher’s Version Licence agreement concerning inclusion of doctoral License: thesis in the Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/1974 Note: To cite this publication please use the final published version (if applicable). sub syl la bic p r oc e ss ing i n w o rd r ea d ing o f du t ch b e gi nn ing r ea d e rs Gwendolyn Elisabeth Wolters Subsyllabic processing in word reading of Dutch beginning readers Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van de Rector Magnificus Dr. D.D. Breimer, hoogleraar in de faculteit der Wiskunde en Natuurwetenschappen en die der Geneeskunde, volgens besluit van het College voor Promoties te verdedigen op woensdag 15 december 2004 klokke 15.15 uur door Gwendolyn Elisabeth Wolters geboren te Rotterdam in 1976 p. 2 Promotiecommissie: Promotor: Prof. dr. A.J.J.M. Ruijssenaars Co-promotor: Prof. dr. W. Van den Broeck Referent: Dr. P.F. de Jong (Universiteit van Amsterdam) Overige leden: Prof. dr. I.A. van Berckelaer-Onnes Prof. dr. K.P. van den Bos (Rijksuniversiteit Groningen) Dr. A.M.T. Bosman (Katholieke Universiteit Nijmegen) Prof. dr. A.G. Bus Prof. dr. P. Ghesquière (Katholieke Universiteit Leuven) Prof. dr. M.H. van IJzendoorn Colofon: © 2004, Gwendolyn Elisabeth Wolters, Leiden University.
    [Show full text]
  • Style Recommendations
    Guide to making effective posters – Style recommendations Layout Text This poster below follows a columnar format of top to bottom Sans-serif font is often recommended for your title and left to right, which make it easier for the viewer to follow. and headings and serif font for your body text. Title Introduction Name & department Discussion Serif Sans Results Serif are the small lines that Sans serif fonts do not contain project from the edges of the small projecting features letters and symbols. called “serifs” Practicum Recommen • Serifs are used to guide the • Sans serif is typically used activities dations horizontal flow of the eyes for emphasis Examples: Cambria, Georgia, Examples: Arial, Calibri, Palatino, Times New Roman, Century Gothic, Tahoma This poster below is hard to follow as it jumps from the ALL CAPS simultaneously shouts at your viewer and middle, to the left, to the right, and back to the middle. makes it more difficult for them to read your loud message. When we read text, we read whole words and phrases, Title which we recognize partly by their shape.. Methods Name & department Results Introduction Practicum I have shape which makes me activities easier to read than all caps. Recommendations I AM A SHAPELESS BLOCK AND MUCH HARDER TO READ. Guide to making effective posters – Style recommendations Graphics Color Any pictures you include on your poster should be of Stick to using dark text on light backgrounds since the reverse good quality (e.g. not blurry or pixelated) can strain viewers’ eyes. For the majority of About half the population people, reading dark text has an eye condition on light backgrounds (astigmatism) that makes results in the least it difficult to read light amount of eye strain.
    [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]
  • 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]
  • Typeface Classification Serif Or Sans Serif?
    Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1.
    [Show full text]
  • ITC Franklin Gothic Std Demi Italic
    Laura Bae Baske Baskervilleis a serif typeface designed in the 1750s by John Baskerville in Birming- ham, England, and cut into metal by punchcutter John Handy. Baskerville 1495 is classified as a transitional typeface, intended as a refinement of what are Garamond now called old-style typefaces of the period. Compared to earlier designs pop- ular in Britain, Baskerville increased the contrast between thick and thin Bb Bb strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical po- sition. The curved strokes are more circular in shape, and the characters Bb became more regular. Characters ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyz Bb Bb 1234567890’”!”(%)[#](@)/&\<+-=>:;,.* Styles Regular Characters SemiBold ABCDEFGHIJKLMNOPQRSTUVWXYZ SemiBold Italic abcdefghijklmnopqrstuvwyz GARAMOND Italic Bold 1757 1234567890’”!”(%)[#](@)/&\<+-=>:;,.* GARAMOND Styles Italic GARAMOND Bold GBold Italic GGARAMOND rville Bodoni 1934 Bodoni is one of the most carefully re- Characters searched and accurate interpretations of Bodoni’s typefaces ever attemped. ABCDEFGHIJKLM- ROCKWELL The process involved two trips to NOPQRSTUVWXYZ Parma, Italy, and hundreds of hours abcdefghijklmnopqrstuvwyz of research. Then, thousands of hours Rockwell is a slab more were spent carefully designing 1234567890’”!”(%)[#] serif typeface fonts, using an original copy of Bon- (@)/&\<+-=>:;,.* designed by Mono- doni’s 1818 Manuale Tipografico as a type. The design is benchmark for accuracy. based off an earli- The first step was a trip to Parma Styles er slab serif from by the four-person design team to Bold 1910 known as Litho study, first hand, Bodoni’s work. In the Antique, which is words of Sumner Stone, the project’s Book considered the very art director, “The search for Bodoni Book Italic first geometric slab took on a new dimension and mean- serif.
    [Show full text]