Monotype LETS Fonts Catalog
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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 -
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. -
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 -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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. -
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.