Typefacese Default, Popular, Influential, & Notorious

Total Page:16

File Type:pdf, Size:1020Kb

Typefacese Default, Popular, Influential, & Notorious Periodic Table of T X TypefacesE Default, popular, influential, & notorious Serif, Antiqua ptm Style/Class fontname Key Serif, Antiqua cmr § ¤ § ¤ (link) Black: Original and com- Tm panion TEX typefaces. Cm Blue: The Adobe ‘35’ Times New Roman Computer fonts available in all PDF Modern Roman and Postscript systems. Stanley Morison 1932 Donald Knuth 1978 Symbol Red: Fonts donated to Serif, Roman pbk Serif, Antiqua ppl Serif, Transitional pnc T X by the X Consortium. Serif, Transitional put Serif, Transitional bch Serif, Antiqua uaq Serif ccr Serif, Antiqua cmdh Serif, Antiqua cmfib Serif, Antiqua cmfr Serif, Modern panr §¦ ¤¥§ ¤§ ¤ E § ¤§ ¤§ ¤§ ¤§ ¤§ ¤§ ¤§¦ ¤¥ Typeface Green: Sample of type- faces in the LATEX Font Co Pa Bk Pl Nc Catalog (from CTAN). Ut Ch Aq Dh Fi Fr Concrete Pandora Bookman Palatino New Century Utopia Charter URW Antiqua Computer Modern CM Fibonacci Computer Modern Schoolbook Magenta: Typefaces in Designer Year Dunhill FunnyFont Alexander the bookhands collection. Phemister 1858 Herman Zapf 1948 Morris Benton 1919 Robert Slimbach 1989 Matthew Carter 1987 Herman Zapf 1985 Donald Knuth 1987 Donald Knuth 1978 Donald Knuth 1978 Donald Knuth 1978 Neenie Billawala 1989 A Sans-serif, phv Sans-serif, pag Monospace pcr Script pzc Note: [X ]LE TEX can use any Sans-serif, ugq Sans-serif, uni Monospace cmtt Monoline cmvtt Monospace cmtl Sans-serif, cmss Sans-serif cmbr Sans-serif, pss §¦Grotesque ¤¥§¦Grotesque ¤¥§¦ ¤¥§ ¤ Postscript Type 1, FreeType, §¦Grotesque ¤¥§¦Grotesque ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦Grotesque ¤¥§¦ ¤¥§¦Modern ¤¥ METAFONT, OpenType, or Hv Ag Cr TrueType font. Gq Ni Tt Vt Tl Ss Br Ps Zc * See the fontname package Helvetica Courier Universal Computer Modern Computer CM Typewriter Computer Modern Computer Pandora Sans Avant Garde Zapf Chancery Grotesk documentation Typewriter Modern Variable Light Sans-Serif Modern Bright Eduard Hoffman / Herb Lubalin / Max Miedinger 1960 Tom Carnase 1970 Howard Kettler 1955 Herman Zapf 1979 Herman Zapf 1985 Herbert Bayer 1925 Donald Knuth 1978 Donald Knuth 1978 Walter Schmidt 2002 Donald Knuth 1978 Walter Schmidt 2005 Neenie Billawala 1989 Serif, Oldstyle AccanthisADFStdNoThree-LF Serif, Roman antt Serif, Oldstyle gentium Serif, Transitional ybv Slab-Serif yes Serif, Oldstyle EBGaramond-LF Serif, Modern bodoni Serif, Transitional PlayfairDisplay-LF Serif, Transitional Merriweather-OsF Serif, Display fkt Serif, Oldstyle dayrom Serif, Modern DejaVuSerif-TLF Serif, Modern udidot Serif, Modern artemisia Serif, Modern LibreCaslonText-TLF Serif, Modern Quattrocento-TLF Serif, Oldstyle yvt §¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§ ¤§ ¤§ ¤§ ¤§ ¤¦§ ¥¤¦§ ¥¤¦§ ¥¤¦§ ¥¤¦§ ¥¤¦§ ¥¤¦§ ¥¤¦§ ¥¤ Ac At Ge Bv Es Ga Bo Pf Mw Kt Dy Dj Di Ar Ca Qc Vt Accanthis Antykwa Gentium ADF Baskervald ADF Electrum EB Garamond GFS Bodoni Playfair Display Merriweather Covington GFS Didot GFS Artemisia Libre Caslon Quattrocento Venturis Day Roman DéjaVu Serif Toru´nska Serif Janusz Marian Antonis Claus Eggers Claus Eggers Antonis Antonis Hirwen Harendal / Hirwin Harendal 2006 Nowacki 2006 Victor Gaultney 2001 Hirwen Harendel 2011 Hirwen Harendel 2011 Georg Duffner 2010 Tsolomitis 2005 Sørensen 2010 Sørensen 2010 Derek Vogelpohl 2003 Walter Schmidt 2002 Stˇ epˇ an´ Roh 2004 Tsolomitis 2005 Tsolomitis 2005 Pablo Impallari 2012 Pablo Impallari 2012 Clea F. Rees 2010 Sans-serif zub Sans-serif fca Sans-Serif DejaVuSans-TLF Sams-Serif QuattrocentoSans-TLF Sans-Serif yv1 Sans-Serif LinuxBiolinumT-OsF Sans-Serif fco Sans-Serif cyklop Sans-Serif iwona Script fau Serif Display fin Monospace fpt Serif Display fwb Script ftp Display fap Monospace DejaVuSansMono-TLF Non-human kl §¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥¦§ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥ Ub Ca Dv Qs Vs Bi Ck Iw Au In Pt Wb Tp Ap Dt L CF DéjaVu Ubuntu Cantarell DéjaVu Quattrocento Venturis Sans Libertine Biolinum ComfortAA Cyklop Iwona ECF Augie ECF Intimacy ECF Pookie ECF Tall Paul ECF Picture Klinz Klingon ECF Webster Sans-Serif Sans-Serif Sans-Serif Typewriter Monospace Hirwen Harendal / Libertine Open Janusz Marian Janusz Marian Steven J. Steven J. Steven J. Steven J. Steven J. Steven J. Karl Gunter¨ Dalton Maag 2010 Dave Crossland 2009 Stˇ epˇ an´ Roh 2004 Pablo Impallari 2012 Clea F. Rees 2010 Fonts Project 2012 Jonas Aakerlund 2009 Nowacki 2008 Nowacki 2010 Lundeen 2002 Lundeen 2002 Lundeen 2002 Lundeen 2002 Lundeen 2002 Lundeen 2002 Wunsch¨ 1993 Stˇ epˇ an´ Roh 2004 Script cmin Script auncl Script egoth Script hmin Script huncl Script imaj Script pgoth Script rtnd Script rust Script sqrc Script tgoth Script uncl Blackletter ygoth Blackletter yfrak Blackletter yswab Script frc Script eiad §¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥¦§ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥§¦ ¤¥ Mn Au Eg Hm Hu Im Pg Rt Ru Sq Tg Un Yg Yf Ys Ei Carolingian Artificial Humani Half- Insular Rotunda Roman Yanni` Gothic YanniŊ Fraktur Eireannak Early Gothic Majuscule Gothic Textura Square Gothic Textura YanniŊ SĚwŁbisĚe R`c Uncial Uncial F˚r`e›n`c‚hffl Miniscule Uncial Prescisus Rustic Capitals Quadrata C˚u˚r¯sfi˚i‹vfle Yannis Yannis Yannis Emmanuel Ivan A Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Peter Wilson 1999 Haralambous 1998 Haralambous 1998 Haralambous 1998 Beffara 2001 Derzhanski 1998 ¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥¦ ¥ Symbol pzd Symbol psy Symbol OrnementsADF Symbol ding § ¤§ ¤§ ¤§ ¤ Zd Sy v Bd Zapf Dingbats ADF Ornements Symbol BB Dingbats Herman Zapf 1978 Adobe 1985 Hirwen Harendel 2011 Karel Horak 1995 DRAFT¦ ¥¦ ¥¦ ¥¦ ¥ Thanks to Camdon Wilde for inspiration and permission to use his original idea for a Periodic Table of Typefaces (http://squidspot.com/Periodic_Table_of_Typefaces.html). This table is maintained by Peter Flynn ([email protected]). Suggestions and improvements are welcomed. It is licensed under the LATEX Project Public License (LPPL) version 1.3c (http://latex-project.org/lppl/) and is available in source form in the Comprehensive TEX Archive Network (CTAN) at http://mirrors.ctan.org/....
Recommended publications
  • Supreme Court of the State of New York Appellate Division: Second Judicial Department
    Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch.
    [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]
  • Sig Process Book
    A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry.
    [Show full text]
  • Resources Ton 'QX Repository (For Details, Contact Peter Ab- Bott, E-Mail Address Above)
    TUGboat, Volume 10 (1989), No. 2 Janet users may obtain back issues from the As- Resources ton 'QX repository (for details, contact Peter Ab- bott, e-mail address above). DECnetISPAN users may obtain back issues from the European (con- Announcing (belatedly) -MAG tact Massimo Calvani, fisicaQastrpd.infn. it) or American (contact Ed Bell, 7388 : :bell) DECnet Don Hosek T)?J repositories. University of Illinois at Chicago Others with network access should send a mes- After being chided for not publicizing my electronic sage to archive-serverQsun.soe.clarkson.edu "magazine" enough, I have decided to make a formal with the first line being path followed by an address announcement of its availability to the 'J&X cornmu- from Clarkson to you, and then a line nity at large. get texmag texmag.v.nn What is =MAG? for each back issue desired where v is the volume number and nn the issue number. The line index WMAG is available free of charge to anyone reach- texmag will give a list of back issues available. able by electronic mail and is published approxi- A typical mail request may resemble: mately every two months. The subject material index t exmag generally falls somewhere between the somewhat get texmag texmag.l.08 chaotic (but still useful) correspondence of 'QXHAX and UKW, and the printed matter in TUGboat How do I submit articles to TEXMAG? and QXline. Some previous articles have included I was hoping you would ask. Articles are accepted an early version of Dominik Wujastyk's article on on all aspects of T)?J, M'QX, and METAFONT from fonts from TUB 9#2; an overview of the differ- specific information on interfacing graphics packages ent font files used by 'QX, METAFONT, and device with particular DVI drivers to general information drivers; macros for commutative diagrams and sim- on macro writing to product reviews to whatever ple chemical equations and many other topics.
    [Show full text]
  • Font HOWTO Font HOWTO
    Font HOWTO Font HOWTO Table of Contents Font HOWTO......................................................................................................................................................1 Donovan Rebbechi, elflord@panix.com..................................................................................................1 1.Introduction...........................................................................................................................................1 2.Fonts 101 −− A Quick Introduction to Fonts........................................................................................1 3.Fonts 102 −− Typography.....................................................................................................................1 4.Making Fonts Available To X..............................................................................................................1 5.Making Fonts Available To Ghostscript...............................................................................................1 6.True Type to Type1 Conversion...........................................................................................................2 7.WYSIWYG Publishing and Fonts........................................................................................................2 8.TeX / LaTeX.........................................................................................................................................2 9.Getting Fonts For Linux.......................................................................................................................2
    [Show full text]
  • Choosing Fonts – Quick Tips
    Choosing Fonts – Quick Tips 1. Choose complementary fonts – choose a font that matches the mood of your design. For business cards, it is probably best to choose a classic font. *Note: These fonts are not available in Canva, but are in the Microsoft Office Suite. For some good Canva options, go to this link – https://www.canva.com/learn/canva-for-work-brand-fonts/ Examples: Serif Fonts: Sans Serif Fonts: Times New Roman Helvetica Cambria Arial Georgia Verdana Courier New Calibri Century Schoolbook 2. Establish a visual hierarchy – Use fonts to separate different types of information and guide the reader - Use different fonts, sizes, weights (boldness), and even color - Example: Heading (Helvetica, SZ 22, Bold) Sub-heading (Helvetica, SZ 16, Italics) Body Text (Garamond, SZ 12, Regular) Captions (Garamond, SZ 10, Regular 3. Mix Serifs and Sans Serifs – This is one of the best ways to add visual interest to type. See in the above example how I combined Helvetica, a sans serif font, with Garamond, a serif font. 4. Create Contrast, Not Conflict: Fonts that are too dissimilar may not pair well together. Contrast is good, but fonts need a connecting element. Conflict Contrast 5. Use Fonts from the Same Family: These fonts were created to work together. For example, the fonts in the Arial or Courier families. 6. Limit Your Number of Fonts: No more than 2 or 3 is a good rule – for business cards, choose 2. 7. Trust Your Eye: These are not concrete rules – you will know if a design element works or not! .
    [Show full text]
  • The File Cmfonts.Fdd for Use with Latex2ε
    The file cmfonts.fdd for use with LATEX 2".∗ Frank Mittelbach Rainer Sch¨opf 2019/12/16 This file is maintained byA theLTEX Project team. Bug reports can be opened (category latex) at https://latex-project.org/bugs.html. 1 Introduction This file contains the external font information needed to load the Computer Modern fonts designed by Don Knuth and distributed with TEX. From this file all .fd files (font definition files) for the Computer Modern fonts, both with old encoding (OT1) and Cork encoding (T1) are generated. The Cork encoded fonts are known under the name ec fonts. 2 Customization If you plan to install the AMS font package or if you have it already installed, please note that within this package there are additional sizes of the Computer Modern symbol and math italic fonts. With the release of LATEX 2", these AMS `extracm' fonts have been included in the LATEX font set. Therefore, the math .fd files produced here assume the presence of these AMS extensions. For text fonts in T1 encoding, the directive new selects the new (version 1.2) DC fonts. For the text fonts in OT1 and U encoding, the optional docstrip directive ori selects a conservatively generated set of font definition files, which means that only the basic font sizes coming with an old LATEX 2.09 installation are included into the \DeclareFontShape commands. However, on many installations, people have added missing sizes by scaling up or down available Metafont sources. For example, the Computer Modern Roman italic font cmti is only available in the sizes 7, 8, 9, and 10pt.
    [Show full text]
  • Kepler Italic
    Brioso™ Pro a® a abcdefghijklmnopqrst An Adobe® Original Brioso Pro a umanistic Composition aily abcdefghijklmnopqrst © Adobe Systems Incorporated. Al rights reserved. uvwxyz For more information about OpenType please refer to Adobe’s web site at www.adobe.com/type/opentype. is document was designed to be viewed on-screen or printed duplex and assemled as a booklet. Adobe Originals Adobe Systems Incorporated introduces Brioso Pro, a new font soware package in the growing library of Adobe Originals typefaces, designed ecicaly for today’s digital technology. Since the inception of the Adobe Originals program in , Adobe Originals typefaces have been consistently recognized for their quality, originality, and praicality. They combine the power of PostScript® lanuage soware and the most sophisticated electronic design tools with the spirit of crasmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font soware has set a standard for typographic excelence. What is OpenType? Developed jointly by Adobe and Microso, OpenType is a highly versatile new font le format that represents a signicant advance in type functionality on Windows® and Mac OS computers. Perhaps most exciting for designers and typographers is that OpenType fonts offer extendedlayout features that bring unprecedented control and sophistication to contemporary typography. Because OpenType can incorporate al glyphs for a ecic style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and related glyph sets is eliminated. In aplications which suport OpenType layout features, such as Adobe’s InDesign® soware, glyphs are grouped according to their use.
    [Show full text]
  • 264 Tugboat, Volume 37 (2016), No. 3 Typographers' Inn Peter Flynn
    264 TUGboat, Volume 37 (2016), No. 3 A Typographers’ Inn X LE TEX Peter Flynn Back at the ranch, we have been experimenting with X LE ATEX in our workflow, spurred on by two recent Dashing it off requests to use a specific set of OpenType fonts for A I recently put up a new version of Formatting Infor- some GNU/Linux documentation. X LE TEX offers A mation (http://latex.silmaril.ie), and in the two major improvements on pdfLTEX: the use of section on punctuation I described the difference be- OpenType and TrueType fonts, and the handling of tween hyphens, en rules, em rules, and minus signs. UTF-8 multibyte characters. In particular I explained how to type a spaced Font packages. You can’t easily use the font pack- dash — like that, using ‘dash~---Ђlike’ to put a A ages you use with pdfLTEX because the default font tie before the dash and a normal space afterwards, encoding is EU1 in the fontspec package which is key so that if the dash occurred near a line-break, it to using OTF/TTF fonts, rather than the T1 or OT1 would never end up at the start of a line, only at A conventionally used in pdfLTEX. But late last year the end. I somehow managed to imply that a spaced Herbert Voß kindly posted a list of the OTF/TTF dash was preferable to an unspaced one (probably fonts distributed with TEX Live which have packages because it’s my personal preference, but certainly A of their own for use with X LE TEX [6].
    [Show full text]
  • The Fontspec Package Font Selection for XƎLATEX and Lualatex
    The fontspec package Font selection for XƎLATEX and LuaLATEX Will Robertson and Khaled Hosny [email protected] 2013/05/12 v2.3b Contents 7.5 Different features for dif- ferent font sizes . 14 1 History 3 8 Font independent options 15 2 Introduction 3 8.1 Colour . 15 2.1 About this manual . 3 8.2 Scale . 16 2.2 Acknowledgements . 3 8.3 Interword space . 17 8.4 Post-punctuation space . 17 3 Package loading and options 4 8.5 The hyphenation character 18 3.1 Maths fonts adjustments . 4 8.6 Optical font sizes . 18 3.2 Configuration . 5 3.3 Warnings .......... 5 II OpenType 19 I General font selection 5 9 Introduction 19 9.1 How to select font features 19 4 Font selection 5 4.1 By font name . 5 10 Complete listing of OpenType 4.2 By file name . 6 font features 20 10.1 Ligatures . 20 5 Default font families 7 10.2 Letters . 20 6 New commands to select font 10.3 Numbers . 21 families 7 10.4 Contextuals . 22 6.1 More control over font 10.5 Vertical Position . 22 shape selection . 8 10.6 Fractions . 24 6.2 Math(s) fonts . 10 10.7 Stylistic Set variations . 25 6.3 Miscellaneous font select- 10.8 Character Variants . 25 ing details . 11 10.9 Alternates . 25 10.10 Style . 27 7 Selecting font features 11 10.11 Diacritics . 29 7.1 Default settings . 11 10.12 Kerning . 29 7.2 Changing the currently se- 10.13 Font transformations . 30 lected features .
    [Show full text]
  • JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9
    JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands.
    [Show full text]
  • P Font-Change Q UV 3
    p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia .......................................................................................
    [Show full text]