DOCSLIB.ORG

Eurostile Masking Film and Many Other Graphic the Strong Solid Look of Eurostile Is EXTRA BOLD Croissant Ron* Aids Illustrated

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Pg. 2. In 1977 ITC A Call for Entries: Calligraphy Today conducted a three-day symposium at the Rochester Institute of The ITC Center will hold a major exhibition of callig- Technology It was called Vision '77 That was barely three years ago and already, raphy in the fall of 1980. Pg. 3. today in 1980, many of the reports and projections that were presented at Hans-Joachim Burgert and His Handpress Vision '77 and published in U&lc are outdated or becoming obsolete. Hans-Joachim Burgert's calligraphy his book design, his As John Seybold, one of the chairmen and speakers at Vision '77, said, "The new alphabet designs, his printing and binding techniques technology race is not tapering off. We ain't seen nothing yet!" are nothing short of amazing. A graphic feast. Pg.4. Ms. Heather Cooper The editors of U&lc realize that for most of its readers this disorderly and un- Heather Cooper, one of Canada's outstanding illus- organized climate of change can be frightening and confusing. trators, is our featured Ms. And no wonder! Pg.10. So much is happening today on so many frontiers that it is difficult to know Scribes Galore! what to read to keep informed, or even where to look to find out what is happen- Two calligraphic engagement calendars are reviewed ing—where, when, why and how. in this issue. One is on the subject of time; the other is based on quotes from Shakespeare.Together they are In an effort to cut through this maze of confusion U&lc will present in the June/ pure artistry. Pg. 12. July 1980 issue a special report entitled Vision '80s. For the past 18 months we Lou Myers have been gathering information from all over the world, from approximately Once again we offer the visual wit of one of our wittiest 200 companies who are involved with all areas of graphic communications. visualizers with a commentary on world affairs. Pg. 16. The findings will be published in a 100,000-word pictorial and diagrammatic Put Your Best Face Forward report that will make the Vision '80s issue of U&Ic one of the largest and most From the many intriguing submissions we've received useful we have ever produced. since our last issue, in which we featured an English designer, we have selected the work of a German type Vision '80s has been organized into 16 sections.They will cover the following enthusiast. His handling of ITC faces is peerless. Pg.18. subjects: 1. Originating information. 2. Image origination. 3. Input of data and Spanfeller's Divine Comedy text. 4. Input of images and graphics. 5. Filing: electromagnetic/micrographic. Jim Sr. and Jr. bring us up to date on their satire of 6. Editing. 7 Page/area composition. 8. Interfacing equipment and systems. Dante's Divine Comedy. Part 3, in this issue, is entitled 9. Typewriting. 10.Word processing. 11. Typesetting, typefaces. 12. Multicopy Purgatorio. In it J.S. meets his ideal woman. Pg. 20. reproduction systems/nonimpact printing. 13. Distribution: electronic mail, Peter Grundy's X Dictionary facsimile, communicating terminals. 14. The automated office/the open office. X marks the spot in this issue where Peter Grundy 15. Advice on choosing equipment and systems.16. Executive views of the next xerts much of his xceptional creative ability on a decade. singular xercise; the xploration of the letter X. Pg. 24. Crossword Puzzle You may wonder—"What does all this have to do with me?" The answer: Every- If you know anything about coin-operated slot ma- th ing.Your job, your career path, what you can do and how you do it.The new chines, dispensing machines and one-arm bandits graphic images you can obtain, schedules, budgets, lines of authority inyour you probably have the right combination to solve our department and in your company will all be radically affected in the '80s by crossword puzzle. Good luck. Pg. 26. a tremendous number of new technologies that, at first glance, you may think Pro. File: don't concern you at all. In this issue our great graphic innovator is Will Burtin. What can you do about this? This German designer, who emigrated to the United States in 1938, added immeasurable substance to For starters, read the Vision'80s report. Read it carefully, and digest its informa- American graphics by successfully combining science tion slowly. and art. Pg. 28. What's New from ITC? It is being written for U&lc readers.Although it is loaded with information it is Good old Franklin Gothic is what's new ITC has rede- eminently readable and, throughout, the significance of the new technologies signed Morris Fuller Benton's original sans serif face to to all those responsible for graphic communications is made clear. provide specifiers with much greater flexibility. Pg. 31. Vision'80s is being written for you. It will be the first full-spectrum report on Something for Everybody from U&lc the new technologies that not only tells what they are but how they relate to We have devoted eight pages in four colors to this regu- each other and how they are likely to affect you in the next decade. We think it lar U&lc feature, which, in this issue, delves into the less will give you more than new information. It will give you new insights into consequential achievements of Benjamin Franklin as a devious ploy to promote ITC Franklin Gothic. Pg. 36. where you may be headed and help you shape your own attitudes. Comic Alphabets All of us at U&lc .and at ITC look forward to sending it to all of you. What do hands and Q-tips have to do with the 26 Edward Gottschall characters of the Roman alphabet? Everything! Pg.45. Author and editor of Vision '80s THIS ARTICLE WAS SET IN ITC NOVARESE 3 A call for entries to Galli aphy Today Kalligraphia—Greek, from Kalli (beautiful) and graphia 5. Duplicate Entries (writing), an exhibition of outstanding calligraphy from all Upon acceptance of an entry by the jury, three additional copies will be required (except when original art is submit- over the world. ted) by the ITC Center for submission to the U.S. Library of It is not a paradox that this ancient art should be enjoying Congress for its archives. The ITC Center will make slides of a renaissance in the age of the computer. The humanities the accepted pieces for its slide archives and also will make walk a tightrope through history, a delicate balance their them available to schools and art and professional groups. means ofsurvival. Thus the cold precision and speed of digi- 6. Deadlinefor Entries tal CRT and laser typesetters are counterpointed by the All entries must be received at the ITC Center on or before grace and elegance of the art of calligraphy. June 20, 1980. ITC Center to hold a It is appropriate, therefore, for the Where to Send Entries major exhibition of contemporary calligraphy in the Fall 7. ITC Center of1980. 2 Hammarskjold Plaza, New York, N.Y 10017 All artists are invited to submit examples of their calli- Att: Hermann Zapf Chairman graphic work for possible inclusion in "Calligraphy Today." 8. Postage/Customs Requirements 1. There are no entryfees—no entry fee, no hangingfee. Please be sure the package is securely wrapped, the contents are protected, and the postage is adequate. Please be sure 2. What to send that your package has the proper customs information and Reproductions of commercial or experimental calligraphy. the art of the brush or pen stroke. forms so that it will leave your country and be properly Calligraphy is defined as received in the United States. The phrase "Material for Con- Any work that required retouchingfor reproduction will be test. No Commercial Value" on the package normally will called "lettering" and will not be considered eligible.
Load more

Recommended publications
  • 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]
  • INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
    INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam.
    [Show full text]
  • Searching for Morris Fuller Benton
    Searching for Morris Fuller Benton Discovering the designer through his typefaces Juliet Shen Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Typeface Design Department of Typography and Graphic Communication University of Reading September, 2006 © 2006 Juliet Shen. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical without written permission from the author. ABSTRACT Searching for Morris Fuller Benton Discovering the designer through his typefaces Juliet Shen Morris Fuller Benton (1872–1948) was the chief type designer for the American Type Foundry Company, where he worked from 1896–1937. He designed more typefaces than any other American type designer: well over 200. Yet historians have largely overlooked him in their publications and he did not write about himself. This dissertation seeks to discover how Benton thought as a designer by studying his typefaces. The economic trends that influenced his career are summarized, and his typefaces are re- catalogued thematically. Detailed case studies are made of Franklin Gothic, Clearface and Clearface Gothic, Cloister Oldstyle, Century School- book, and two novelty typefaces, Adscript and Thermo Series. The com- mon assumption that Franklin Gothic was based on Akzidenz Grotesk is refuted. His approach in reviving Nicolas Jenson’s fifteenth century roman is contrasted with that of Bruce Rogers, and the resulting typefaces compared. It is shown that Benton was greatly concerned with furthering legibility in typefaces; that he designed the first serial (serif and sans serif) type family; and that he made some typographic design innovations that went largely unnoticed.
    [Show full text]
  • 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.
    [Show full text]
  • MNT-7 Typesetting Manual.Pdf
    PRENTICE COMPUTER CENTRE University of Queensland Technical Manual No.7 TYPESETTING MANUAL MNT-7 June 198J I f 1 PRENTICE COMPUTER CENTRE UNIVERSITY OF QUEENSLAND Typesetting Manual ANDREW BROUGHTON AND BARRY MAHER JUNE 1983 This manual has been authorized by the Director of the Prentice Computer Centre. Typeset at the Prentice Computer Centre, University of Queensland. Printed at The Printery, University of Queensland. Contents INTRODUCTION PART A - Beginners Guide to Phototypesetting Chapter Al Introduction and Basic Concepts Chapter A2 ITPS Commands and Codes Chapter A3 Some Typical Examples PART B - Detailed Description of Composition Commands Chapter Bl Introduction to the ITPS Composition System Chapter B2 Basic Set-Up Commands Chapter B3 Output-Device Commands Chapter B4 Typiface Commands Chapter B5 Pointsize Commands Chapter B6 Leading Commands Chapter B7 Measure (Width) Commands Chapter B8 Quadding Commands Chapter B9 Access Codes Chapter Bl0 Simple Indents Chapter Bll More Complex Indents Chapter B12 Using Tabs Chapter B13 Inserting Leaders Chapter B14 Ragged-Style Setting Chapter B15 Hyphenation and Justification Commands and Parameters Chapter B16 Inserting Rules Chapter B17 Miscellaneous Commands Chapter B18 Multiple Column Output Chapter B19 Macros and Arithmetic Commands Chapter B20 Typesetting from the VAX PART C - Details of Operation Chapter C 1 Obtaining Preliminary and Final Output Chapter C2 Width- Testing Programs Chapter C3 Text-Processing Menu Systems - TXTMEN and JRNMEN Chapter C4 Output to APS-5 Phototypesetter
    [Show full text]
  • The Macintosh Font Book 1989.Pdf
    • • t h e v}i~~,~~t~%)fJ:;;.~,,,~~Y\";:i;:r;;,, <\x;}2::.(';.:;·.. :.,:;;::\· ~ '.:~ ··~'.i" T B 0 0 K Typographic Tips, Techniques and Resources .o PEACHPIT PRESS E R F E R T F E N T 0 N "<...... ()\'.}~c- "'=-J THE ERFERT FENTON 0 Peachpit Press Berkeley, California THE MACINTOSH FONT BOOK © 1989 by Erfert Fenton Peachpit Press 1085 Keith Avenue Berkeley, California 94708 415/527-8555 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information, contact Peachpit Press, Inc. Notice of Liability: The information in this book is distributed on an "As Is" basis, without warranty. \Vhile every precaution has been taken in the preparation of this book, neither the author nor Peachpit Press, Inc. shall have any liability to any person or entity with respect to any liability, loss, or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described herein. Trademarks: Throughout this book trademarked names are used. Rather than put a trademark symbol in every occurrence of a trademarked name, we state that we are using the names only in an editorial fashion and to the benefit of the trademark owner with no intention of infringement of the trademark. Library of Congress Cataloging-in-Publication Data Fenton, Erfert The Macintosh Font Book Includes index 1. Desktop publishing 2. Macintosh (Computer)­ Programming. 3. Printing-Data processing-Specimens.
    [Show full text]
  • Adobe® Font Name Reference Table (Fntnames.Pdf)
    ® Adobe® Font Name Reference Table (Fntnames.pdf) © 1997 Adobe Systems Incorporated. All rights reserved. ® Contents Typeface Trademark Symbols . 3 Introduction . 7 Font Name Reference Table . 11 Package 100 . 25 Package 200 . 42 Package 300 . 57 Package 400 . 74 Appendix A: Font Menu Name Revisions . 82 Appendix B: Trademark Attribution Statements . 91 Adobe Technical Support Technical Adobe ® Typeface Trademark Symbols The following list of trademark attribution symbols is arranged alpha- betically by family name. The name of the originating company (e.g., ITC) and prefixes such as “new” in names like “New Baskerville” were not used for alphabetizing. The trademark attribution statements are in Appendix B of this document. A Aachen™, Agfa®, Aja®, Berthold® Akzidenz Grotesk®, Albertus®, Aldus*, Alexa®, ITC American Typewriter®, Americana®, Amigo™, Andreas™, ITC Anna®, Antique Olive®, Apollo™, Arcadia*, Ariadne*, Arnold Bocklin*, Ashley Script™, New Aster™, Auriol*, ITC Avant Garde Gothic®, Avenir* B Baker Signet™, Balzano™, Banco®, Banshee™, Barmeno™, Berthold Baskerville™, Berthold Baskerville Book®, ITC New Baskerville®, ITC Bauhaus®, ITC Beesknees®, Bellevue™, Belwe™, Bembo®, ITC Benguiat®, ITC Benguiat Gothic®, ITC Berkeley Old Style®, Berliner Grotesk™, Berling™, Bermuda™, Bernhard Bold Condensed*, New Berolina™, Berthold®, Bickham Script™, Biffo™, Birch®, Blackoak®, Block Berthold®, Bauer Bodoni™, Berthold Bodoni®, Berthold Bodoni Old Face™, AG Book™, ITC Bookman®, Boton®, Boulevard™, Briem®, Bulmer™ C PMN Caecilia*, Caflisch Script®,
    [Show full text]
  • Fonts by Monotype Alias Agfa Alias Compugraphic
    Fonts by Monotype alias Agfa alias Compugraphic In 1992, the old company Monotype Corporation Ltd. went broke. In the same year, the Monotype Typography Ltd. was founded. Three years earlier, in 1989, the former Compugraphic Corp. acquired by Agfa-Gevaert ceased to exist. Later in 1998, Agfa acquired Monotype, and the Agfa Monotype Corporation was founded. In 2000, Agfa Monotype acquired International Typeface Corporation from Esselte AB which had previously bought ITC and also Letraset. In 2004, Agfa sold the Agfa Monotype division to TA Associates, a private equity investment firm, and TA Associates founded a new company Monotype Imaging Inc. now offering old Monotype, Compugraphic, ITC and Letraset fonts, intermingled with fonts by other companies (Adobe, Linotype etc.). See the Monotype website http://www.fonts.com The following font list consists of 4 sections: C = Compugraphic This section lists fonts formerly sold by Agfa, especially Compugraphic fonts, but also fonts by many other companies. Compugraphic was the largest font forging company in the pre-digital era. The cg catalog "The Type Book" of 1988 comprised more fonts than the catalogs of other foundries. The cg catalog also contains a list of "Typeface Analogues" revealing the many names of font forgeries made at that time. For instance, forgeries of font "Melior" by Hermann Zapf were sold at that time as "Ballardvale", "Hanover", "Lyra", "Mallard", "ME", "Melier", "Melliza" and "Uranus". I = ITC This section lists the fonts sold with label "ITC". L = Letraset This section lists the former Letraset fonts. M = Monotype This section lists old and new fonts made by Monotype itself.
    [Show full text]
  • Guide to the Mergenthaler Linotype Company Records
    Guide to the Mergenthaler Linotype Company Records NMAH.AC.0666 Alison Oswald Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 4 Biographical...................................................................................................................... 3 Scope and Contents........................................................................................................ 4 Names and Subjects ...................................................................................................... 5 Container Listing ............................................................................................................. 6 Series 1: Organizational Records, 1929-1997......................................................... 6 Series 2: Office Files, 1908-1992............................................................................. 9 Series 3: Typeface Materials, 1904-1991............................................................... 29 Series 4: Licensing Agreements, 1939-1988......................................................
    [Show full text]
  • Typography Is a Very Powerful Design Element
    IMPRINT Imprint © 2014 Smashing Magazine GmbH, Freiburg, Germany ISBN: 978-3-94454076-4 (PDF) Cover Design: Veerle Pieters eBook Strategy and Editing: Vitaly Friedman Technical Editing: Cosima Mielke Planning and Quality Control: Vitaly Friedman, Iris Lješnjanin Tools: Elja Friedman Idea & Concept: Smashing Magazine GmbH Preface Typography is a very powerful design element. Whenever we have a ty- pographic system in place, we can use it to structure content, commu- nicate ideas and even enhance meaning. However, employing it in a way that masters that delicate balance between being unobtrusive (catering for a pleasant reading experience) and engaging enough (keeping the reader’s interest on a page) can be quite a challenge. With the help of this eBook, you can learn how to train and sharpen your eyes to recognize specific typographic details which will be sure to guide you in your own projects and make it easier for you to make de- sign decisions. After an initial stroll through type terminology and clas- sification, this eBook reflects on the quality of fonts (including web font providers, of course) and explores typographic design patterns as well as current practices. These practical considerations and a plethora of real-world examples are bound to be a valuable companion through- out your adventures when designing with type. 2 TABLE OF CONTENTS Understanding The Difference Between Type And Lettering.................... 4 Making Sense Of Type Classification (Part 1) ................................................20 Making Sense Of
    [Show full text]
  • Fontname.Pdf
    Fontname July 2009 Filenames for TEX fonts Karl Berry i Table of Contents 1 Introduction::::::::::::::::::::::::::::::::::::: 1 1.1 History :::::::::::::::::::::::::::::::::::::::::::::::::::::::: 1 1.2 References ::::::::::::::::::::::::::::::::::::::::::::::::::::: 1 2 Filenames for fonts ::::::::::::::::::::::::::::: 3 2.1 Suppliers::::::::::::::::::::::::::::::::::::::::::::::::::::::: 3 2.2 Typefaces :::::::::::::::::::::::::::::::::::::::::::::::::::::: 4 2.3 Weights ::::::::::::::::::::::::::::::::::::::::::::::::::::::: 19 2.4 Variants :::::::::::::::::::::::::::::::::::::::::::::::::::::: 20 2.5 Widths ::::::::::::::::::::::::::::::::::::::::::::::::::::::: 24 3 Long names :::::::::::::::::::::::::::::::::::: 26 3.1 A fontname mapping file :::::::::::::::::::::::::::::::::::::: 26 3.2 A naming scheme for long names :::::::::::::::::::::::::::::: 26 Appendix A Font name lists ::::::::::::::::::: 28 A.1 Standard PostScript fonts :::::::::::::::::::::::::::::::::::: 28 A.2 Adobe fonts :::::::::::::::::::::::::::::::::::::::::::::::::: 29 A.3 Apple fonts::::::::::::::::::::::::::::::::::::::::::::::::::: 87 A.4 Bitstream fonts ::::::::::::::::::::::::::::::::::::::::::::::: 87 A.5 DTC fonts :::::::::::::::::::::::::::::::::::::::::::::::::: 105 A.6 ITC fonts ::::::::::::::::::::::::::::::::::::::::::::::::::: 106 A.7 Linotype fonts::::::::::::::::::::::::::::::::::::::::::::::: 123 A.8 Monotype fonts ::::::::::::::::::::::::::::::::::::::::::::: 213 A.9 URW fonts :::::::::::::::::::::::::::::::::::::::::::::::::: 239 Appendix B Encodings
    [Show full text]
  • The Introduction, Demonstration and Evaluation of a New Typeface Identification System J
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 1989 The introduction, demonstration and evaluation of a new typeface identification system J. Ames Parsons Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Parsons, J. Ames, "The introduction, demonstration and evaluation of a new typeface identification system" (1989). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. THE INTRODUCTION, DEMONSTRATION AND EVALUATION OF A NEW TYPEFACE IDENTIFICATION SYSTEM by Ames Parsons A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute of Technology May 1989 Thesis Advisor: Professor Archibald D. Provan ACKNOWLEDGEMENTS This thesis was a collaborative effort. Accordingly I wish to thank the following for their help: Professor Archibald Provan for acting as my primary thesis advisor, for allowing me to virtually monopolize (for months) the Xerox Star system, for providing the fundamentals upon which this thesis is based, and for providing copious good cheer, patience, and support; Professor Frank Cost for acting as my research advisor, and for designing and testing the TYPE-ID computer program; Mr. Paul Swift, Director of the Graphic Arts Division of the RIT Research Corporation, for sponsoring this project, and for acting as my thesis advisor; Mr.
    [Show full text]