DOCSLIB.ORG

Opentype Is an Awesome Font Format. Based on Unicode, and Created by Microsoft and Adobe, It Will Inevitably Become a Universal Big Standard—Sooner Or Later

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Opentype Is an Awesome Font Format. Based on Unicode, and Created by Microsoft and Adobe, It Will Inevitably Become a Universal Big Standard—Sooner Or Later REAL OpenType is an awesome font format. Based on Unicode, and created by Microsoft and Adobe, it will inevitably become a universal Big standard—sooner or later. thıng by Nick Shinn It’s a babel out there. the multi-lingual international standard of ment of OpenType is for Arabic. With a A single weight of a popular typeface character encoding established in 1991. A set-up of Arabic OpenType fonts and Mi- can exist in many versions, each required full-featured OTF is around 150KB in size crosoft Word with Windows 2000, it’s pos- to work in different circumstances. There and contains about 500 glyphs. sible to set the full range of contextual are formats for different operating systems modifications to character forms that are (Mac/PC), and for different software ONE FILE FITS ALL essential to written Arabic. Hopefully, this (TrueType/Type 1). There are encodings The benefits of a cross-platform format are will bring East and West closer together. for different languages (Latin/Central Eu- simpler font management and the removal Further down this road, OpenType ropean/Greek/etc). For expert typography of text corruptions that occur when encod- leads to the possibility of a universal trans- (alternate figures, small caps, etc), addi- ings don’t match, such as the fi ligature lator. Beam me up! tional fonts are needed. from a Mac file that becomes ? on a PC. But OpenType, a single-platform for- With its large size, an OpenType font VIRTUOSITY ENABLED mat created in 1996 by Adobe and Mi- easily accommodates the standard range of In the aesthetic dimension, an OpenType crosoft, is one big font that does it all. western characters as well as international font may include (as alternate glyphs) all characters such as the euro and the litre, the traditional typographic niceties—old- GENESIS accented characters for Central European style figures, true small caps, fractions, Adobe introduced the Type 1 font in 1984, languages such as Croatian and Polish, swashes, superiors, inferiors, ornaments, and this format became the standard for and even Cyrillic and Greek characters. and optical scaling. All manner of liga- the graphics industry, on the Macintosh. Perhaps the most significant develop- tures as well, for contextual adjustments to Microsoft’s TrueType then came along to otherwise rigid letterforms. This feature of dominate the PC world. OpenType is manipulated on the fly by In- More sophisticated formats—Apple’s Design, substituting the appropriate glyph GX, and Adobe’s Multiple Master—were when cued by a particular sequence of launched in the early 90s, but failed. In coded characters. In a traditional serifed 1999, Adobe stopped making new Type 1 face, e.g. Minion or Adobe Caslon, this and Multiple Master fonts. gives set text a well-mannered subtlety. In In 2000, the first OpenType fonts were a script (Zapfino, Caflisch), the text ap- released. They were based on Unicode, pears convincingly handwritten. 14 Graphic Exchange Cornucopia of glyphs Adobe’s standard OpenType character set has 246 members, replacing the ISO-Adobe set and adding the euro, estimate, litre, and 14 Mac “symbol” characters. Beyond that it’s up to the type designer what to include. Different combinations of alternates are applicable through the OpenType menu (see over) via InDesign and Photoshop, for instance “Swash” or “Fractions”. Other glyphs, such as “Th” and the orna- ments shown here, are inserted manually. Adobe Caslon Pro Italic contains 674 glyphs: • Latin capitals • Figures • Swash capitals Lining tabular • Latin lowercase Lining proportional • Latin lowercase alts Oldstyle tabular Swash Oldstyle proportional Superiors Superscript • Latin ligatures Scientific Inferior • Currency Numerator • Punctuation & marks Denominator • Ornaments & dingbats Fractions Mathematic operators There are no small caps in this italic font. But it does include the archaic long s, with ligatures. As an indication of the sheer scope of OpenType, the format contains a “hist” feature which could be used to automate the necessary substitution for 18th Century setting, although there is as yet no corresponding attribute in InDesign— wouldn’t that be wicked! A far cry from the 128 characters of so it will be interesting to see the Open- PLUS ÇA CHANGE ascii, or the 256 glyphs in a PostScript Type version of the van Blokland/van While the sheer number of glyphs seems font, there are a possible 65,000 glyphs in Rossum face Kozmik later this year. One limitless, in practice OpenType fonts work an OpenType font! day someone may even inject motion into seamlessly, just like any other font on your In theory, separate word-glyphs could an OpenType font, and each idiosyncratic hard drive. Adobe is converting most of its be created for complete vocabularies—an character will Flash to life. library into Standard OpenType fonts that impossible task for a type designer, but not But, returning to reality, it’s worth men- contain almost exactly the same characters beyond the scope of a robotic software tioning that text set in OpenType, no mat- as a regular font, and these will have the app. That tool already exists—Robofog— ter how many ligatures, is fully editable. primary OpenType benefit of cross-plat- Graphic Exchange 15 One code to rule them all Comparable to the Human Genome form usefulness. So far only 14 Adobe type- Project, Unicode provides a “unique, faces have been given the superior Pro des- universal, uniform” code for every character in almost every language of the ignation, with expert features supported by world, as well as for symbols such as the software such as InDesign and Photoshop; Euro. In Unicode, characters are defined however, these are mainly conversions of as “the smallest semantic units of a Multiple Master fonts. language,” and glyphs as “the specific form characters can take in a font”. While Adobe has produced the vast This distinction means that with majority of OpenType faces, two more in- OpenType fonts, expert typographic teresting examples come from elsewhere. features can be applied to text without Zuzana Licko’s Mrs Eaves was, of course, a altering the base Unicode character values, facilitating spellchecking, prime candidate; Licko had already (1996) importing/exporting, and copying. created a menagerie of bizarre ligatures for ment organizations, particularly those that The relationship between characters her riff on Baskerville, activated by the pro- deal with many languages, will take to the and glyphs varies: prietary LigatureMaker software. More re- format. With OpenType fonts in Windows One to one cently, House Industries designed Simian XP, Windows NT 4, Windows 2000, or as an OpenType font, with all-cap ligatures Mac OS X, it’s possible to change key- = or or a a that relate not so much to the traditional boards (i.e. keyboard drivers) in mid-text, Many to one typographic source of ligatures—the writ- switching from, for example, English ten word—but rather to lettered logotypes. (Latin) to Croatian (CE) copy without + + = ffl f f l Adobe (or is it ITC?) has not yet gone missing a beat. One to many to town on Avant Garde, for which Herb Lubalin designed a fine collection of his CHANGE-OPHOBIA = + à a ` trademark ultra-tight ligatures. Quite apart from functionality is the ques- tion of inertia. If you already know how to THE COUNTER FORCES do something (such as work with Latin Simplify So much for hype. To sum up, OpenType and CE fonts), the inconvenience of even tricky typography provides the benefits of cross-platform con- a small change will mitigate against the sistency, improved language support, and move to a more productive workflow. the capability of expert typography. But On the question of cost: OpenType this vision of excellence is clouded by fonts are a good value compared with Post- practicality. Script or TrueType, if you’re buying a new Type 1: Three fonts required, with special keying for the ffl ligature: Adobe Garamond Although OpenType fulfills the vision- typeface. But persuading your boss (or Italic, Expert Italic, and Alternate Italic. ary goals of its architects, widespread im- yourself) to replace a typeface you already OpenType: Adobe Garamond Pro Italic, plementation may face significant hurdles, have is tough. And if you want expert fea- with OpenType “Swash” attribute applied. including its lack of integration with tures and don’t use InDesign, forget it. The text remains editable. QuarkXPress, a paucity of exciting new The largest impediment to the wide- fonts, and weak controls for OpenType in spread adoption of OpenType is the indif- InDesign. ference of QuarkXPress, which, from the Type 1: Small Cap and Expert fonts, with Idealism is a hard sell, even at par. And vantage point of almost complete domina- special keying for the fraction. OpenType fonts cost more. Sure, the extra tion of the market for page layout software, OpenType: One font, with standard key- features represent good value, but for the is in no rush to support the big gizmo of its ing, and OT “fraction” attribute applied. average typographer who works on one only feasible competitor, Adobe InDesign. platform and in one language, the percep- Of course, OpenType fonts work just as tion is that you’re paying for stuff you don’t well as Type 1 in QuarkXPress, with added need. Nonetheless, there are significant cross-platform benefits, but the expert typo- markets, such as fine book publishing. graphic features are inaccessible. John D. Berry has used Minion Pro for a large book of poetry and found it to be a INDESIGN FAILS TO CAPITALIZE Top: Adobe Caslon Pro with OpenType “Discretionary ligatures” attribute. considerable time-saver (see www.creative- Left to spearhead OpenType, however, Bottom: The “Th” ligature is applied by pro.com/story/feature/16934.html, Putting Adobe hasn’t taken advantage of one of In- default (“Ligatures” in the styling palette).
Load more

Recommended publications
  • 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]
  • Designed by Zuzana Licko Licensed and Distributed by Emigre * Mr Eaves Type Specimen Mr Eaves Type Specimen
    mr eaves type specimen 1 MReaves DesigneD by ZuZana Licko LicenseD anD DistributeD by emigre *www.emigre.com mr eaves type specimen mr eaves type specimen 2 Mr Eaves Design Notes 3 Mr Eaves is the often requested sans-serif companion to Mrs Eaves, one of Emigre’s classic typeface designs. Created by Zuzana Licko, this latest addition to the Emigre Type Library is based on the proportions of the original Mrs Eaves. aa gg tt Mr Eaves Sans and Mr Eaves Modern counterparts. A matching Modern family provides a less humanistic look, with simpler and more geometric-looking shapes, most noticeably in the squared-off aOriginal Mrs Eavesa Sans in black.d Mr Eaves Sans companiond font in white.ee terminals and symmetric lower case counters. This family has moved furthest from its roots, yet still contains some of Mrs Eaves’ DNA. Licko took some liberty with the design of Mr Eaves. One of the main concerns was to avoid creating a typeface that looked like it simply had its serifs cut off. And while it matches Mrs Eaves in weight, color, and armature, Mr Eaves stands as its own typeface with many unique charac- teristics. mMr Eaves Sans and Mrm Eaves Modern counterparts. ww The Modern Italic is free of tails, and overall the Modern exhibits more repetition of forms, projecting a cleaner look. This provides stronger differentiation from the serif version whenever a more contrasting look is f f tt cc desired. Deviations from the Mrs Eaves model are evident in the overall decrease of contrast, as well as in details such as the flag and tail of the f and j, and the finial of the t, which were shortened to maintain a cleaner, sans serif look.
    [Show full text]
  • Mrs. Eaves 14 Modern: Bodoni 18 Slab Face: Clarendon
    FLAUNT YOUR FONT g k & g O H & h l k 8 mH f f f f f f f f f f 7 f U b b b b b b b b M Pb 8 2 X O O O 3 i O k 1 P m v c m f f f n a g 8 O m d X a nFLAUNT g n k k 1 h P P t A R g h h h h h h U k j j j YOUR 3 O m H g O 8 k k O FONT i a t & O b h & g 3 3 3 3 k k k v h h k & H d m X X X X X X X X X X m m m a t f f fh O 8 O O O O O O f O h v h k k k k k k k k k k k k k k k k k k k k k k k k k k a kX 3 t P P o P f f f f f f f M M M M M M b bM X 7 k l l l h h h h h g h H 8 t k O m g a t g k & g O H & h l k 8 mH f f f f f f f f f f 7 f U b b b b b b b b M Pb 8 X O O O 3 i O k 1 P m v c m f f f n a g 8 O m d X a nFLAUNT g n k k 1 h P P t A R g h h h h h h U k j j j YOUR 3 O m H g O 8 k k O FONT i a t & O b h & g 3 3 3 3 k k k v h h k & H d m X X X X X X X X X X m m m a t f f fh O 8 O O O O O O f O h v h k k k k k k k k k k k k k k k k k k k k k k k k k k a kX 3 t P P o P f f f f f f f M M M M M M b bM 3 X 7 k l l l h h h h h g h H 8 t k O m g a t A font specimen book by: Julia Brooke Rothstein 4 Contents: Serif: 4 Old Stylt: Garamond 10 Traditional: Mrs.
    [Show full text]
  • Use One Typeface
    01 Flush Left When in doubt, set your type flush left rag right. Why? In western culture, people read from top to bottom, left to right. By justifying type left, the eye is able to find the edge and read copy much more easily. Avoid indenting the first line of a paragraph for this reason. Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 02 Use One Typeface Using two typefaces successfully within a layout requires an understanding of the chosen faces in order to be confident that they are complementary. In general, avoid using two typefaces of the same classification. For example, do not use two sans serif, serif, slab serif or script faces together. The reason—contrast. Stay with one typeface until you have achieved mastery. Helvetica Neue Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 03 Skip A Weight Go from light to bold, or from medium to extra bold when changing font weights. The key to great design is contrast. Slight changes in weight change make it harder for the audience to notice the difference. Try mixing bold for the headline and light for the body copy for greater contrast. Light/Bold Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 04 Double Point Size A good rule of thumb when changing point sizes, is to double or half the point size you are using.
    [Show full text]
  • A Brief History of Typefaces the Invention of Printing Movable Type Was Invented by Johannes Gutenberg in Fifteenth-Century Germany
    A brief history of typefaces The invention of printing Movable type was invented by Johannes Gutenberg in fifteenth-century Germany. His typography took cues from the dark, dense handwriting of the period, called “blackletter.” The traditional storage of fonts in two cases, one for majuscules and one for minuscules, yielded the terms “uppercase” and “lowercase” still used today. Working in Venice in the late fifteenth century, Nicolas Jenson created letters that combined gothic calligraphic traditions with the new Italian taste for humanist handwriting, which were based on classical models. )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) The Venetian publisher Aldus Manutius distributed inexpensive, small-format books in the late fifteenth and early sixteenth centuries to a broad, international public. His books used italic types, a cursive form that economized printing by allowing more words to fit on a page. This page combines italic text with roman capitals. Integrated uppercase and lowercase typefaces. The quick brown fox ran over lazy d the lazy dog 2 or 3 times. ITC Garamond, 1976 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Adobe Garamond, 1986 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Garamond Premier Regular, 2005 Garamond typefaces, based on the Renaissance designs of Claude Garamond, sixteenth century Enlightenment and abstraction The painter and designer Geofroy Tory believed that the proportions of the alphabet should reflect the ideal human form.
    [Show full text]
  • A Type Specimen Booklet by Alex Morales
    SS P A A C EE a type Specimen bookletP by Alex Morales C Palatino 4 Mrs Eaves 6 Didot 8 Rockwell 10 gill sans 12 univers 14 Futura 16 snell roundhand 18 expletus sans 20 Inknut Antiqua 22 exo 2 24 Averia Sans Libre 26 Tillana 28 ubuntu mono 30 Palatino {Old style Serif} Herman Zapf created Palatino at the start of his type designing career- the typeface was re- leased in 1948 by the Linotype foundry. The typeface grew popular very rapidly, finding usage in hundreds of American newspapers, as well as in high profile publications in Zapf’s native Germany. The harmonious forms of the design are reminiscent of the Renaissance and, combined with Zapf’s economical fit, make the typeface well-suited for anything rang- ing from headlines and advertisements to newspaper body text and instruction manuals. Halley [Palatino LT Std Light] Encke [Palatino LT Std Roman] Biela [Palatino LT Std Medium] Faye [Palatino LT Std Bold] Brorsen [Palatino LT Std Black] d’Arrest [Palatino LT Std Light Italic] Pons-Winecke [Palatino LT Std Italic] Finlay [Palatino LT Std Medium Italic] Westphal [Palatino LT Std Bold Italic] [Palatino LT Std Black Italic] Kopff Periodic Comets A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 # ( ) { } [ ] % & ! ? .
    [Show full text]
  • Size and Scale X-Heights
    type basics Size and Scale x-heights size big bottoms are an efficient use of resources height Attempts to standardize the 32-Pt scala Pro 32-Pt interstate regular 32-Pt bodoni 32-Pt mrs eaves 12 points equal 1 pica measurement of type began in the eighteenth century. The point system is the standard used 6 picas today. One point equals 1/72 inch or .35 (72 points) Do I look fat in this paragraph? Big millimeters. Twelve points equal one pica, the equal 1 inch unit commonly used to measure column widths. When two typefaces are set in the same point size, one often Mrs Eaves rejects the twentieth-century appetite 60-Point scala Typography can also be measured in inches, looks bigger than the other. Differences in x-height, line weight, for supersized x-heights. This typeface, inspired A typeface is measured millimeters, or pixels. Most software applications and set width affect the letters’ apparent scale. by the eighteenth-century designs of Baskerville, from the top of the is named after Sarah Eaves, Baskerville’s capital letter to the let the designer choose a preferred unit of mistress, housekeeper, and collaborator. bottom of the lowest measure; picas and points are a standard default. The couple lived together for sixteen years descender, plus a small before marrying in 1764. buffer space. nerd alert: abbreviating Picas and Points In metal type, 8 picas = 8p the point size 8 points = p8, 8 pts is the height of 8 picas, 4 points = 8p4 the type slug. 8-point Helvetica with 9 points of line spacing = 8/9 Helvetica Mrs.
    [Show full text]
  • The Visibility and Legibility of Roman Typefaces: a Review with Blur Simulation
    The Visibility and Legibility of Roman Typefaces: A Review with Blur Simulation * Rachapoom Punsongserm Faculty of Fine and Applied Arts, Thammasat University, Pathum Thani, Thailand Abstract Background According to our previous study, Thai Typefaces (Part 1): Assumption on Visibility and Legibility Problems, we examined underlying stages in the visibility and legibility matters of the Thai typefaces where the results have provided the assumption for developing the glyphs of the Thai universal design font (UD font). However, studying the visibility and legibility of Roman letters has still been a necessity, as it represents the international language. Developing high visibility and high legibility of the Roman typeface is requisite for supporting the Thai UD font as well. Methods The current study qualitatively initial tested the tolerance of Roman characters under blurred conditions. We applied seventy Roman fonts in the form of 'The Internal Relationship of Letters in the Feature Comparison Theory' in the same x-heights as stimuli, which simulated the low visual acuity at different blur levels. Results The simulated condition suggests significant advantages and disadvantages of each Roman type concerning visibility and legibility. The results improved ideas and possible solutions, which may assist with the approach of designing high-performance Roman letterforms that contribute to the Thai UD font as a Roman character set. Conclusions In order to improve the visibility and legibility of the Roman letterforms toward a UD font, the current pilot study conducted an investigation via blurred Roman types. The study revealed the advantages and disadvantages of several Roman letterforms, which suggest approaches to developing the Roman characters actively in low visual acuity conditions.
    [Show full text]
  • The Evolution of Symbols Have Influ- Enced the Letterforms We Use Today
    The evolution of symbols have influ- enced the letterforms we use today. They played a prominent role in communication from recording infor- mation, representing ideas, and expressing ourselves. Pictograms Pictures of an object in the physical world. Some scholars say cave paintings could be considered one of the earliest forms of graphic communication; for instance, these could be hunt- ing instructions. Ideograms Simplified or stylized pictograms. Symbols made of geometric shapes to represent an idea. Phonograms Symbols or signs representing primary sounds. The Phoeni- cians developed a set of 22 symbols. Greek Alphabet The Phoenician alphabet was adapted by the Greeks, it was the first to have distinct letters for vowels as well as consonants Roman Alphabet Romans adopted the Greek alphabet and fashioned several more distinctive letters. Belief in important religious texts promoted the production of books. Nearly all books, Illuminated Manu- scripts, were written in monasteries, by scribes who were production letterers. Illuminated Manuscripts Books were objects of value and contained elaborate orna- mentation. Illustrated initials were painstakingly designed. Monks could devote a lifetime to a single manuscript. Parchment was being replaced by the invention and availability of paper. Wooden blocks of type stamps were being replaced with letterforms cast in steel. The increased demand for books, in- cluding the growth of universities, moved book craft from the monastery to production facilities. Invention of Printing Movable type was perfected by Johannes Gutenberg in Germany in the 15th century. For the first time, a technical system of mass production was applied to publishing. Each metal alphabet character could be hand-cast in great quanti- ties.
    [Show full text]
  • Mrs Eaves Xl Serif Bold Font Free Download Mrs Eaves Xl Serif Bold Font Free Download
    mrs eaves xl serif bold font free download Mrs eaves xl serif bold font free download. Help your fellow font-seekers if you think you can recognize the font. Earn some good karma by doing it :-) Answer & Help. Yet sometimes the images are very complex, so other users need a bit of help. If you recognize the font from the samples posted here don't be shy and help a fellow designer. Thousands of designers (famous or not) use the image font detection system to find a font or similar free fonts from an image. Although we have the largest database of fonts, the search for a font from an image gets mixed results like the image above. Mrs Eaves XL Serif Nar OT Bold Free Font. The best website for free high-quality Mrs Eaves XL Serif Nar OT Bold fonts, with 22 free Mrs Eaves XL Serif Nar OT Bold fonts for immediate download, and ➔ 15 professional Mrs Eaves XL Serif Nar OT Bold fonts for the best price on the Web. 22 Free Mrs Eaves XL Serif Nar OT Bold Fonts. 7 Relevant Web pages about Mrs Eaves XL Serif Nar OT Bold Fonts. Mrs Eaves XL Serif by Zuzana Licko: . (Serif) dasauge® Mrs Eaves XL Serif—dasauge® Fonts. Home. About; FAQ; . Mrs Eaves XL Serif Narrow Bold Italic OT: Mrs Eaves XL Serif Narrow Bold OT Font | WhatFontis.com - Download Mrs Eaves XL Serif Narrow Bold OT font. Designed by Zuzana Licko in 2009 - Published by Emigre. Even with all its shortcomings, Mrs Eaves has outsold all Emigre fonts by twofold.
    [Show full text]
  • The Field Guide to Typography
    THE FIELD GUIDE TO TYPOGRAPHY TYPEFACES IN THE URBAN LANDSCAPE THE FIELD GUIDE TO TYPOGRAPHY TYPEFACES IN THE URBAN LANDSCAPE PETER DAWSON PRESTEL MUNICH · LONDON · NEW YORK To my parents, John and Evelyn Dawson Published in North America by Prestel, a member of Verlagsgruppe Random House GmbH Prestel Publishing 900 Broadway, Suite 603 New York, NY 10003 Tel.: +1 212 995 2720 Fax: +1 212 995 2733 E-mail: [email protected] www.prestel.com © 2013 by Quid Publishing Book design and layout: Peter Dawson, Louise Evans www.gradedesign.com All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, or otherwise without written permission from the publisher. Library of Congress Cataloging-in-Publication Data Dawson, Peter, 1969– The field guide to typography : typefaces in the urban landscape / Peter Dawson. pages cm Includes bibliographical references and index. ISBN 978-3-7913-4839-1 1. Lettering. 2. Type and type-founding. I. Title. NK3600.D19 2013 686.2’21—dc23 2013011573 Printed in China by Hung Hing CONTENTS_ Foreword: Stephen Coles 8 DESIGNER PROFILE: Rudy Vanderlans, Zuzana Licko 56 Introduction 10 Cochin 62 How to Use This Book 14 Courier 64 The Anatomy of Type 16 Didot 66 Glossary 17 Foundry Wilson 68 Classification Types 20 Friz Quadrata 70 Galliard 72 Garamond 74 THE FIELD GUIDE_ Goudy 76 Granjon 78 Guardian Egyptian 82 SERIF 22 ITC Lubalin Graph 84 Minion 86 Albertus 24 Mrs
    [Show full text]
  • Alphabet • Elemental Visual Signs • 26 Characters • Frozen Sounds
    Alphabet • elemental visual signs • 26 characters • frozen sounds Evolution • Handwriting > minimum number of strokes > lowercase • Engraving > minimum number of curved lines > capitals Letterforms • Appearance of the individual letter: Form • White space around: Counterform Typography II Logotype Forms Typography II Logotype Forms Typography II Logotype Forms Combination Letterforms: Deconstruction and reconstruction creates new and potentially meaningful solutions. Shape of exterior form very important. Typography II Logotype Forms Letter Height • The point system, used to measure the height of a letter as well as the space between lines (leading), is the standard measurement for type. • One point equals 1/72 inch or .35 millimeters. • Twelve points equal one pica, the unit commonly used to measure column widths. Height • Typography also can be measured in inches, millimeters, or pixels. (A point is roughly equivalent to a pixel.) • Most software applications let the designer choose a preferred unit of measure; picas and points are a standard default. Width • The horizontal dimension of a letter is its set width. • The set width is the body of the letter plus a sliver of space that protects it from other letters. • The width of a letter is intrinsic to the proportion of the typeface. • Some typefaces have a narrow set width, and some have a wide one. Width • You can change the set width of a letter by fiddling with its horizontal or vertical scale. • This distorts the proportion of the typeface, forcing heavy elements to become thin, and thin elements to become thick. • Instead of torturing a letterform, choose a typeface with the proportions you need, such as condensed, compressed, or extended.
    [Show full text]