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Inland Foundry
Inland Type Foundry Die Firma wurde 1894 in St. Louis gegründet durch die Söhne (William, Oswald und Carl jr.) von Carl Schraub- stadter, Teilhaber der Central Type Foundry, die 1892 zur American Type Founders kam. Das erste Musterbuch erschien 1895. In dieser Firma wurde die American Standard Line von Nicholas Joseph Werner entwickelt. Sie bildete das Vorbild für die Deutsche Normal- Schriftlinie, die durch Genzsch & Heyse in Deutschland eingeführt wurde. Im Jahre 1911 wurde die Firma von der American Type Founders Comp. übernommen. Einige Schriften kamen zu Barnhart Bros. & Spindler, Chicago, die sie teilweise um- benannten, um sie dann in ihr Schriftprogramm aufzunehmen. Alfred 1909 Avil 1904 Becker 1899 Nicholas J. Werner Blair 1900 Blair Condensed Blanchard Series 1899 Blanchard Italic 1900 Blanchard Light Face 1901 Blanchard Condensed 1901 Brandon 1898 Nicholas J. Werner Linotype (Engravers Bold Face) Brandon Gothic Bruce Title 1896 Nicholas J. Werner Cardinal Cardinal Italic Caslon Heavy 1906 Caslon Condensed 1907 Comstock 1902 Comstock Condensed 1905 Corbitt Condensed 1902 Corbitt Series 1900 Nicholas J. Werner Cosmopolitan 1896 Courts Series 1900 http://www.klingspor-museum.de Dorsey Series 1904 Dorsey Light Dorsey Light Italic 1910 Dorsey Condensed 1910 Dorsey Extra Condensed 1910 Drew Series 1910 Edwards Series vor 1899 Faust 1899 Foster 1905 William A. Schraubstadter Foster Condensed 1908 Francis 1904 Gothic No. 8 vor 1900 Nicholas J. Werner Haight 1902 A. V. Haight Havens Series 1902 Hearst 1902 Solotype Hearst Italic 1903 -
Cumberland Tech Ref.Book
Forms Printer 258x/259x Technical Reference DRAFT document - Monday, August 11, 2008 1:59 pm Please note that this is a DRAFT document. More information will be added and a final version will be released at a later date. August 2008 www.lexmark.com Lexmark and Lexmark with diamond design are trademarks of Lexmark International, Inc., registered in the United States and/or other countries. © 2008 Lexmark International, Inc. All rights reserved. 740 West New Circle Road Lexington, Kentucky 40550 Draft document Edition: August 2008 The following paragraph does not apply to any country where such provisions are inconsistent with local law: LEXMARK INTERNATIONAL, INC., PROVIDES THIS PUBLICATION “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Some states do not allow disclaimer of express or implied warranties in certain transactions; therefore, this statement may not apply to you. This publication could include technical inaccuracies or typographical errors. Changes are periodically made to the information herein; these changes will be incorporated in later editions. Improvements or changes in the products or the programs described may be made at any time. Comments about this publication may be addressed to Lexmark International, Inc., Department F95/032-2, 740 West New Circle Road, Lexington, Kentucky 40550, U.S.A. In the United Kingdom and Eire, send to Lexmark International Ltd., Marketing and Services Department, Westhorpe House, Westhorpe, Marlow Bucks SL7 3RQ. Lexmark may use or distribute any of the information you supply in any way it believes appropriate without incurring any obligation to you. -
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. -
Record of the Communications Policy & Research Forum 2009 in Its 2006 National Security Statement, George W
TWITTER FREE IRAN: AN EVALUATION OF TWITTER’S ROLE IN PUBLIC DIPLOMACY AND INFORMATION OPERATIONS IN IRAN’S 2009 ELECTION CRISIS ALEX BURNS Faculty of Business and Law Victoria University [email protected] BEN ELTHAM Centre for Cultural Research University of Western Sydney and Fellow, Centre for Policy Development [email protected]) Abstract Social media platforms such as Twitter pose new challenges for decision-makers in an international crisis. We examine Twitter’s role during Iran’s 2009 election crisis using a comparative analysis of Twitter investors, US State Department diplomats, citizen activists and Iranian protestors and paramilitary forces. We code for key events during the election’s aftermath from 12 June to 5 August 2009, and evaluate Twitter. Foreign policy, international political economy and historical sociology frameworks provide a deeper context of how Twitter was used by different users for defensive information operations and public diplomacy. Those who believe Twitter and other social network technologies will enable ordinary people to seize power from repressive regimes should consider the fate of Iran’s protestors, some of whom paid for their enthusiastic adoption of Twitter with their lives. Keywords Twitter, foreign policy, international relations, United States, Iran, social networks 1. Research problem, study context and methods The next U.S. administration may well face an Iran again in turmoil. If so, we will be fortunate in not having an embassy in Tehran to worry about. From a safe distance, we can watch the Iranian people, again, fight for their freedom. We can pray that the clerical Gotterdamerung isn’t too bloody, and that the mullahs quickly retreat to their mosques and content themselves primarily with the joys of scholarly disputation. -
Kemble Z3 Ephemera Collection
http://oac.cdlib.org/findaid/ark:/13030/c818377r No online items Kemble Ephemera Collection Z3 Finding aid prepared by Jaime Henderson California Historical Society 678 Mission Street San Francisco, CA, 94105-4014 (415) 357-1848 [email protected] 2013 Kemble Ephemera Collection Z3 Kemble Z3 1 Title: Kemble Z3 Ephemera Collection Date (inclusive): 1802-2013 Date (bulk): 1900-1970 Collection Identifier: Kemble Z3 Extent: 185 boxes, 19 oversize boxes, 4 oversize folder (137 linear feet) Repository: California Historical Society 678 Mission Street San Francisco, CA 94105 415-357-1848 [email protected] URL: http://www.californiahistoricalsociety.org Location of Materials: Collection is stored onsite. Language of Materials: Collection materials are primarily in English. Abstract: The collection comprises a wide variety of ephemera pertaining to printing practice, culture, and history in the Western Hemisphere. Dating from 1802 to 2013, the collection includes ephemera created by or relating to booksellers, printers, lithographers, stationers, engravers, publishers, type designers, book designers, bookbinders, artists, illustrators, typographers, librarians, newspaper editors, and book collectors; bookselling and bookstores, including new, used, rare and antiquarian books; printing, printing presses, printing history, and printing equipment and supplies; lithography; type and type-founding; bookbinding; newspaper publishing; and graphic design. Types of ephemera include advertisements, announcements, annual reports, brochures, clippings, invitations, trade catalogs, newspapers, programs, promotional materials, prospectuses, broadsides, greeting cards, bookmarks, fliers, business cards, pamphlets, newsletters, price lists, bookplates, periodicals, posters, receipts, obituaries, direct mail advertising, book catalogs, and type specimens. Materials printed by members of Moxon Chappel, a San Francisco-area group of private press printers, are extensive. Access Collection is open for research. -
Adobe Font Folio Opentype Edition 2003
Adobe Font Folio OpenType Edition 2003 The Adobe Folio 9.0 containing PostScript Type 1 fonts was replaced in 2003 by the Adobe Folio OpenType Edition ("Adobe Folio 10") containing 486 OpenType font families totaling 2209 font styles (regular, bold, italic, etc.). Adobe no longer sells PostScript Type 1 fonts and now sells OpenType fonts. OpenType fonts permit of encrypting and embedding hidden private buyer data (postal address, email address, bank account number, credit card number etc.). Embedding of your private data is now also customary with old PS Type 1 fonts, but here you can detect more easily your hidden private data. For an example of embedded private data see http://www.sanskritweb.net/forgers/lino17.pdf showing both encrypted and unencrypted private data. If you are connected to the internet, it is easy for online shops to spy out your private data by reading the fonts installed on your computer. In this way, Adobe and other online shops also obtain email addresses for spamming purposes. Therefore it is recommended to avoid buying fonts from Adobe, Linotype, Monotype etc., if you use a computer that is connected to the internet. See also Prof. Luc Devroye's notes on Adobe Store Security Breach spam emails at this site http://cgm.cs.mcgill.ca/~luc/legal.html Note 1: 80% of the fonts contained in the "Adobe" FontFolio CD are non-Adobe fonts by ITC, Linotype, and others. Note 2: Most of these "Adobe" fonts do not permit of "editing embedding" so that these fonts are practically useless. Despite these serious disadvantages, the Adobe Folio OpenType Edition retails presently (March 2005) at US$8,999.00. -
In the Vehicle Safety World, High-Tech Appears to Rule Supreme. a Recent MIT Study, Though, Has Proved How
TYPOGRAPHY TYPOGRAPHY Knowledge of all fonts In the vehicle safety world, high-tech appears to rule supreme. A recent MIT study, though, has proved how er Ky Pictures optimising typeface characteristicseiM couldDer s be a simple and hun ryan rG & t aGIN effective method of providingPe iM a significant reduction in ruce Mehler & b , MONOTY ELAB interface demandIT a G and associated distractions Jonathan Dobres,F M b AUTHOR COURTESY o IMAGES e have a strange relationship New Roman or clownish Comic touchscreen by the reader. At the same time, differences between the two typefaces. with typography. Every day Sans. More to the point, few people mounted in the letterforms must not become too Where Frutiger is open, leaving ample we see thousands of words realise that the design of typefaces simulator, with constrained or monotonous, lest the space between letters and the lines composed of millions of – and the way in which their strokes eye-tracking reader’s eye confuse a ‘g’ for a ‘9’. This of individual letterforms, Eurostile is letters. These letterforms and terminations play off each other cameras, an IR tension between legibility, consistency tighter and more closed. Eurostile also Wsurround us, inform us, and entice from letter to letter and word to word illumination pod and variation is at the heart of all enforces a highly consistent squared- us. Yet in our increasingly literate and – can have a significant impact on and the face typographic design. Consider Frutiger off style, while Frutiger allows for information-saturated society, we our ability to read and absorb what video camera – a typeface crafted in the ‘humanist’ more variety in letter proportions take them for granted, and rarely spare they are trying to communicate. -
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS 310 Delaware Street, New Castle, DE 19720
Oak Knoll Special Catalogue No. 19 1 OAK KNOLL BOOKS www.oakknoll.com 310 Delaware Street, New Castle, DE 19720 Oak Knoll Books has handled many examples of type specimen catalogues over the years. One would think that interest in old books showing type faces would have gone by the wayside long ago but nothing could be further from the truth. I was recently give a book by Tony Cox, a bookseller friend of mine, for bedside reading while I was visiting him in England and found the stories of type and their development fascinating (Simon Garfield. Just My Type). For those of you who have seen the film Helvetica you can relate to the impact type faces have on our lives. We are now offering you a selection of interesting specimen books and booklets that might inspire those of you doing design work or educate those of you that are doing research. And go back and reread McGrew’s American Metal Type Faces of the 20th Century and Annenberg’s Type Foundries of America and Their Catalogues (both Oak Knoll Press publications) for their invaluable information (see last page of our catalogue for more details). Happy hunting! Oak Knoll Books was founded in 1976 by Bob Fleck, a chemical engineer by training, who let his hobby get the best of him. Somehow making oil refineries more efficient using mathematics and computers paled in comparison to the joy of handling books. Oak Knoll Press, the second part of the business, was established in 1978 as a logical extension of Oak Knoll Books. -
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. -
Type Design for Typewriters: Olivetti by María Ramos Silva
Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine. -
The Impact of the Historical Development of Typography on Modern Classification of Typefaces
M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije. -
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.