Typography from Gutenberg to Computers
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Garamond and the French Renaissance Garamond and the French Renaissance Compiled from Various Writings Edited by Kylie Harrigan for Everyone Ever
Garamond and The French Renaissance Garamond and The French Renaissance Compiled from Various Writings Edited by Kylie Harrigan For Everyone ever Design © 2014 Kylie Harrigan Garamond Typeface The French Renassaince Garamond, An Overview Garamond is a typeface that is widely used today. The namesake of that typeface was equally as popular as the typeface is now when he was around. Starting out as an apprentice punch cutter Claude Garamond 2 quickly made a name for himself in the typography industry. Even though the typeface named for Claude Garamond is not actually based on a design of his own it shows how much of an influence he was. He has his typefaces, typefaces named after him and typeface based on his original typefaces. As a major influence during the 16th century and continued influence all the way to today Claude Garamond has had a major influence in typography and design. Claude Garamond was born in Paris, France around 1480 or 1490. Rather quickly Garamond entered the industry of typography. He started out as an apprentice punch cutter and printer. Working for Antoine Augereau he specialized in type design as well as punching cutting and printing. Grec Du Roi Type The Renaissance in France It was under Francis 1, king of France The Francis 1 gallery in the Italy, including Benvenuto Cellini; he also from 1515 to 1547, that Renaissance art Chateau de Fontainebleau imported works of art from Italy. All this While artists and their patrons in France and and architecture first blossomed in France. rapidly galvanised a large part of the French the rest of Europe were still discovering and Shortly after coming to the throne, Francis, a Francis 1 not only encouraged the nobility into taking up the Italian style for developing the Gothic style, in Italy a new cultured and intelligent monarch, invited the Renaissance style of art in France, he their own building projects and artistic type of art, inspired by the Classical heritage, elderly Leonardo da Vinci to come and work also set about building fine Renaissance commissions. -
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. -
Design One Project Three Introduced October 21. Due November 11
Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer. -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
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. -
Pietro Bembo and Standards for Oral and Written Discourse: the Forensic, Dialectical, and Vernacular Influences on Renaissance Thought
DOCUMENT RESUME ED 254 894 CS 504 879 AUTHOR Wiethoff, William E. TITLE Pietro Bembo and Standards for Oral and Written Discourse: The Forensic, Dialectical, and Vernacular Influences on Renaissance Thought. PUB DATE Apr 85 NOTE 29p.; Paper presented at the Annual Meeting of the Central States Speech Association (Indianapolis, IN, April 4-6, 1985). PUB TYPE Speeches/Conference Papers (150) Information Analyses (070) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Communication Skills; *Discourse Analysis; *Renaissance Literature; *Rhetoric; *Rhetorical Criticism; Speech Communication; *Standards; Theories; Writing (Composition) IDENTIFIERS *Bembo (Pietro); *Speaking Writing Relationship ABSTRACT Traditional assumptions about oral and written discourse persist among various philosophers ,and critics., Careful examination of the context for traditional assumptions, however, suggests that current scholarship should pursue altered lines of inquiry. Peculiar influences on Renaissance standards of purpose, style, and theme illustrate the nature of the problem, especially the works of Pietro Bembo, a Renaissance humanist chancellor and religious administrator. First, his forensic priorities in the principles and practice of rhetoric focused critical attention on a limited setting and purpose of discourse. Second, although written communications were customarily designed for oral proclamation, Renaissance developments in dialectic stressed the written word and promoted practical training in communicative skills outside rhetorical -
Bluebook Citation in Scholarly Legal Writing
BLUEBOOK CITATION IN SCHOLARLY LEGAL WRITING © 2016 The Writing Center at GULC. All Rights Reserved. The writing assignments you receive in 1L Legal Research and Writing or Legal Practice are primarily practice-based documents such as memoranda and briefs, so your experience using the Bluebook as a first year student has likely been limited to the practitioner style of legal writing. When writing scholarly papers and for your law journal, however, you will need to use the Bluebook’s typeface conventions for law review articles. Although answers to all your citation questions can be found in the Bluebook itself, there are some key, but subtle differences between practitioner writing and scholarly writing you should be careful not to overlook. Your first encounter with law review-style citations will probably be the journal Write-On competition at the end of your first year. This guide may help you in the transition from providing Bluebook citations in court documents to doing the same for law review articles, with a focus on the sources that you are likely to encounter in the Write-On competition. 1. Typeface (Rule 2) Most law reviews use the same typeface style, which includes Ordinary Times New Roman, Italics, and SMALL CAPITALS. In court documents, use Ordinary Roman, Italics, and Underlining. Scholarly Writing In scholarly writing footnotes, use Ordinary Roman type for case names in full citations, including in citation sentences contained in footnotes. This typeface is also used in the main text of a document. Use Italics for the short form of case citations. Use Italics for article titles, introductory signals, procedural phrases in case names, and explanatory signals in citations. -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
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. -
Type ID and History
History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface -
X Garamond & His Famous Types
x Garamond & His Famous Types HENRY LEWIS BULLEN Ahistor y very interesting to all who may be benefited through the use of printing. t is a par t of the glory of French artthat two type designs that areadmittedly masterpieces beyond competition werecreated byFrench- men. These creations havehad a decisiveinflu- ence on subsequent type designers, and though four hundred and fifty years havepassed since the first use of one of these designs, and three hundred and seventy- fivesince the first use of the other,both of them in their original models arenow morepopular and moregenerally used than in any previous period. The earliest of these master designers was Nicolas Jenson, who first used his famous Roman types in Venice in 1470.But we are heremoreconcerned with the second master,Claude Gara- mond of Paris, in whose honor this book is issued and in reproduc- tions of whose famous Roman and Italic type designs it is composed, that those who read herein may better understand their merits. Original steel punches and copper matrices made and used by Garamond, some time beforehis death in 1561,are now the proper ty of the French nation, and areincluded as an item in the great asset of the national arts which French governments, whether royal, imperial or republican in form, haveinvariably honoured and protected. These implements and the types cast bymeans of them arekept in a special ‘Garamond & His Famous Types’ was originally published in An Exhibit of Garamond Type with Appropriate Ornaments. Being the third of a series of books showing the many beautiful types in the composing room of Redfield- Kendrick-Odell Co., Printers & Map Makers (Redfield-Kendrick-Odell Co.: Ne w York, 1927). -
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