Carol Twombly

Total Page：16

File Type：pdf, Size：1020Kb

carol twombly 11/10/19 a brief biography mcc by kaleb mannigel 5/13/59 early life 155 Carol Twombly was born June 13, 1959 in Concord Massachusetts. She attended and graduated from the Rhode Island School of Design where she originally studied sculpture. Later on she decided to change her major to graphic design, while studying design, multiple professors steered Twombly in the direction of typography. These professors included Charles Biglow and Kris homes, Biglow a typographer and Kris a design teacher. She also gathered inspiration from Gerard Unger who at the time was a visiting instructor at RISD. After RISD Twombly graduated with Masters of Science degree in computer science and typographic design at Stanford University. 155 __ 155 Twombly joined Adobe in 1988. One of her first projects at Adobe was Trajan. As a designer, Twombly studied historical scripts for inspiration in creating digital fonts. She successfully translated Roman inscriptions into a modernized digital design and created the typeface Trajan in 1989. She then moved on to designing many more well know fonts such as Lithos, Adobe Caslon and Myriad. Under her direction there were also display typefaces that were created including Ponderosa, Pepperwood, Zebrawood, and Rosewood. __ photo ( left ) Twombly working with peers at adobe 155 awards In Carol Twomblys first international type design competition, she was awarded the Morisawa gold prize for her typeface design in 1984. Twombly was also the 1994 winner of the Prix Charles Peignot, given by the Association Typographique Internationale, a very prestigous award. 155 __ __ __ 155 155 later years continue... 155 __ 155 __ 155 In 1999 Twombly left Adobe. The reason was mainly for the lack of interest in designing fonts for onscreen display. She now works as an independent artist, focusing on forms such as drawing, painting and things like basket-making. 155 __ 155 __ __ 155 One of her most famous typefaces, Adobe Caslon as seen pictured was an excellent remake of William Caslons infamoud typeface, Caslon Mant alterations were made but the most noticable alterations were the thickening and sharpening of the serifs, and the wider diagonals throughout the typeface. x diagonal shown in circle, right under serif X __ “ The shapes drawn with the x hand are more organic and unpredictable and therefore more lively” 155.

Copy Link

Recommended publications

New Black Face: Neuland and Lithos As “Stereotypography” by Rob Giampietro
New Black Face: Neuland and Lithos as “Stereotypography” by Rob Giampietro “The Neuland Question comes up regularly, and alas w∂hout much resolution....” –Jonathan Hoefl er 3 4 5 The “Neuland Question” to which of a religious life to his countrymen. delicately interlocking serifs com- Jonathan Hoefl er refers involves not Having experimented w∂h the art of monly used in black letter typography. just Neuland, a “display” typeface calligraphy shortly before enlisting, The result, a font composed of heavy hand-carved in 1923 by Rudolf Koch Koch returned to the art after WWI black forms, was visible from great (fi g. 1), but also Lithos, another “dis- with the intention of making bold, no- distances and easily distinguishable play” typeface digitally created in ticeable typefaces that would shout to from lighter-weight typefaces on a 1989 by Carol Twombly (fi g. 2). other Germans that f∞lowing God’s page. These qual∂ies made Neuland path would help them fi nd comfort suitable to advertising. Koch even at- 1 from the trauma of war. Yale Univer- tempted to set a classifi ed ad in Neu- sity Printer John Gambell suggests land at the end of the German speci- 2 that Koch designed the face with the men book (fi g. 5). The Question can be put simply: How intent of making a modern version of By the time Neuland reached the did these two typefaces come to signi- the German black letter (or black face) United States, its distributor, the Con- fy Africans and African-Americans, style. Black letter fonts were used at tinental Typefounder’s Association, regardless of how a designer uses the time for the setting of important had little interest in Neuland’s uses as them, and regardless of the purpose texts, especially Bibles and church- a modern black letter, and the speci- for which their creators originally in- related documents.
[Show full text]
Adobe Type Library Online Adobe Font Folio™ 9.0 Adobe Type Basics Adobe Type Library Reference Book Adobe Type Manager® Deluxe
Adobe offers one of the largest collections of high-quality typefaces in the world, bringing you the combination of typographic excellence with the convenience of round-the-clock availability. Whether you're communicating via print, web, video, or ePaper®, Adobe Type gives you the power to create, manage and deliver your message with the richness and reliability you've come to expect from Adobe. The Adobe Type Library Online Adobe Font Folio™ 9.0 Adobe Type Basics Adobe Type Library Reference Book Adobe Type Manager® Deluxe The Adobe Type Library Online With more than 2,750 typefaces from internationally renowned foundries, such as Adobe, Agfa Monotype, ITC, and Linotype, as well as award-winning individual type designers and distinguished design studios, the Adobe Type Library offers one of the largest collections of high-quality type in the world. Choose from thousands of fonts in the PostScript® Type 1 format, offered in broad range of outstanding designs and exciting styles. And now you can also select from hundreds of fonts in the new OpenType® format, which offers improved cross-platform document portability, richer linguistic support, powerful typographic capabilities, and simplified font management. Whether you're publishing to print, web, video, or ePaper, Adobe typefaces work seamlessly with most popular software applications. Best of all, you can access any of the high-quality Adobe typefaces you need, anytime you need them, directly from the Adobe web site. You can browse, preview, purchase and immediately download any font from the online Adobe Type Library at your convenience - day or night. Simply visit http://www.adobe.com/type in North America, or at the Adobe Download Centre at http://downloadcentre.adobe.com in many other regions of the world, including Europe, Australia, Hong Kong, Singapore, and more to come.
[Show full text]
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.
[Show full text]
ABCDEFGHIJKLMNOPQRSTU VWXYZ Abcdefghijklmnopqrstu Vwxyz
Color, Contrast, and Spacing COLOR CONTRAST COLOR CONTRAST COLOR CONTRAST COLOR COLOR Spacing COLOR Spacing COLOR Spacing COLOR Monotype 46 Typography 1 — The City College of New York 1 Proportions Helvetica Bold 72pt Modern proportions (uniform width) ABDEFGHIJKL MNOPQRST UVWXYZ Trajan 72pt Roman Proportions (varied widths) Thin: IJ Narrow: BEFLPRS Medium: HATVX ABDEFGHIJKL Wide: DCGNOQ Ultra Wide: MW *From Mark Jamra’s Form and Proportion in a Text Type- face: A Few Guidelines MNOPQRST Typography 1 — The City College of New York UVWXYZ 2 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Optima Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Tall x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Optima Bold 84pt Helvetica cap-HeigHt Optima cap-HeigHt Helvetica x-HeigHt Optima x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 3 Proportions Helvetica Bold 84pt • Modern proportions (uniform width) • Tall x-height • Cap height = Ascender height RHAMburgers • Short descenders Adobe Garamond Pro Bold 84pt • Roman Proportions (BEFLPRS are nar- rowest and MW widest) • Short x-height • Cap height < Ascender height RHAMburgers • Short descenders Helvetica Bold x Adobe Garamond Pro Bold 84pt Helvetica cap-HeigHt garamOnd cap-HeigHt Helvetica x-HeigHt garamOnd x-HeigHt RHAMburgers Baseline Typography 1 — The City College of New York 4 Type Variables Type Variables H
[Show full text]
Women Typeface Designers Laura Webber
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1997 Women typeface designers Laura Webber Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Webber, Laura, "Women typeface designers" (1997). 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]. Women Typeface Designers by Laura G.C. Webber A thesis project submitted in partial fulfillment of the requirements for the degree ofMaster of Science in the School of Printing Management and Sciences in the College ofImaging Arts and Sciences of the Rochester Institute ofTechnology May, 1997 Thesis Advisor: Professor Archibald D. Provan School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Master's Thesis of Laura G.C. Webber With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of May, 1997 Thesis Committee: Archibald Provan Thesis Advisor Marie Freckleton Graduate Program Coordinator Director or Designate Women Typeface Designers I, Laura G.C. Webber, hereby grant permission to the Wallace Memorial Library ofR.I.T to produce my thesis in whole or part. Any reproduction will not be for commercial use or profit. May 21, 1997 To my family and Steve, who selflessly give their support and encouragement.
[Show full text]
Designing Multiple Master Typefaces
Designing Multiple Master Typefaces PN LPS5091 © 1995, 1997 Adobe Systems Incorporated. All Rights Reserved. This manual, as well as the software described in it, is furnished under license and may only be used or copied in accordance with the terms of such license. The information in this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. Except as permitted by such license, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated. Adobe, the Adobe logo, Adobe Caslon, Adobe Originals, Adobe Photoshop, Adobe Illustrator, ATM, Lithos, Poetica, PostScript, Caflish Script, Minion, Myriad, Tekton, Trajan, Type Reunion, and Viva are trademarks of Adobe Systems Incorporated which may be registered in certain jurisdictions. Helvetica, Herculanum, and Palatino are trademarks of Linotype-Hell AG and/or its subsidiaries. ITC Avant Garde Gothic and ITC Stone are registered trademarks of International Typeface Corporation. Pepita is a trademark of The Monotype Corporation registered in certain countries. FrameMaker is a registered trademark of Frame Technology Corporation. Sun is a trademark of Sun Microsystems, Inc. SPARCstation is a trademark of SPARC International, Inc., licensed exclusively to Sun Microsystems, Inc., and is based upon an architecture developed by Sun Microsystems, Inc. Macintosh is a registered trademark, and TrueType is a trademark of Apple Computer, Inc.
[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]
20Th Century Type Designers
. IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN Alessandro Segalini, Dept. of Communication Design: alessandro.segalini @ ieu.edu.tr — homes.ieu.edu.tr/~asegalini TYPOGRAPHIC DESIGN 2oth century Type Designers Frederic W. Goudy (1865-1947) Frederic W. Goudy (1865-1947) Goudy was the oldest, one of the most prolific and dedicated of the great innovative type designers Bruce Rogers (1870-1957) of the last century, his remained fonts place him among the handful of designers who have changed the look of the types we read. Born in Bloomington, Illinois, at the age of 24 moved to Chicago and began a series of clerking jobs, then set up a freelance lettering artist for a number of stores, and later Rudolf Koch (1876-1934) got a teaching position at the Frank Holme School of illustration as a lettering tutor. He was him- self becoming increasingly fired by craft ideals. Commisioned by the America Lanston Monotype William Addison Dwiggins (1880-1956) designed the typeface called 38-E after his early designs Camelot, Pabst, Village, Copperplate Gothic, Kennerly and Forum titling. On 1945 ATF cut and produced the face designed on 1915 now known as Goudy Old Style. Goudy had a native American immunity to the austere European view on typogra- Eric Gill (1882-1940) phy; his types are individual, always recognisable. Stanley Morison (1889-1967) Bruce Rogers (1870-1957) Rogers was a book designer whose attention to the minutiæ of his work led him occasionally to the Giovanni Mardersteig (1892-1977) design of type, at the point that his major achievement in this field, Centaur, has been described by Prof.
[Show full text]
Typography from Gutenberg to Computers
April 2005 Typography from Gutenberg to Computers ne of the best things about being a ac printer is recognizing the role our M illan O profession has played in the M educational, political, and religious life of Graphics mankind. In the Middle Ages, before printing Ltd. was invented, scribes made books by hand- copying manuscripts in distinctive calligraphic MacMillan Graphics, Ltd. lettering. A single book could take years to Park 50 TechneCenter produce using this method, meaning that only 2002 Ford Circle the church and nobility could afford them. Milford, OH 45150 (513) 248-2121 Printing made it possible to produce whole Fax (513) 248-5141 books in weeks rather than years. This, in turn, books. Type was cast from molten metal poured enabled the rapid spread of knowledge, ideas, Web site: into carved molds; the task of carving the molds www.macgra.com literature, and news, profoundly shaping the was the done by typographers. Gutenberg himself development of whole societies. FTP site: fashioned a font containing over 300 characters, ftp.macgra.com Many people believe that the invention of including flourishes and ligatures, to simulate the Email: printing hinged on the development of the look of hand lettered Gothic script. He also [email protected] printing press. Derived from presses used to invented a variable-width mold to cast type from squeeze the oil from olives and juice from metal and perfected a blend of lead, antimony, grapes, the first printing presses used a heavy and tin that resulted in very durable type. screw to force a block of type against the paper Early printers as typographers below.
[Show full text]
Mapping of Adobe's Type 1 Fonts to Opentype
Type 1 PC File Type 1 Mac Outline File Matching OpenType format Mac Menu Type 1 PostScript FontName Type 1 Mac Menu Name Type 1 Win/PC Menu Name Matching OpenType format font Matching OpenType format Win/PC Menu Name Notes Name Name Name Prefix Aachen-Bold Aachen Aachen ACB__ AacheBol AachenStd-Bold Aachen Std Bold Aachen Std Bold ACaslon-AltBold ACaslon AltBold ACaslon AltBold AWAB_ ACasAltBol ACaslonPro-Bold Adobe Caslon Pro Bold Adobe Caslon Pro Bold 2 ACaslon-AltBoldItalic ACaslon AltBoldItalic ACaslon AltBold + italic style AWABI ACasAltBolIta ACaslonPro-BoldItalic Adobe Caslon Pro Bold Italic Adobe Caslon Pro Bold + italic style 2 ACaslon-AltItalic ACaslon AltItalic ACaslon AltRegular + italic style AWAI_ ACasAltIta ACaslonPro-Italic Adobe Caslon Pro Italic Adobe Caslon Pro + italic style 2 ACaslon-AltRegular ACaslon AltRegular ACaslon AltRegular AWARG ACasAltReg ACaslonPro-Regular Adobe Caslon Pro Adobe Caslon Pro 2 ACaslon-AltSemibold ACaslon AltSemibold ACaslon AltRegular + bold style AWASB ACasAltSem ACaslonPro-Semibold Adobe Caslon Pro SmBd Adobe Caslon Pro + bold style 2 ACaslon-AltSemiboldItalic ACaslon AltSemiboldItalic ACaslon AltRegular + bold, italic styles AWASI ACasAltSemIta ACaslonPro-SemiboldItalic Adobe Caslon Pro SmBd Italic Adobe Caslon Pro + bold, italic styles 2 ACaslon-Bold ACaslon Bold ACaslon Bold AWB__ ACasBol ACaslonPro-Bold Adobe Caslon Pro Bold Adobe Caslon Pro Bold 1 ACaslon-BoldItalic ACaslon BoldItalic ACaslon Bold + bold style AWBI_ ACasBolIta ACaslonPro-BoldItalic Adobe Caslon Pro Bold Italic Adobe
[Show full text]
The History of Typography and Place
Typography, Placemaking and Signs A Four-Part SFI White Paper Series By Craig Berger Part I The History of Typography and Place Four part white paper & webinar series profiling typography and dimensional typography in the 1 sign making industry. Wrtitten by Craig Berger © Signage Foundation, Inc. Other Resources: Four-Part Typography Typography Webinar White Paper Series. Series. Download the other parts to this Visit the page below to view a calendar Typography White Paper Series. of the webinars we currently offer. www.signs.org/EducationEvents/ www.signs.org/EducationEvents/ WhitePapers.aspx ISASignAcademy.aspx Cover Photo Credits: Acumen, Adelphia Graphic Systems 2 This History of Typography and Place © Signage Foundation, Inc. Sponsored by: The Signage Foundation is a not-for-profit Nova Polymers is the global leader in the committed to expanding the knowledge development of materials and processing base on the use and benefits of signage equipment for the fabrication of Accessible products through peer-reviewed research and ADA compliant signage. With a to facilitate the operation within the focus on education and the continued marketplace by manufacturers, suppliers development of innovative materials that and individuals in their efforts to design, meet international accessibility guidelines, build and sell innovative products. For Nova continues to lead the sign industry and more information, visit help people with visual disabilities navigate thesignagefoundation.org the built environment. novapolymers.com Architectural signage solutions for ADA Swell Media Group is a branding and and Wayfinding signage helping people marketing solutions provider focused on navigate their environment. Dixie lead generation and content creation. Graphics is a solution source for designers We build brands, websites and engaging and fabricators, offering material and sign marketing campaigns by working closely choice.
[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]