Akzidenz Grotesk Pro Font Family Free Download Akzidenz Grotesk Pro Bold Free Font

Total Page:16

File Type:pdf, Size:1020Kb

Akzidenz Grotesk Pro Font Family Free Download Akzidenz Grotesk Pro Bold Free Font akzidenz grotesk pro font family free download Akzidenz Grotesk Pro Bold Free Font. The best website for free high-quality Akzidenz Grotesk Pro Bold fonts, with 25 free Akzidenz Grotesk Pro Bold fonts for immediate download, and ➔ 41 professional Akzidenz Grotesk Pro Bold fonts for the best price on the Web. 25 Free Akzidenz Grotesk Pro Bold Fonts. 8 Relevant Web pages about Akzidenz Grotesk Pro Bold Fonts. Akzidenz Grotesk Pro Bold Italic. $400.00. Akzidenz Grotesk Pro Super. More fonts like this . view all 259 fonts. Tags. public tags (none) your public tags (none) Akzidenz-Grotesk is a sans-serif or grotesque typeface originally released by the Berthold Type Foundry of Berlin. 'Akzidenz' means a 'trade' typeface for commercial . Web Fonts; Designers; About; Help; Shopping Cart; NEW FONTS; FONTS; TYPE STYLE; BLOG; Type Width. Akzidenz-Grotesk Pro Bold Italic | View Specimen. Akzidenz . Download Berthold Akzidenz Grotesk Bold For Free, View Sample Text, Rating And More On Fontsgeek.com . By clicking download and downloading the Font, . Font family comes with 41 font styles with free versions like bold, . Akzidenz-Grotesk is a grotesque which is . In 2007, OpenType Pro versions of the fonts were . Font Name: Akzidenz-Grotesk BQ Bold . meta souvenir Benguiat franklin square officina folio fsalbert arabic Walbaum ultra avant garde Novarese Adobe Garamond Pro . Akzidenz-Grotesk® BE font family, 33 styles from $275.00 by Berthold. Hot New Fonts Best Sellers What’s New Special . Berthold Akzidenz- Grotesk Bold Condensed . Berthold provides exclusive high quality desktop fonts like Akzidenz-Grotesk, AG . Akzidenz-Grotesk Pro+ Bold . the Akzidenz-Grotesk program at . 41 Professional Akzidenz Grotesk Pro Bold Fonts to Download. Please note: If you want to create professional printout, you should consider a commercial font. Free fonts often have not all characters and signs, and have no kerning pairs (Avenue ↔ A venue, Tea ↔ T ea). Akzidenz Grotesk Font Family Free Download. Akzidenz-Grotesk is a monstrous which is previously called as sans-serif font initially launched by the Berthold Type Foundry in 1896 under the name Accidenz-Grotesk. Akzidenz-Grotesk is among the very first sans-serif fonts to be extensively utilized, its design impact numerous later styles, particularly numerous neo-grotesque typefaces launched after 1950. The word Akzidenz indicates a ‘trade’ type for industrial usage. It was in some cases offered as Basic or Fundamental Commercial in the U.S.A. You might also interested to: History of Akzidenz-Grotesk. The design idea of Akzidenz-Grotesk originates from Walbaum or Didot, as shown by the comparable font style metrics when the serifs are gotten rid of. Whatever, Akzidenz-Grotesk’s hot metal type household consisted of font styles made a series of foundries to somewhat various styles, such as the c. 1880 font Royal Grotesk Light from the Berlin foundry Ferdinand Theinhardt Schriftgiesserei, developed by Ferdinand Theinhardt for the clinical publications of the Royal Prussian Academy of Sciences in Berlin. Akzidenz Grotesk is the well-known typeface in 19th century and it has actually been the motivation of the today’s a lot of popular font styles like Proxima Nova and Futura. Futura though the earliest font however still a popular typeface for design. Akzidenz Grotesk Free Alternatives. Berthold first published Akzidenz-Grotesk in 1898. Originally named “Accidenz-Grotesk” the design originates from Royal Grotesk light by royal type-cutter Ferdinand Theinhardt. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights. In the 1950s Günter Gerhard Lange, then art director at Berthold, began a project to enlarge the typeface family, adding a larger character set, but retaining all of the idiosyncrasies of the 1898 face. Under the direction of Günter Gerhard Lange, Berthold added AG Medium Italic (1963), AG ExtraBold (1966) , AG Italic (1967), AG ExtraBold Condensed & Italic (1968), AG Super (1968). Today, we are sharing with you some free alternative fonts to Akzidenz Grotesk, we tried to find the best matching fonts that you can use for your design projects. Akzidenz Grotesk Pro Light Cn Free Font. The best website for free high-quality Akzidenz Grotesk Pro Light Cn fonts, with 25 free Akzidenz Grotesk Pro Light Cn fonts for immediate download, and ➔ 36 professional Akzidenz Grotesk Pro Light Cn fonts for the best price on the Web. 25 Free Akzidenz Grotesk Pro Light Cn Fonts. 8 Relevant Web pages about Akzidenz Grotesk Pro Light Cn Fonts. Download AkzidenzGrotesk font for PC/Mac for free, take a test-drive and see the entire character set. Moreover, you can embed it to your website with @font-face support. Download Berthold Akzidenz Grotesk BE Light Condensed font at FontsMarket.com, the largest collection of amazing freely available fonts for Windows and Mac. Berthold first published Akzidenz-Grotesk in 1896. The design originates from Royal Grotesk light by Ferdinand Theinhardt who also supplied the regular, medium and bold weights. Throughout the years, Berthold has expanded this extremely popular and versatile family. AG Super was developed in 1968 by Guenter Gerhard Lange and is an excellent . Lange was instrumental in developing the Akzidenz-Grotesk program at Berthold in the 1950s and 1960s. In 2001 Lange helped Berthold complete the AG series with the additions of AG light italic, Super Italic, light condensed, condensed, medium condensed, extrabold italic, light extended italic, extended italic and medium extended italic. Akzidenz-Grotesk font for the Web site and Photoshop in all styles. Download Akzidenz Grotesk Light, font family Akzidenz Grotesk Light by with Regular weight and style, download file name is akzidenz-grotesk- light.ttf. Download Berthold Akzidenz Grotesk Bold Condensed. By clicking download and downloading the Font, You agree to our Terms and Conditions of Usage. The design concept of Akzidenz-Grotesk comes from Walbaum or Didot, as demonstrated by the similar font metrics when the serifs are removed. Whatever, Akzidenz-Grotesk’s hot metal type family included fonts made a range of foundries to slightly different designs, such as the c. 1880 typeface Royal Grotesk Light from the Berlin foundry Ferdinand Theinhardt Schriftgiesserei, designed by . 36 Professional Akzidenz Grotesk Pro Light Cn Fonts to Download. Please note: If you want to create professional printout, you should consider a commercial font. Free fonts often have not all characters and signs, and have no kerning pairs (Avenue ↔ A venue, Tea ↔ T ea). Akzidenz-Grotesk Pro font. Unfortunately, the font was removed at the request of the copyright holders. Comments( 4 ) Help our project. Please share the link with your friends, this will greatly help the development of this project. To pay for the server, adding new fonts, cat food and beer :) Bitcoin 19MR5m1yUvmNFEJwmvQDngthwRKvQiqVf2. Bitcoin cash qpde6mvaekqxzrnxdds59q8d09zkts32wc9mdguphm. Ether 0xbF5243d258f26c2b3F0FA91a1F6eC30db6267873. Install the font on your site. Download 3 formats OET, TTF, WOFF . Add in the stylesheet file: Styles and fonts must be in the same directory. Otherwise you need to change the path to them. An example of using a font in styles: Please share the link with your friends, this will greatly help the development of this project. or donate our project. Font categories. Could not find the a font - suggest it to us, we will definitely add it! Thank you, we will add this font as quickly as possible! Suggest another one?.
Recommended publications
  • 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.
    [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]
  • Tv38bigelow.Pdf
    Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950.
    [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]
  • Psychology of Onscreen Type: Investigations Regarding Typeface Personality, Appropriateness, and Impact on Document Perception
    PSYCHOLOGY OF ONSCREEN TYPE: INVESTIGATIONS REGARDING TYPEFACE PERSONALITY, APPROPRIATENESS, AND IMPACT ON DOCUMENT PERCEPTION A Dissertation by Audrey Dawn Shaikh Master of Arts, Wichita State University, 2005 Master of Science, University of North Texas, 1999 Bachelor of Science in Education, Baylor University, 1992 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2007 © Copyright 2007 by Audrey Dawn Shaikh All Rights Reserved PSYCHOLOGY OF ONSCREEN TYPE: INVESTIGATIONS REGARDING TYPEFACE PERSONALITY, APPROPRIATENESS, AND IMPACT ON DOCUMENT PERCEPTION I have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Doctor of Philosophy with a major in Human Factors Psychology. ____________________________________________ Barbara S. Chaparro, Committee Chair We have read this dissertation and recommend its acceptance: ____________________________________________ Paul Ackerman, Committee Member ____________________________________________ Alex Chaparro, Committee Member ____________________________________________ Darwin Dorr, Committee Member ____________________________________________ Michael Jorgensen, Committee Member Accepted for the College of Liberal Arts & Sciences __________________________________________________________ William D. Bischoff, Dean Accepted for the Graduate School
    [Show full text]
  • Sans Serif Typefaces By: Years, All of Which Were Designed by Ben- Ton and Issued by A.T.F
    Category Serif Classification Transitional Designer(s) Henry Baskerville Foundry Baskerville NB Here using Baskerville URW from Adobe Typekit BASKERVILLE Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the newer styles of Giambattista Bodoni & Firmin Didot. References Wikipedia : Baskerville Font: The Sourcebook Black dog Publishing Pau and Berger eds: 30 Essential Typefaces for a Lifetime History CHARACTERISTICS In Birmingham, England, Henry Baskerville ad- vanced the use of more delicate typefaces that could The Baskerville typeface is the result of withstand the repeated poundings on the press. He John Baskerville’s intent to improve upon also developed smoother paper so the typefaces could the types of William Caslon. He was aim- print without breaks or clogs. Had an airy quality ing at simplicity and quiet refinement due to the lightness of the letterforms and generosity though: of the page margins. Melted down his type after each printing. • increasing the contrast between thick and thin strokes Baskerville’s typeface was the culmination of a larg- • making the serifs sharper and more er series of experiments to improve legibility which tapered also included paper making and ink manufactur- • shifting the axis of rounded letters to a ing. His background as a writing master is evident more vertical position. in the distinctive swash tail on the uppercase Q and • making curved strokes more circular in in the cursive serifs in the Baskerville Italic. shape and making characters more regu- lar.
    [Show full text]
  • Typography Is a Very Powerful Design Element
    IMPRINT Imprint © 2014 Smashing Magazine GmbH, Freiburg, Germany ISBN: 978-3-94454076-4 (PDF) Cover Design: Veerle Pieters eBook Strategy and Editing: Vitaly Friedman Technical Editing: Cosima Mielke Planning and Quality Control: Vitaly Friedman, Iris Lješnjanin Tools: Elja Friedman Idea & Concept: Smashing Magazine GmbH Preface Typography is a very powerful design element. Whenever we have a ty- pographic system in place, we can use it to structure content, commu- nicate ideas and even enhance meaning. However, employing it in a way that masters that delicate balance between being unobtrusive (catering for a pleasant reading experience) and engaging enough (keeping the reader’s interest on a page) can be quite a challenge. With the help of this eBook, you can learn how to train and sharpen your eyes to recognize specific typographic details which will be sure to guide you in your own projects and make it easier for you to make de- sign decisions. After an initial stroll through type terminology and clas- sification, this eBook reflects on the quality of fonts (including web font providers, of course) and explores typographic design patterns as well as current practices. These practical considerations and a plethora of real-world examples are bound to be a valuable companion through- out your adventures when designing with type. 2 TABLE OF CONTENTS Understanding The Difference Between Type And Lettering.................... 4 Making Sense Of Type Classification (Part 1) ................................................20 Making Sense Of
    [Show full text]
  • Typeface Legibility: Towards Defining Familiarity
    Typeface Legibility: Towards defining familiarity Sofie Beier A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy May 2009 The Royal College of Art [ 2 ] typeface legibility: towards defining familiarity © This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. sofie beier 2009, royal college of art [ 3 ] Abstract The aim of the project is to investigate the influence of fa- miliarity on reading. Three new fonts were created in order to examine the familiarity of fonts that readers could not have seen before. Each of the new fonts contains lowercase letters with fa- miliar and unfamiliar skeleton variations. The different skeleton variations were tested with distance threshold and time thresh- old methods in order to account for differences in visibility. This investigation helped create final typeface designs where the fa- miliar and unfamiliar skeleton variations have roughly similar and good performance. The typefaces were later applied as the test material in the familiarity investigation. Some typographers have proposed that familiarity means the amount of time that a reader has been exposed to a typeface design, while other typographers have proposed that familiarity is the commonalities in letterforms. These two hypotheses were tested by measuring the reading speed and preference of partici- pants, as they read fonts that had either common or uncommon letterforms, the fonts were then re-measured after an exposure period.
    [Show full text]
  • Fontname.Pdf
    Fontname July 2009 Filenames for TEX fonts Karl Berry i Table of Contents 1 Introduction::::::::::::::::::::::::::::::::::::: 1 1.1 History :::::::::::::::::::::::::::::::::::::::::::::::::::::::: 1 1.2 References ::::::::::::::::::::::::::::::::::::::::::::::::::::: 1 2 Filenames for fonts ::::::::::::::::::::::::::::: 3 2.1 Suppliers::::::::::::::::::::::::::::::::::::::::::::::::::::::: 3 2.2 Typefaces :::::::::::::::::::::::::::::::::::::::::::::::::::::: 4 2.3 Weights ::::::::::::::::::::::::::::::::::::::::::::::::::::::: 19 2.4 Variants :::::::::::::::::::::::::::::::::::::::::::::::::::::: 20 2.5 Widths ::::::::::::::::::::::::::::::::::::::::::::::::::::::: 24 3 Long names :::::::::::::::::::::::::::::::::::: 26 3.1 A fontname mapping file :::::::::::::::::::::::::::::::::::::: 26 3.2 A naming scheme for long names :::::::::::::::::::::::::::::: 26 Appendix A Font name lists ::::::::::::::::::: 28 A.1 Standard PostScript fonts :::::::::::::::::::::::::::::::::::: 28 A.2 Adobe fonts :::::::::::::::::::::::::::::::::::::::::::::::::: 29 A.3 Apple fonts::::::::::::::::::::::::::::::::::::::::::::::::::: 87 A.4 Bitstream fonts ::::::::::::::::::::::::::::::::::::::::::::::: 87 A.5 DTC fonts :::::::::::::::::::::::::::::::::::::::::::::::::: 105 A.6 ITC fonts ::::::::::::::::::::::::::::::::::::::::::::::::::: 106 A.7 Linotype fonts::::::::::::::::::::::::::::::::::::::::::::::: 123 A.8 Monotype fonts ::::::::::::::::::::::::::::::::::::::::::::: 213 A.9 URW fonts :::::::::::::::::::::::::::::::::::::::::::::::::: 239 Appendix B Encodings
    [Show full text]
  • The Introduction, Demonstration and Evaluation of a New Typeface Identification System J
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 1989 The introduction, demonstration and evaluation of a new typeface identification system J. Ames Parsons Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Parsons, J. Ames, "The introduction, demonstration and evaluation of a new typeface identification system" (1989). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. THE INTRODUCTION, DEMONSTRATION AND EVALUATION OF A NEW TYPEFACE IDENTIFICATION SYSTEM by Ames Parsons A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute of Technology May 1989 Thesis Advisor: Professor Archibald D. Provan ACKNOWLEDGEMENTS This thesis was a collaborative effort. Accordingly I wish to thank the following for their help: Professor Archibald Provan for acting as my primary thesis advisor, for allowing me to virtually monopolize (for months) the Xerox Star system, for providing the fundamentals upon which this thesis is based, and for providing copious good cheer, patience, and support; Professor Frank Cost for acting as my research advisor, and for designing and testing the TYPE-ID computer program; Mr. Paul Swift, Director of the Graphic Arts Division of the RIT Research Corporation, for sponsoring this project, and for acting as my thesis advisor; Mr.
    [Show full text]
  • A Few Notes on Book Design
    A Few Notes on Book Design Last update: 2018-09-14 A Few Notes on Book Design Peter Wilson THP The Herries Press c 2001 – 2009 Peter R. Wilson All rights reserved The Herries Press, Normandy Park, WA. Printed in the World The paper used in this publication may meet the minimum requirements of the American National Standard for Information Sciences — Permanence of Paper for Printed Library Materials, ANSI Z39.48–1984. 19 18 17 16 15 14 13 12 11 10 09 6 5 4 3 2 1 First edition: August 2009 Maintained by Lars Madsen Short contents Short contents · vii Contents · ix List of Figures · xii List of Tables · xiv Preface · xv Introduction · xvii Terminology · xix 1 Historical background · 1 2 The Parts of a Book · 15 3 The page · 27 4 Styling the elements · 57 5 Picky points · 81 A Some typefaces · 91 Notes · 101 Bibliography · 105 Index · 107 vii Contents Short contents vii Contents ix List of Figures xii List of Tables xiv Preface xv Introduction xvii Terminology xix Units of measurement ................................. xx 1 Historical background 1 1.1 Galloping through the millenia........................ 1 1.2 Making type................................... 2 1.3 Book types.................................... 3 1.3.1 Type-related terminology4 , 1.3.2 Blackletter5 , 1.3.3 Oldstyle5 , 1.3.4 Transitional7 , 1.3.5 Modern8 , 1.3.6 Square Serif8 , 1.3.7 Sans-serif8 , 1.3.8 Script/Cursive9 , 1.3.9 Display/Decorative9 1.4 Setting type ................................... 10 1.5 Today....................................... 12 1.6 Setting maths .................................. 13 2 The Parts of a Book 15 2.1 Front matter..................................
    [Show full text]
  • Paul Renner and Futura: the Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing
    Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design 1-12-2006 Paul Renner and Futura: The Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing Charles C. Leonard Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Part of the Art and Design Commons Recommended Citation Leonard, Charles C., "Paul Renner and Futura: The Effects of Culture, Technology, and Social Continuity on the Design of Type for Printing." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/art_design_theses/2 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. PAUL RENNER AND FUTURA: THE EFFECTS OF CULTURE, TECHNOLOGY, AND SOCIAL CONTINUITY ON THE DESIGN OF TYPE FOR PRINTING by Charles Leonard Under the direction of Maria Gindhart ABSTRACT This thesis reviews the circumstances that led to what Paul Renner called “the inflation of historicism,” places his response to that problem in the context of the Weimar Republic, details how the German attributes with which he began the project were displaced from the typeface that emerged in 1927, demonstrates that Futura belongs to a new category of serif-less roman fonts rooted in Arts and Crafts lettering, and considers why the specifically German aspects of the project have gone unrecognized for over seventy years.
    [Show full text]