Fonts-Booklet 2015.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Fonts-Booklet 2015.Pdf FONTS 2015 Fonts List/Contents ................................................................................2 AHJ Fonts .................................................................................................8 Installation & Use of Fonts ..............................................................71 Windows XP/Windows 7/Vista .......................................................72 Mac OS X ..........................................................................................73 With Font Book ........................................................................... 73 Without Font Book.......................................................................74 Type ..................................................................................................75 Non-supported Typefaces...........................................................75 PostScript Typefaces ...................................................................75 TrueType Typefaces ....................................................................76 OpenType Typefaces....................................................................77 Bitmapped Fonts..........................................................................77 Typefaces Used in Your Submission ..........................................78 End-User License Agreement ..........................................................79 1 AHJ FONTS AHJ Abbot Old Style .......................................................... 8 AHJ Belwe Regular ....................................................................13 AHJ Ad Lib ........................................................................... 8 AHJ Belwe Italic ...................................................................... 13 AHJ Advertisers Gothic Regular ...........................8 AHJ Belwe Bold ....................................................................14 AHJ Advertisers Gothic Condensed ...........................................8 AHJ Belwe Heavy ....................................................14 A HJ Aladdin ..........................................................................8 AHJ Benjamin Gothic Book ........................................ 14 AHJ Algerian .............................................................. 8 AHJ Benjamin Gothic Bold ........................................ 14 AHJ Alibi ................................................................................9 AHJ Benjamin Gothic Heavy ..................................... 14 AHJ All Star ............................................................9 AHJ Bergamo Regular ................................................ 14 AHJ Alligator ................................................................................................ 9 AHJ Bergamo Italic ..................................................15 AHJ Aloft ........................................................................................................9 AHJ Bergamo Bold ..........................................15 AHJ Alperton ................................................................................................9 AHJ Bergamo Bold Italic ....................................15 AHJ Anaconda ............................................................................................................................................9 AHJ Bergamo Small Caps Regular ........................... 15 AHJ Angela .................................................................. 10 AHJ Bergamo Small Caps Bold ...........................15 AHJ Antique Olive Regular ...................................................10 AHJ Bernhard Tango ........................................................15 AHJ Antique Olive Italic .........................................................10 AHJ Bodoni Regular ........................................................ 16 AHJ Antique Olive Bold ...................................................... 10 AHJ Bodoni Italic ...........................................................16 AHJ Antique Olive Bold Italic ............................................ 10 AHJ Bodoni Bold ......................................................16 AHJ Antique Olive Compact ................................. 10 AHJ Bodoni Bold Italic .................................................. 16 AHJ Antique Olive Light .........................................................................................11 AHJ Bodoni Heavy ....................................................... 16 AHJ Antique Olive Light Italic ..............................................................................11 AHJ Bodoni Heavy Italic .......................................16 AHJ Arizona ..................................................................................................11 AHJ Bodoni Small Caps ........................................................ 17 AHJ Arnold Boecklin ..................................................................... 11 AHJ Boyle ..................................................................17 AHJ Artpursuit........................................................................................................11 AHJ Bruce................................................................................................17 AHJ Avalon Regular .................................................11 AHJ Busorama .............................................................................. 17 AHJ Avalon Oblique .................................................12 AHJ Calgary Book ............................................................... 17 AHJ Avalon Demi Bold .............................................12 AHJ Calgary Caps Book ....................................................17 AHJ Avalon Demi Bold Oblique ..............................12 AHJ Calgary Italic ............................................................18 AHJ Baskerville Regular ....................................................... 12 AHJ Calgary Medium ..................................................... 18 AHJ Baskerville Italic .............................................................. 12 AHJ Calgary Medium Italic ............................................ 18 AHJ Baskerville Bold ................................. 12 HJ Calgary Caps Medium .............................................18 AHJ Baskerville Bold Italic .........................................13 AHJ Calgary Bold ..................................................... 18 AHJ Batavia .....................................................................13 AHJ Calgary Bold Italic ............................................. 18 AHJ Beat ............................................................................13 AHJ Calgary Heavy ............................................ 19 AHJ Bellows ........................................................................................................ 13 AHJ Calgary Heavy Italic ..................................... 19 2 FONTS LIST/CONTENTS AHJ Campbell ................................................. 19 AHJ Clark .........................................................................................................................................................25 AHJ Caper ......................................................................19 AHJ Clearface Regular ...................................................................25 AHJ CartoGothic Light .....................................................19 AHJ Clearface Italic ..................................................................25 AHJ CartoGothic Light Italic .............................................19 AHJ Clearface Medium ..............................................................25 AHJ CartoGothic Book ...................................................20 AHJ Clearface Medium Italic ................................................26 AHJ CartoGothic Italic .......................................................20 AHJ Clearface Bold ......................................................... 26 AHJ CartoGothic Bold ...................................................20 AHJ Clearface Bold Italic ...............................................26 AHJ CartoGothic Bold Italic .........................................20 AHJ Clearface Black .............................................. 26 AHJ CartoGothic Black .............................................20 AHJ Clearface Black Italic ...................................... 26 AHJ CartoGothic Black Italic ....................................20 AHJ Colonel Light .........................................................................................................................................26 AHJ Caslon Openface ...................................................................21 AHJ Colonel Regular ..............................................................................................................27 AHJ Cassidy ..............................................................21 AHJ Colonel Bold ........................................................................................27 AHJ Chantilly Regular ................................................................21 AHJ Commercial Script .................................................................... 27 AHJ Chantilly Italic........................................................................21 AHJ Copperplate Gothic Condensed ............................... 27 AHJ Chantilly Bold ........................................................ 21 AHJ Copperplate Gothic
Recommended publications
  • 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
    [Show full text]
  • AVENIR Family
    An Introduction To The AVENIR Family By Stacey Chen O V E R V I E W l Avenir was designed by Adrian Frutiger. l The typeface was first released in 1988 with three weights, before being expanded to six weights. l In 2004, together with Akira Kobayashi, Frutiger reworked the Avenir family. l Avenir has now become a common font in web, print, and graphic design, etc. l Frutiger was born in Unterseen, Switzerland 1928. l At age 16, Frutiger was apprenticed as a compositor to a printer, while taking classes in woodcuts and drawing. l With his second wife, Frutiger had two daughters, who both experienced mental health problems and committed suicide as adolescents. l Frutiger spent most of his professional career working in Paris and living in France, returning to Switzerland later in life. A D R I A N F R U T I G E R l Charles Peignot of Deberny Et Peignot recruited Frutiger based on the quality of the wood- engraved illustrations of his essay. l Impressed by the success of Futura typeface, Peignot encouraged a new, geometric sans-serif type in competition. l Frutiger disliked the regimentation of Futura, and persuaded Peignot that the new sans-serif be based on the realist model. l In 1988, Frutiger completed the family Avenir. Frutiger intended the font to be a more human version of geometric sans-serif types popular in the 1930s, such as Erbar and Futura. A D R I A N F R U T I G E R “Avenir” = “Future” French English A V E N I R i s l Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner.
    [Show full text]
  • Fonts for 2021!
    Fonts for 2021! Amienne* Basic Class Display Fonts 1234567890 1234567890 * Font families available abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Anaconda Baveuse Abigail * 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz avbcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Argentine Belinda* Abyss* 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Arizona Benjamin* Adria Deco 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Austere Berkley* Agnes 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Ballad Script Bernhard Fashion FS Aladdin* 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Bamboo Big Fiction* Alex Brush 1234567890 1234567890 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ Banker
    [Show full text]
  • History of Moveable Type
    History of Moveable Type Johannes Gutenberg invented Moveable Type and the Printing Press in Germany in 1440. Moveable Type was first made of wood and replaced by metal. Example of moveable type being set. Fonts were Type set on a printing press. organized in wooden “job cases” by Typeface, Caps and Lower Case, and Point Size. Typography Terms Glyphs – letters (A,a,B,b,C,c) Typeface – The aesthetic design of an alphabet. Helvetica, Didot, Times New Roman Type Family – The range of variations and point size available within one Typeface. Font (Font Face) – The traditional term for the complete set of a typeface as it relates to one point size (Font Face: Helvetica, 10 pt). This would include upper and lower case glyphs, small capitals, bold and italic. After the introduction of the computer, the word Font is now used synonymously with the word Typeface, i.e. “What font are you using? Helvetica!” Weight – the weight of a typeface is determined by the thickness of the character outlines relative to their height (Hairline, Thin, Ultra-light, Extra-light, Light, Book, Regular, Roman, Medium, Demi-bold, Semi-bold, Bold, Extra-bold, Heavy, Black, Extra-black, Ultra-black). Point Size – the size of the typeface (12pt, 14pt, 18pt). Points are the standard until of typographic measurement. 12 points = 1 pica, 6 picas = 72 points = 1 inch. (Example right) A general rule is that body copy should never go below 10pt and captions should never be less than 8pt. Leading – or line spacing is the spacing between lines of type. In metal type composition, actual pieces of lead were inserted between lines of type on the printing press to create line spacing.
    [Show full text]
  • Size ID M Ak E Font Name I Talic S M All C Ap S Bold S P E C Ials Accents
    Font Name Size ID Make Italic Small Caps Bold Specials Accents Good Mag bagged Location 9 2730 I Baskerville x x x x 12 314 L Baskerville x x x x 12 186 L Bodoni Book x x x x x 14 1025 I Egmont Medium x x x x 12 508 L Fairfield x x x x 12 278 L Garamond x x x x 11 118 L Janson x x x x x 14 178 L Janson x x x x x 9 600 L Monticello x x x x x 12 8469 L Palatino x x x x x 10 552 L Times Roman x x x x 12 568 L Times Roman x x x x 10 292 L Benedictine Book x x x 9 94 L Benedictine Book x x x 9 94 L Benedictine Book x X x x x 6 582 I Bodoni Book x x x 7 94 L Bodoni Book x x x 10 801 I Bodoni Book x x x 12 915 I Bodoni Book x x x 10 250 L Bodoni Book * MIX x x x 6 202 L Caslon #2 x x x 10 2885 I Caslon #3 x x sp 4 x 24 335 L Caslon Italic x display x 7 2191 I Century Schoolbook x x x 8 2348 I Century Schoolbook x x x 9 2754 I Century Schoolbook x x x 10 2880 I Century Schoolbook x x x 12 3111 I Century Schoolbook w/ bold x x 6 18 L Cheltenham x x x 10 18 L Cheltenham x x x 12 276 L Cloister Bold x x x x 12 276 L Cloister Bold x x x x 8 1715 I Egmont Light x x x 10 1806 I Egmont Light x x x 8 1655 I Garamond x x x 6 398 L Garamond #3 x x x 11 130 L Garamond #3 x x x 7 172 L Garamond #3 x x x 7 172 L Garamond #3 x x x x 10 318 L Granjon x x x 8 698 L Helvetica w/ Italic x x 12 698 L Helvetica w/ Italic x x 14 698 L Helvetica w/ Italic x x 10 264 I Inferior Roman x x 14 178S L Janson Special Narrow Italic x x 24 5L P Lydian display x 18 108 L Spartan Book x x 9 128 L Sparton Book x x x 10 556 L Sparton Book x x 9 216 L Sparton Book w/ Heavy x x
    [Show full text]
  • Lucida Sans the Quick Brown Fox Jumps Over a Lazy Dog
    Facing up to Fonts Richard Rutter “When the only font available is Times New Roman, the typographer must make the most of its virtues. The typography should be richly and superbly ordinary, so that attention is drawn to the quality of the composition, not the individual letterforms.” Elements of Typographic Style by Robert Bringhurst ≠ Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper, The Times, in 1931, designed by Stanley Morison and Victor Lardent at the English branch of Monotype. It was commissioned after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. Arial Arial is a sans-serif typeface designed in 1982 by Robin Nicholas and Patricia Saunders for Monotype Typography. Though nearly identical to Linotype Helvetica in both proportion and weight, the design of Arial is in fact a variation of Monotype Grotesque, and was designed for IBM’s laserxerographic printer. Georgia Georgia is a transitional serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It is designed for clarity on a computer monitor even at small sizes, partially due to a relatively large x-height. The typeface is named after a tabloid headline titled Alien heads found in Georgia. Verdana Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand-hinting done by Tom Rickner. Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen. Trebuchet A humanist sans-serif typeface designed by Vincent Connare for the Microsoft Corporation in 1996.
    [Show full text]
  • „Bitstream“ Fonts
    Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.
    [Show full text]
  • OMEGA CS Fonts
    OMEGA CS Fonts A ACADEMY ENGRAVED ACCT AK REV C American Uncial Inl Accolade Bold American Uncial Shadow Accolade Light AMERICANA BOLD ACCT.AK.REV.C Accolade Light Ita Americana URW T Bol Accolade Med Americana URW T Reg Alcuin Caps URW T Bol Americana URW T Reg Ita Alcuin Caps URW T Lig Americana URW T Xtr Bol Alcuin Caps URW T Reg ANN. GROTESQUE ACCT.A.K.REV.C Alcuin Caps URW T Xtr Bol ANTIQUE OLIVE BOLD ACCT AK REV E Alcuin Discaps URW D Bol ANTIQUE OLIVE MED ACCT AK REV C Alcuin URW T Bol Antique Olive Nord Reg Ita Alcuin URW T Lig ARNOLD BOCKLIN ACCT.A.K.REV.D Alcuin URW T Reg Arnold Boecklin D Alcuin URW T Xtr Bol Arnold Boecklin Initials D Alternate Gothic No1 D Arnold Boecklin No2 Alternate Gothic No2 D Arnold Boecklin Outl Alternate Gothic No3 D ATH.SCRIPT CONN.ACCT.A.K.REV.D American Uncial D AVANT EXTRA BOLD ACCT. AK. REV G American Uncial Initials D AVANT GARDE ACCT. A.K. REV.K B BABYTEETH ACCT.AK REV B Baskerville T Bol Balloon Caps D Xtr Bol Baskerville T Med Balloon D Xtr Bol Baskerville T Med Ita Balloon Drop Shadow D Baskerville T Reg Balloon Outl P Xtr Bol Baskerville T Reg Ita Balloon P Xtr Bol Baskerville URW Bol Balloon URW Bold Baskerville URW BolNar Balloon URW Light Baskerville URW BolNarObl BASKERVILLE ACCT AK REV B Baskerville URW BolObl Baskerville AI Ad Weight Baskerville URW BolWid Baskerville AI Heavy Weight Baskerville URW BolWidObl Baskerville AI Over Weight Baskerville URW BolXtrNar BASKERVILLE BOLD ACCT.A.K.REV.F Baskerville URW BolXtrNarObl Baskerville Handcut Bold Baskerville URW BolXtrWid Baskerville
    [Show full text]
  • Font List Goldedition 2.0 
    Font List GoldEdition 2.0 Catalog NamePC PS File Name PC TT File Name Mac PS File Name Printer Font Printer Font 1. Aachen by Linotype Medium lt_70005.pfb lt_70005.ttf AacheMedPla 2. Aachen by Linotype Bold lt_70004.pfb lt_70004.ttf AacheBolPla 3. Aachen by Adobe Bold lte50127.pfb lte50127.ttf AacheLTBol 4. Aachen by Adobe Central European Bold accb____.pfb AacheCEBol 5. Abadi® Extra Light abel____.pfb abel____.ttf AbadiMTExtLig 6. Abadi® Extra Light Italic abeli___.pfb abeli___.ttf AbadiMTExtLigIta 7. Abadi® Light abal____.pfb abal____.ttf AbadiMTLig 8. Abadi® Light Italic abali___.pfb abali___.ttf AbadiMTLigIta 9. Abadi® Regular aba_____.pfb aba_____.ttf AbadiMT 10. Abadi® Italic abai____.pfb abai____.ttf AbadiMTIta 11. Abadi® Bold abab____.pfb abab____.ttf AbadiMTBol 12. Abadi® Bold Italic ababi___.pfb ababi___.ttf AbadiMTBolIta 13. Abadi® Extra Bold abeb____.pfb abeb____.ttf AbadiMTExtBol 14. Abadi® Extra Bold Italic abebi___.pfb abebi___.ttf AbadiMTExtBolIta 15. Abadi® Light Condensed abacl___.pfb abacl___.ttf AbadiMTConLig 16. Abadi® Condensed abac____.pfb abac____.ttf AbadiMTCon 17. Abadi® Condensed Bold abacb___.pfb abacb___.ttf AbadiMTConBol 18. Abadi® Condensed Extra Bold abace___.pfb abace___.ttf AbadiMTConExtBol 19. ITC Abaton™ by Linotype Regular LT_70006.pfb LT_70006.ttf ITCAba 20. Abbot Uncial™ Regular ABBOU___.PFB AbbotUnc 21. Linotype Abstract™ Regular LT_14354.pfb LT_14354.ttf AbstrLT 22. Academy™ Engraved Regular 46152___.PFB 46152___.TTF AcadeEngPla 23. Achispado™ Regular lt_57657.pfb LT_57657.ttf AchisLT 24. Acorn Regular ACORN___.PFB Acorn 25. Acorn Bold ACORB___.PFB AcornBol 26. ITC Adderville™ Book AdrvilBk.pfb ADDEIW__.TTF AdderITCBoo 27. ITC Adderville™ Medium AdrvilMd.pfb ADDEITM_.TTF AdderITCMed 28.
    [Show full text]
  • Bitstream Font Name Aliases Fontotéka 3.0 Compiled by Petr Somol, Based on Jon A
    Bitstream Font Name Aliases fontotéka 3.0 Compiled by Petr Somol, based on Jon A. Pastor‘s list from http://cgm.cs.mcgill.ca/~luc/jonpastor.txt. E-mail: [email protected] The list should not be considered complete, nor accurate. It is more a work in progress than anything else. Bitstream Name Common Name Designer(s) Date(s) Orig. Remarks/Attributions Vend. (all) (M.Macrone/J.Pastor,P.S.) (M.M,P.S.) (J.P., P.S.) Aachen Aachen Colin Brignall, Alan Meeks 1969-1977 17 Ad Lib Ad Lib Freeman Craw 1961 6 Aldine 401 Bembo Stanley Morison after Francesco 1929 after 1,4 Griffo / Giovanni Tagliente 1495 / 1520 Aldine 721 Plantin Frank Hinman Pierpont after ~1930 after 1,4 Robert Granjon‘s type used by 16th ~1550 / 16h century printer Christophe Plantin cent. Alternate Gothic No. 2 Alternate Gothic Morris Fuller Benton 1903 6 Amazone Amazone Leonard H. D. Smit 1958 12 Amelia Amelia Stanley Davis 1967 18, 2 American Text American Text Morris Fuller Benton 1932 6 Americana Americana Richard Isbell, Whedon Davis 1965 6 Aurora Aurora ? 1928 (c.) 11 Baker Signet Baker Signet Arthur Baker 1965 18 Balloon Balloon Max R. Kaufmann 1939 6 Bank Gothic Bank Gothic Morris Fuller Benton 1930-33 6 Baskerville Baskerville George W. Jones after John 1929 after 2 Baskerville ~1754-1775 Baskerville No.2 Baskerville No.2 ? ? 19 Bauer Bodoni Bauer Bodoni Heinrich Jost, Louis Höll after 1926 after 8 Giambattista Bodoni ~1800 Bell Gothic Bell Gothic Chauncey H. Griffith 1938 2 Belwe Belwe Georg Belwe before 1950 20 Bernhard Bold Con- Bernhard Bold Con- Lucian Bernhard
    [Show full text]
  • Alisha Witty Typography Week 3 Avenir
    Avenir, Typeface for the Future Avenir – futuristic modernly humanistic typeface Avenir is a geometric sans- A v e n i r w a s o r i g i n a l l y Sources serif typeface designed by released in 1988 with three I. https://en.m.wikipedia.org/ wiki/Avenir_(typeface) Adrian Frutiger in 1988 and weights, each with a roman II. http://www.digplanet.com/ r e l e a s e d b y L i n o t y p e and oblique version, and wiki/Avenir_(typeface) GmbH. The word avenir is used Frutiger's two-digit French for "future". The font w e i g h t a n d w i d t h i s d e r i v e d f ro m e a r l y convention for names: 45 g e o m e t r i c s a n s - s e r i f (book), 46 (book oblique), typefaces Erbar (1922), 55 (text weight), 56 (text designed by Jakob Erbar, weight oblique), (75)85 and Futura (1927), designed (heavy), and (76)86 (heavy by Paul Renner. Frutiger oblique). The typeface wished Avenir to be a more family was later expanded organically grown humanist to six weights, each with a interpretation of these roman and an oblique highly geometric types. version. The original release While similarities can be of Avenir has weights seen with Futura, the two- g r o u p e d v e r y c l o s e storey lowercase a is more together, with the difference like Erbar, and also recalls barely distinguishable.
    [Show full text]
  • Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
    Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress.
    [Show full text]