Robin Nicholas Geboren Am 25 April 1947 in Westerham

Total Page:16

File Type:pdf, Size:1020Kb

Robin Nicholas Geboren Am 25 April 1947 in Westerham Robin Nicholas Geboren am 25 April 1947 in Westerham. 1965 begann seine Tätigkeit für Monotypes Zeichenatelier. Neben ei- genen Entwürfen betreute er die digitalen Neuausgaben von klassischen Bleisatzschriften. Er ist heute der typo- graphischer Leiter der Monotype UK. Daneben betreut er den Corporate Design Bereich des Unternehmens. Arial Light Monotype Linotype Arial Light Italic Monotype Linotype Arial Monotype Linotype Arial Italic Monotype Linotype Arial Medium Monotype Linotype Arial Medium Italic Monotype Linotype Arial Bold Monotype Linotype Arial Bold Italic Monotype Linotype Arial Extra Bold Monotype Linotype Arial Extra Bold Italic Monotype Linotype Arial Black Monotype Linotype Arial Black Italic Monotype Linotype Arial Narrow Monotype Linotype Arial Narrow Italic Monotype Linotype Arial Narrow Bold Monotype Linotype Arial Narrow Bold Italic Monotype Linotype Arial Light Condensed Monotype Linotype Arial Condensend Monotype Linotype Arial Bold Condensed Monotype Linotype Arial Extra Bold Condensed Monotype Linotype http://www.klingspor-museum.de Arial Rounded Light Monotype Linotype Arial Rounded Monotype Linotype Arial Rounded Bold Monotype Linotype Arial Round. Extra Bold Monotype Linotype Arial Monospaced Monotype Linotype Arial Mono. Oblique Monotype Linotype Arial Mono. Bold Monotype Linotype Arial Mono. Bold Obl Monotype Linotype zusammen mit Patricia Saunders Bembo Book 2005 Monotype Linotype Bembo Book Italic 2005 Monotype Linotype Bembo Book Bold 2005 Monotype Linotype Bembo Book Bold Italic 2005 Monotype Linotype Bulmer 1995 Monotype Linotype Bulmer Italic 1995 Monotype Linotype Bulmer Semi Bold 1995 Monotype Linotype Bulmer Semi Bold Italic 1995 Monotype Linotype Bulmer Bold 1995 Monotype Linotype Bulmer Bold Italic 1995 Monotype Linotype Bulmer Display 1995 Monotype Linotype Bulmer Display Italic 1995 Monotype Linotype Bulmer Display Bold 1995 Monotype Linotype Bulmer Display Bold Italic 1995 Monotype Linotype Digitalisierung der Bleisatzschrift. Mit Ron Carpenter Centaur 1994 Monotype Linotype Centaur Italic 1994 Monotype Linotype Centaur Bold 1994 Monotype Linotype Centaur Bold Italic 1994 Monotype Linotype Digitalisierung der Bleisatzschrift. Clarion 1983 Monotype Linotype Clarion Italic 1983 Monotype Linotype Clarion Bold 1983 Monotype Linotype Columbus 1991 Monotype Linotype Columbus Italic 1991 Monotype Linotype Columbus Semi Bold 1991 Monotype Linotype Columbus Semi Bold Italic 1991 Monotype Linotype Columbus Bold 1991 Monotype Linotype http://www.klingspor-museum.de Columbus Bold Italic 1991 Monotype Linotype zusammen mit Patricia Saunders Dante 1993 Monotype Linotype Dante Italic 1993 Monotype Linotype Dante Medium 1993 Monotype Linotype Dante Medium Italic 1993 Monotype Linotype Dante Bold 1993 Monotype Linotype Dante Bold Italic 1993 Monotype Linotype Digitalisierung der Bleisatzschrift. Mit Ron Carpenter Fairbank 2003 Monotype Linotype Fairbank Swash 2003 Monotype Linotype Felbridge Thin 2009 Monotype Linotype Felbridge Thin Italic 2009 Monotype Linotype Felbridge Light 2003 Monotype Linotype Felbridge Light Italic 2009 Monotype Linotype Felbridge 2003 Monotype Linotype Felbridge Italic 2003 Monotype Linotype Felbridge Bold 2003 Monotype Linotype Felbridge Bold Italic 2003 Monotype Linotype Felbridge Extra Bold 2003 Monotype Linotype Felbridge Extra Bold It 2009 Monotype Linotype Felbridge Black 2003 Monotype Linotype Felbridge Black Italic 2009 Monotype Linotype Fournier 1998 Monotype Linotype Fournier Italic 1998 Monotype Linotype Digitalisierung der Bleisatzschrift. Mono Janson 1980 Monotype Linotype Mono Janson Italic 1980 Monotype Linotype Mono Janson Bold 1980 Monotype Linotype Mono Janson Bold Italic 1980 Monotype Linotype zusammen mit Patricia Saunders Nimrod 1980 Monotype Linotype Nimrod Italic 1980 Monotype Linotype Nimrod Bold 1980 Monotype Linotype Nimrod Bold Italic 1980 Monotype Linotype Nimrod Small Ads Monotype Linotype Nim. Sm. Ads Ext. Monotype Linotype http://www.klingspor-museum.de Nim. Sm. Ads Bold Monotype Linotype Pastonchi 1996 Monotype Linotype Pastonchi Italic 1996 Monotype Linotype Pastonchi Titling 1996 Monotype Linotype Digitalisierung der Bleisatzschrift. Plantin Headline Light Cond. 1995 Monotype Linotype Plantin Headline Med. Cond. 1995 Monotype Linotype Plantin Headline Bold Cond. 1995 Monotype Linotype Rotis Sans II Extra Light 2011 Monotype Linotype Rotis Sans II Extra Light Italic 2011 Monotype Linotype Rotis Sans II Light 2011 Monotype Linotype Rotis Sans II Light Italic 2011 Monotype Linotype Rotis Sans II 2011 Monotype Linotype Rotis Sans II Italic 2011 Monotype Linotype Rotis Sans II Semi Bold 2011 Monotype Linotype Rotis Sans II Semi Bold Italic 2011 Monotype Linotype Rotis Sans II Bold 2011 Monotype Linotype Rotis Sans II Bold Italic 2011 Monotype Linotype Rotis Sans II Extra Bold 2011 Monotype Linotype Rotis Sans II Extra Bold Italic 2011 Monotype Linotype Rotis Sans II Black 2011 Monotype Linotype Rotis Sans II Black Italic 2011 Monotype Linotype mit Alice Savoie. Van Dijck 1992 Monotype Linotype Van Dijck Italic 1992 Monotype Linotype Digitalisierung der Bleisatzschrift. Mono Walbaum 1991 Monotype Linotype Mono Walbaum Italic 1991 Monotype Linotype Mono Walbaum Medium 1991 Monotype Linotype Mono Walbaum Medium It 1991 Monotype Linotype Ysobel Light 2009 Monotype Linotype Ysobel Light Italic 2009 Monotype Linotype Ysobel 2009 Monotype Linotype Ysobel Italic 2009 Monotype Linotype Ysobel Semi Bold 2009 Monotype Linotype Ysobel Semi Bold Italic 2009 Monotype Linotype http://www.klingspor-museum.de Ysobel Bold 2009 Monotype Linotype Ysobel Bold Italic 2009 Monotype Linotype Ysobel Display Thin 2009 Monotype Linotype Ysobel Display Thin Italic 2009 Monotype Linotype Ysobel Display Light 2009 Monotype Linotype Ysobel Display Light Italic 2009 Monotype Linotype Ysobel Display 2009 Monotype Linotype Ysobel Display Italic 2009 Monotype Linotype Ysobel Display Semi Bold 2009 Monotype Linotype Ysobel Display Semi Bold It. 2009 Monotype Linotype Ysobel Display Bold 2009 Monotype Linotype Ysobel Display Bold Italic 2009 Monotype Linotype Ysobel Display Extra Bold 2009 Monotype Linotype Ysobel Disp. Extra Bold It. 2009 Monotype Linotype zusammen mit Delve Withrington, Alice Savoie http://www.klingspor-museum.de.
Recommended publications
  • Century 100 Years of Type in Design
    Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
    [Show full text]
  • 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.
    [Show full text]
  • Suggested Fonts List
    Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog.
    [Show full text]
  • Patrick Reagh Printers Note: the Number Following the Name Indicates the Monotype Series
    Monotype typefaces available for fonts and composition at Patrick Reagh Printers note: the number following the name indicates the Monotype series. An e or an a after the number indicates either English- or American-manufactured matrices. R-roman / I-italic / SC-small caps / B-boldface lc-large composition* Antique 26a R 8 10 12 Baskerville 353a R/I/SC 7 8 10 11 12 Bembo 270e R/I/SC 8 10 11 12 13 14 (16 & 18 lc R/I) Narrow Bembo Italic 194e 10 12 13 (16 lc) Bodoni Medium 375a R/I/SC 8 10 12 Bodoni Book 875a R/I/SC 6 8 10 12 Bookman 98a R/I/SC 6 8 10 12 Bulmer 462a R/I/SC 6 8 9 10 12 (18 lc R) Centaur 252a (16 lc roman only) Cochin 61a R/I/SC 6 8 10 12 Deepdene 315a R/I/SC 6 8 10 12 Ehrhardt 453e R/I/SC 10 12 14 Fournier 185e R/I/SC 10 12 13 Franklin Gothic 107a R 6 8 10 12 Futura Light 606a R/I 6 8 10 12 Futura Medium /Extra Bold 605a & 603a R 6 8 10 12 Garamont 248a R/I/SC 8 10 12 Garamond Bold 548a R/I 6 8 10 12 Gill Sans 262e R/I/B 6 7 8 10 12 Goudy Bold 294a R/I 8 10 12 Goudy Modern 249e R/I/SC 8 10 11 12 Goudy Old Style 394a R/I/SC 6 8 10 12 Janson 401a R/I/SC 8 9 10 11 12 (14 & 18 lc R/I) Jenson Old Style 58a R 8 10 12 Sans Serif 329a (Kabel) R/B 8 10 12 Sans Serif Light/Bold 329a & 330a R 8 10 12 Univers Light 45e R/I 6 8 10 12 14 Univers Medium 55e R/I 6 8 10 12 14 Univers Bold 65e R/I 6 8 10 12 14 Univers Extra Bold 75e R/I 6 8 10 12 14 *Large composition can only be composed in roman or italic separately 1 Monotype display typefaces available for fonts at Patrick Reagh Printers note: the letter d following the size on English matrices indicates Didot which is the European standard for type sizing and is generally a point or two larger than the American point system.
    [Show full text]
  • Font in Typography, a Font (Also Fount) Is Traditionally Defined As a Quantity of Sorts Composing a Complete Character Set of A
    Font In typography, a font (also fount) is traditionally defined as a quantity of sorts composing a complete character set of a single size and style of a particular typeface. For example, the set of all characters for 9-point Bulmer italic is a font, and the 10-point size would be a separate font, as would the 9-point upright. After the introduction of computer fonts based on fully scalable outlines, a broader definition evolved. Font is no longer size-specific, but still refers to a single style. Bulmer regular, Bulmer italic, Bulmer bold and Bulmer bold italic are four fonts, but one typeface. However, the term font is also often used as a synonym for typeface. Font type It is the apperance and shape of the letters, numbers and specific characters Arial Times New Roman Bauhaus Style The stylistic attributes of a font, such as bold, italic, and underline. Size In typography, a point is the smallest unit of measure, being a subdivision of the larger pica. It is commonly abbreviated as pt. The traditional printer's point, from the era of hot metal typesetting and presswork, varied between 0.18 and 0.4 mm depending on various definitions of the foot. Font sizes are measured and described in points, with each point equal to 1/72 of an inch. This sentence is set in 9-point type while the body type on Page 10 is set in 10- point type Standard unit of measure used to specify type sizes. One point is 1/72 inch (approx. .013837 inch).
    [Show full text]
  • The Monotype Library Opentype Edition
    en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project.
    [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]
  • Fifteen Into One?
    fifteen into one art 19/11/2002 9:14 am Page 1 EPRU Fifteen into one European Series Fifteen into one? Policy The European Union and its member states Research Unit Series The European Union and the roles of member states is one of the major topics of political debate and academic discourse. The evolution of the political system in Brussels and the developments within the individual member states promise new insights into the European integration process. This book provides a country-by- Fifteen country analysis of how European policy is made and applied in the member states. Its central focus is the involvement of national institutions in European policy-making: governments, parliaments, sub-national governments, the courts and public administrations. Who participates at which stages of the European Union’s policy cycle and how do national institutions and non-state actors interact into one? and fit into the Union’s system? The contributors show how member states have adapted their institutional structures in different ways to European integration, especially since the Maastricht The European Treaty. The editors argue that the extent and intensity of institutional interaction between the EU and its member states have led to a ‘system of institutional fusion’. Wessels, Maurer & Mittag Maurer Wessels, This timely book is the most comprehensive study yet of European policy-making Union and its at the national level and is aimed at scholars of integration studies and comparative politics. Professor Wolfgang Wessels is Jean Monnet Chair of
    [Show full text]
  • Copyrighted Material
    COPYRIGHTED MATERIAL 006_542514_ch01.indd6_542514_ch01.indd 1414 66/2/10/2/10 99:27:27 AAMM CHAPTER ONE A BRIEF HISTORY OF TYPE he story of type doesn’t begin with type per se, rather it starts with the beginning of mankind and civilization. Type has only existed for about 560 years, but its beginnings are rooted in the life of the caveman himself, as it was his developing needs and habits that led civiliza- tion on a path toward the evolution of the alphabet and subsequently the invention of type and printing. It is certainly possible to learn to use type effectively and tastefully without knowing its roots; but to fully understand and appreciate type today, it is important to know something of the past. Milestones in the history of type are highlighted throughout this chap- ter. Some of the dates, chronology, and details vary from source to source, but the spirit of the events remains the same. These events have taken mankind on a glorious ride from the crudest cave drawings to the bits and bytes of type in the digital age. SOUNDS TO SYMBOLS For many years, early humans communicated purely with sound. Verbal language–which is heard and not seen as opposed to visual language (or visible language, as it is often called)–has many limitations: it is gone the instant it is spoken and heard, and it is therefore temporary. Stories, history, and other information could not be passed on from generation to generation in a permanent way, only by direct word of mouth. The earliest attempts to record stories and ideas were through cave drawings; the fi rst known is dated around 25,000 bc.
    [Show full text]
  • Skyline Type Foundry Matrix Library Revised November 8, 2018
    Skyline Type Foundry Matrix Library Revised November 8, 2018 NM indicates Non-Monotype manufacture Mono Point Sizes Held Prefix E indicates English Monotype Face No. or Face Mfr 5 6 7 8 9 10 11 12 14 16 18 24 30 36 42 48 Admiral Script Lud 14 18 24 30 36 Adonis Inter 12 Adtype 163 24 30 36 Albertus Titling E324 24 36 48 "Alden Classic" NM 16 24 30 "Alden Italic" 16 24 30 Anglo Fdry 18 24 Antique, Bold 144 14 18 24 30 inc Antique, Bold Condensed 145 10 14 18 24 30 36 Antique, Modern 26 8 12 Arboret No. 2 NM 12 24 Argent NM 24 Argentine NM 12 18 Arrighi E252i 14 18 24 30 36 Artcraft Lud 18 24 30 36 Artcraft Italic 30 Bailey Shaded NM 42 Barnum Heavy Fdry 36 Baskerville w/Quaints 353 8 9 10 11 12 14 18 24 30 36 Baskerville Small Caps 8 9 10 11 12 Baskerville Italic 3531 8 9 10 11 12 14 18 24 30 36 Baskerville Bold 453 8 9 10 11 12 Bembo E270 11 14 18 24 30 inc Bembo Italic 11 14 18 24 30 36 Bembo Bold E428 11 Ben Franklin Outline 44 14 18 24 30 36 Bernhard Fashion 12 14 18 24 42 Bernhard Gothic Light Fdry 10 12 14 18 24 Bernhard Gothic Medium Fdry 10 12 14 18 24 Bernhard Gothic Heavy Fdry 10 12 14 18 24 Bernhard Modern Roman NM 12 14 18 Beton Medium Inter 8 10 12 14 Beton Bold Inter 8 10 12 14 Beton Bold Condensed NM 14 16 18 30 36 Beton Extra Bold NM 14 16 18 24 30 36 Beton Open (Title) NM 24 Bewick Roman NM 12 18 24 30 36 Binny Old Style 21 5 6 7 8 9 10 11 12 14 18 24 30 36 Binny Old Style Small Caps 5 6 7 8 9 10 11 12 Binny Old Style Italic 2111 5 6 7 8 9 10 11 12 36 Bodoni 175 6 8 9 10 12 14 18 24 30 36 48 Bodoni Small Caps 6 8 9 10 12 Bodoni Italic 1751 6 8 9 10 12 14 18 24 30 36 Bodoni 375 6 7 8 9 10 11 12 14 18 24 30 36 48 Bodoni Small Caps 6 7 8 9 10 11 12 14 Bodoni Italic 3751 6 7 8 9 10 11 12 14 18 24 30 36 1 NM indicates Non-Monotype manufacture Mono Point Sizes Held Prefix E indicates English Monotype Face No.
    [Show full text]
  • Linotype Library Gold Edition 1.6 E
    Linotype Library GoldEdition™ 1.6 Euro Gold Edition Version 1.6E of January 2002 The following list comprises 2087 fonts. Aachen ™ bold Avenir ™ 95 black Birka ™ bold Aachen ™ bold Avenir ™ 95 black oblique Birka ™ bold italic Aachen ™ medium Baker Signet ™ Birka ™ italic Ad Hoc ™ Bis Balder ™ Birka ™ roman Ad Hoc ™ Bis italic Banco ® Birka ™ roman SC Ad Hoc ™ italic Banjoman ™ Birka ™ semi bold Ad Hoc ™ roman Banjoman ™ bold Birka ™ semi bold italic Ad Hoc ™ roman SC Banjoman ™ light Boberia ™ light Adobe Garamond ™ bold Banjoman ™ open bold Boberia ™ light italic Adobe Garamond ™ bold italic Banjoman ™ open light Bodoni bold Adobe Garamond ™ italic Banjoman ™ text bold Bodoni bold condensed Adobe Garamond ™ regular Banjoman ™ text light Bodoni bold italic Adobe Garamond ™ semi bold Banjoman ™ text regular Bodoni book Adobe Garamond ™ semi bold italic Basic Commercial ™ black Bodoni book italic Adobe Garamond ™ Titling Capitals Basic Commercial ™ black italic Bodoni Classico ™ bold Agrafie ™ Basic Commercial ™ bold Bodoni Classico ™ bold italic Albertus ™ italic Basic Commercial ™ bold italic Bodoni Classico ™ italic Albertus ™ light Basic Commercial ™ italic Bodoni Classico ™ roman Albertus ™ roman Basic Commercial ™ light Bodoni Classico ™ roman SC Aldus ™ italic Basic Commercial ™ light italic Bodoni italic Aldus ™ roman Basic Commercial ™ roman Bodoni roman Amelia ™ Baskerville Classico ™ bold Brighton ™ bold Americana ™ bold Baskerville Classico ™ bold italic Brighton ™ light Americana ™ extra bold Baskerville Classico ™ italic
    [Show full text]
  • PDF Van Tekst
    De Gulden Passer. Jaargang 30 bron De Gulden Passer. Jaargang 30. De Nederlandsche Boekhandel, Antwerpen 1952 Zie voor verantwoording: http://www.dbnl.org/tekst/_gul005195201_01/colofon.php © 2015 dbnl i.s.m. 1 [De Gulden Passer 1952] [Jan van Krimpen 1892-1952] IN het Nederland dat buiten zijn grenzen puilt van de mensen, waar wij het dorre brood des morgens met de zalf, bereid uit walvistraan en synthetische vitaminen, moeten besmeren om de straks drie millioen ouden van dagen die door de hoogte van het hygiënische peil niet sterven kunnen, van dezelfde ingewandsvulling te kunnen voorzien; in het Nederland waar industrieën worden opgebouwd om straks te kunnen exporteren naar landen, die industrieën opbouwen om te exporteren naar andere landen, die industrieën opbouwen; in het Nederland waar de grote dichters niet meer slotvoogden zijn, maar waar zij klerkenbaantjes krijgen opdat zij niet van honger sterven, waar de aristocratie zich alleen met sport bezighoudt en het maecenaat zich uit in het toekennen van kunstprijzen, waarvoor men, met enig overleg, een colbertjasje van onverschillige kwaliteit kan kopen; waar de slavernij is afgeschaft door de slaven te amuseren met tienderangs blikmuziek en laffe variété's, waar het grootste kunstbezit de kruising tussen een mestkever en een opgeblazen vulhaard is, die men een ‘Amerikaanse wagen’ noemt; waar die enige kunst die nog betaald wordt, de kunst van het kletsen over kunst is; waar de beeldende kunstenaars slechts de houtjes van hun penselen hebben om op te bijten; - in dit land, waar het leven ondanks alles toch misschien beter is dan in de meeste andere landen, beklijven op sommige gebieden nog een traditie en vakmanschap die binnen en buiten de grenzen een zekere invloed hebben en bewondering wekken.
    [Show full text]