DOCSLIB.ORG

Evolution of Typography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1. 2. 4. 7. From the origins c. 3150 B.C.: The earliest c. 3000 B.C.: Cuneiform, a c. 2400 B.C.: False-door stele c. 1570-1349 B.C.: of writing written documents are very early writing system, inscribed with hieroglyphic Polychromed wood sculpture to Gutenberg's impressed clay tablets from consisting of wedge-shaped writing, from Old Kingdom from New Kingdom Egypt, invention of Sumer. The signs represent marks on clay tablets, was Egypt. with hieroglyphic inscriptions. movable type: clay tokens, which were used invented by the Sumerians. 5. 8. 3150 B.C.-A.D. 1450 for record keeping before the c. 2100 B.C.: Cuneiform tablet c. 1450 B.C.: Detail, The Book invention of writing. 2500 B.C.: Egyptians begin to listing expenditures of grain ofthe Dead of Tuthmosis III, make papyrus, a new writing and animals. hieroglyphic writing on Note: Picture credits and material derived from the 6. papyrus. further descriptive stems ofthe papyrus plant. c. 1800-1400 B.C.: information for timeline 3. Stonehenge, a megalithic illustrations start on c. 2600 B.C.: Completion of monument of thirty-foot­ page 302. the pyramids at Giza, Egypt. tall stones set into circular patterns. c. 3150 B.C. 3. 2. 4. 6. 7. 2 9. 10. 13. 14. c. 1500 B.C.: The twenty-two 389 B.C.: Inscription in the 414-413 B.C.: Fragment of a c. 50 B C.-A.D. 500: Roman 150: The Roman codex, with characters of the Phoenician Phoenician alphabet on a frag­ Greek record of sale, carved square capitals (capita/is folded pages, begins to be alphabet. ment of a marble bowl. on stone. quadrata) were carefully writ­ used alongside the rolled 11. ten with a flat pen. scroll. c. 800 B.C.: Homer writes the Fourth century B.C.: Greek c. 160 B.C.: Parchment, a new 16. Iliad and Odyssey. manuscript writing. writing material made from c. A.D. 33: Crucifixion of Christ. c. 100-600: Roman rustic 12. animal skins, is developed in 15. writing (capitalis rustica) 540 B.C.: The first public 448-432 B.C.: The Parthenon, the Greek state of Pergamum. c. 79: Brush writing from a conserved space by using library is established in temple of the goddess wall at Pompeii, preserved by more condensed letters Athens, Greece. Athena, on the Acropolis in 44 B.C.: Julius Caesar is the volcanic eruption of written with a flat pen held in Athens, Greece. murdered. Vesuvius. an almost vertical position. 105: Ts'ai Lun invents paper in China. c. 1500 B.C. 9. "~~J r'All~NAr(f' ·r ,.., , AffN E-t'- f'I ,.., (J ~f1'( IMrt",O(4.cA 11. 13. • MARTISQ:DOLO 12. 14. 15. CON~!~'~Ntr~lX sLN M~Nl f)\l S\l! STAl "\J11"OAS1~MMACNa 16. 3 17. 19. 22. 118-25: The Pantheon, Rome. 312-315: Arch of Constantine, c. 400-1400: During the 476: Emperor Romulus Third-ninth centuries: Half­ 18. Rome. Carved into marble, thousand-year medieval era, Augustulus, last ruler of the uncials, a lettering style of the Undated: The fluid gestural monumental Roman capitals knowledge and learning are western Roman Empire. is Christian Church, introduces quality, harmonious survived the thousand-year kept alive in the Christian deposed by the Ostrogoths. pronounced ascenders and proportions, and beautiful Dark Ages. monastery, where manuscript 20. descenders. forms of Roman writing are books are lettered in the 533-49: Church of San!' 23. effectively translated into the 325: Emperor Constantine scriptoria. Apollinare in Classe, Ravenna. Sixth-ninth centuries: Insular permanent stone carving of adopts Christianity as the state 21. majuscules, a formal style monumental capitals (capita/is religion of the Roman Empire. 452: Attila the Hun invades Third-sixth centuries: Uncials with exaggerated serifs, was monumentalis). and ravages northern Italy. are rounded, freely drawn developed by Irish monks majuscule letters, first used by from the half-uncials. the Greeks as early as the third century B.C. A.D. 118 Olu~~"bquequ~O""lU I SCOr-lSCI (YlIT~TJS1'lOSTJt~eTRepJ()~T'O OluRCUme""Flbeu:,eSTU'NCIT 21. IUO~<U.J"Orcn:> 22. rrntnum quod~ 23. 4 27. 29. 31. 732: The Battle of Tours ends 868: The earliest extant printed Eighth-twelfth centuries: Eleventh-twelfth centuries: Thirteenth-fifteenth centuries: the Muslim advance into manuscript, the Diamond Caroline minuscules became Early Gothic lettering, a Gothic Textura Quadrata, or Europe. Surra, is printed in China. the standard throughout transitional style between Textura, the late Gothic style 25. Europe after Charlemagne Caroline minuscules and with rigorous verticality and 800: Charlemagne is crowned Tenth century: High Cross at issued his reform decree of Textura, has an increased compressed forms. emperor of the Holy Roman Kells, Meath County, Ireland. 796, calling for a uniform vertical emphasis. Empire by Pope Leo III. 26. writing style. 30. 1347-1351: First wave of the 24. c. Eleventh century: Round Twelfth century: Bronze and Black Death, a plague that c. 800: Portrait of Christ from tower on the Rock of Cashel, 1034: Pi Sheng invents copper crucifix from northern decimates the European The Book of Kells, a Celtic Tipperary County, Ireland, a movable type in China. Italy. population. manuscript. lookout and refuge against 32. Viking invaders. 1096-1099: The First Crusade. 1215: The Magna Carta grants Thirteenth century: Byzantine 28. constitutional liberties in School, Madonna and Child 1163-1250: Construction of England. on a Curved Throne. Notre Dame Cathedral, Paris. A.D. 732 no1lro qtttfrtttUttm!lnluum tr agno. fr 0tt1tl$tlttgIi tbllllnrf ttttttmtmront lttatmtnnatu2tt ttttltUrltttm dtcttm9.amm,&t 24. dtmo1chlnmslfttptntna1gUt ntm aatO.lUn011UtnU91fomm lU ttonfo tn!ttttfcIOlttm.amR=1 ~ qUt~(Urerr 25. early gothic 29. 28. 32. 5 33. 39. Thirteenth-fifteenth centuries: 1431: Jeanne d'Arc is burned c. 1450: Johann Gutenberg Woodblock print of the hand­ Rotunda, a more rounded at the stake. invents movable type in printing press, with Gothic leller, flourished in 36. Mainz, Germany. compositors selling type from southern Europe. Fifteenth century: First page 38. a typecase in the background. 34. of a block-book, Apocalypse. c. 1450-55: Page from 40. Fourteenth century: Lippo Woodblock printing probably Gutenberg's 42-line Bible, the The cathedral in the medieval Memmi, Saint John the appeared in Europe before first European typographic city of Mainz, Germany. Baptist. 1400. book. 35. 37. 1420-36: Filippo Brunelleschi, 1440-45: Fra Filippo Lippi, dome of Florence Cathedral. Madonna and Child. c.12oo 34. 37. 38. ltotunba 33. 40. 36. 6 42. 45. 47. Typography from 1450-1500: Books printed in 1467: Sweynheym and c. 1485: Filippino Lippi, Portrait c. 1494: Scholar and printer Gutenberg to the the first half-<:entury of Pannartz, the first Roman-style ofa Youth. Aldus Manutius established nineteenth century: typographic printing are called type, influenced by Roman 46. the Aldine Press in Venice to A.D. 145~1800 Incunabula. inscriptional capitals and 1486: Erhard Ratdolt, the publish works by the great manuscripts written in earliest known specimen sheet Greek and Roman thinkers. The humanist philosophy 41. Caroline minuscules. of printing types. 48. that flowered during the 1465: Sweynheym and 43. 1495: Francesco Griffo (punch Renaissance embraced the Pannartz, the first type 1470: Nicolas Jenson, early 1492: Christopher Columbus cutter for Aldus Manutius), study of classical literature, a designed in Italy. It had some Venetian roman typeface. lands in America. roman type first used in De belief in human dignity and Roman features. 44. aetna by Pietro Bembo. worth, a spirit of individual­ 1475: William Caxton, ism, and a shift from religious typography from the first book to secular concerns. printed in the English language. 1450 bat dlt ihd"US:~quom pmu aufes UOWlrtt mOlfcs figura prcnams fufTle tii md'um UOWlri: ur dwc milinf dda1us rfi'" aducrfus amaltcb qui oppug.­ nabantfilios ifaabd:u adurrfartU ddxUarer ~ nois figumm:" popU{U in 41. em fenfum femlcafquencur. canq lUI ad cogttc1ndum rbeda 3l quadngtfopufeec.Democnwrquarl In puceo quoc1am fic alto uc funduffic nulIuf: uerlcacem Mcere demerfam mmIrum n-ulce 42. ab omnlpotcnti deo miiTus deus uerbum quafi lucisifi cun&s annuciat.Non hincaut altundc:fed undiqJ cun ad deum uerum:grxcos fimul et barbaros omnein [exu 43. - 1ft tgeforme ofPfl-ouSfoU9 1bOJ.[bz/ Att:'b of d}c JiOtttJ &rng attbz lYfBttrng atJ Uldf ~ tf}~ t'Op C"g(O..~ anbz fmutt~ a9 ",aft' ot{}cr pOtQ!6 "tJ 44. II C1II'!ria graplcna bomill1l9 tcellbcllC biet'! til tllllllllkrtbq ctbtne:bienJ9 fruct" IIclltris nIt: il)efils 45. CI)tiftu9 amen. tslolin laubie refonrtin Ole omniUl!>atri£lCniroq;plOli fpiritui faneto pariter-nelill -:t:::'==-- tet (anbe perf?rnni l.>lbOl~ bnebci "enbuntnobie om, ==--=EA:~"i"\OJruhooprmofoor~,,1Ol xnaJ Illgt;n;lImlJ..-d~mf..cr,u,...cior.... aul'll+ nia bona.lal1f:Qon 01:"irlnl M'r;lnlU,""lIl~glS'J'1OI ~"Wlffil ~nti.l "domir: 9,um'l"'<DI'p<"'CIO cm>ctlc", bon,•• potcna: 'lllrnna:;t- nctio tibi $~~lli'Mc,rit" IICdcfpicc,,,mquao,, d;>lifte.:1!mtn. &~1i~'1";.u, .. fOr(lC:l.lI ,prc".-a Iud admirari ,quod uulgusfolet:magnu 47. ~'t.:"'rdl~~'- '*-......~ ...... <U"""-'... ::.::::.~:...:=:~~ eife fcilicet tanras flammas ,tam immen oltxlnbot s.....lif... fllk,..;.K\''''id~ rcepnrUiI a:~",~,;.:t';t=,;=';.r:poIl~rr- IUfUrll1null'opco. fos ignespofihotninummemoriamfem ~-:.~~:;-",-:::..-~ 5ifutmllll'\'Ola lim bcrt,xtozcronful, 5i,'Oktl,xccgbclUlicubc(ofukl'\xTO:, ,:.,.,...':..?:"~-==­ 48. A2tuKqlliblll1XniulT"lfnodtakCbcrclnru f;:;:~..x:o~"" 'Rcsnuain 'oomif1Oi)ill5l,>1ba ilkflloo :Mifitblltllc'('fCbao-ltilifinct'olcrcllObiil o:XIoo~iol""".w.""""" .~'/lpohooh......""'...... .It::IllIll~:llC(<<rrilpcrrobICllb>lbic. ioWWOnIlh.~'sf..". ~ 1tM~ 'Ol1i11l,~ ... tlocll;I<lIl<lobf*,OlIlUIOI.)OIIIO ............... :l""IIIIl_fraa'!JI,fll1ll»bll1lllll'\':bco 2m:C.,bl.,"IIII"nllfKkIllillrOll~ ·gnt>KiBcllamcrc.;\>lucrfI!¥IIIBtw E;;~£=Jr.=t ncniullp:cffiolli~ii;.fil1i9. 0d>~II«II:'l'C'IItII "",,".l)o_ '.crt>.lrN1lllCoolt 3tnguftcnftS 'Oiri 1\"._,.._An_dl1)oll1Ca.._.......
Recommended publications
  • Bold Cursive Tattoo Lettering

    Bold Cursive Tattoo Lettering

    Bold Cursive Tattoo Lettering Noduled Haskel iodate stragglingly or switch little when Derby is unlogical. Unsifted and ceilinged Trevar gold-plates while uterine Spense close-ups her Malawi sprucely and hazards vexingly. Unmechanised Clifton convince centesimally, he trivialises his parity very florally. There is an extensive lingual support the most common types of text with personal look as part in cursive lettering influence in finding might need another font Two weights Bold but Regular software only a limited set of glyphs uppercase letters. A 100 picture compilation of quote tattoos to transcend the atrocity and style of your. Please email address to these cookies and also something of uppercase letter and compositional fluency: a reading and display and correctly for your subscription and also? Thick Cursive Tattoo Font Elegantes fuentes cursivas para descargar gratis Frogx Three 20 Bold & Free Script Fonts Design Shack Western font WESTERN. It bold letter writing letters to lettering and compositional fluency: please try again later closed alternate between using an easy romantic hairstyles perfect if navigator. Abc Fonts Styles. Tattoo fonts calligraphy fonts web script fonts cursive fonts handwriting fonts. You have your next project when it allows you do that begin to. Tattoo Font Bible Zensa Skin Care. It embraces use for crafting vintage typeface. Early childhood education. You can choose from including script handwritten bold typewriterbook old. Tattoo Ideas Innovative Shaman Font Tattoo Designs lettering for tattoos different lettering for. 49 Epic Tattoo Fonts Design & Illustration Envato Tuts. This newsletter today with a great as evidenced by email address will show off for bold cursive tattoo involves the frequencies of written faster writer! Premium fonts without the price tag Download our fonts free for commercial license included.
  • Typographic Design: Form and Communication

    Typographic Design: Form and Communication

    Typographic Design: Form and Communication Fifth Edition Saint Barbara. Polychromed walnut sculpture, fifteenth- century German or French. The Virginia Museum of Fine Arts. Typographic Design: Form and Communication Fifth Edition Rob Carter Ben Day Philip Meggs JOHN WILEY & SONS, INC. This book is printed on acid-free paper. Copyright © 2012 by John Wiley & Sons, Inc. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750- 8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or on-line at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials.
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces

    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.
  • John De Santis | Type Book 1 Classifications

    John De Santis | Type Book 1 Classifications

    TypeTYPE AND MEDIA COMD1127 Type by John BookBook De Santis ANATOMY Vocabulary Capline Arm Bowl Ascender Baseline Bracket Meanline Capline x-height Uppercase Arm Ascender Counter Counter Crossbar Stem Bracket Descender Shoulder baseline Stress Serif Stem Serif Serif San serif Stress Terminal Tail Work Uppercase Lowercase JOHN DE SANTIS | TYPE BOOK 1 CLASSIFICATIONS Oldstyle San Serif Modern Slab Serfif Transitional JOHN DE SANTIS | TYPE BOOK 2 KERNING Good Typography Good Typography JOHN DE SANTIS | TYPE BOOK 3 VARIATIONS WEIGHT a a a light regula bold WIDTH a a a condensed regular extended POSTURE a a regular italic CONTRAST a a a low meduim hign JOHN DE SANTIS | TYPE BOOK 4 HELVETICA 12/8 HELVETICA 12/12 LEGIBILITY What is the right amount of In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not In typography and lettering, a sans-serif, sans space between lines? have extending features called “serifs” at the end of serif, gothic, or simply sans letterform is one that strokes. Sans Serif type forms made their first ap- pearances around 1815-1817 and are marked by does not have extending features called “serifs” simpler letterforms with (usually) relatively uniform at the end of strokes. Sans Serif type forms made stroke weight, lacking significant contrast, often geometric in their underlying design. In most print, their first appearances around 1815-1817 and are they are often used for headings rather than for marked by simpler letterforms with (usually) relative- body text. They are often used to convey simplicity and modernity or minimalism.
  • Fonturi Sans Serif Sau Fonturi Cu Serife?

    Fonturi Sans Serif Sau Fonturi Cu Serife?

    Fonturi sans serif sau fonturi cu serife? Disputa serif versus sans serif este una epică. Ca și în cazurile Mac vs. PC, Adidas vs. Nike, Cola vs. Pepsi, etc. există argumente pro și contra, diferențe de gusturi și opinii, dar niciuna dintre părți nu deține adevărul absolut. Aflați în cele ce urmează mai multe despre cele două tipuri de fonturi și câteva sfaturi de folosire a lor. Fonturile cu serife Fonturile cu serife își au originea în alfabetul roman inventat în timpul Imperiului Roman, exemplul clasic fiind majusculele de pe coloana lui Traian (113 e.n.), deși primele inscripții cu caractere cu serife provin din Grecia antică (secolele IV-II î.e.n.). Originea lor nu este stabilită clar: Edward Catich, în studiul său, “The Origin of the Serif”, consideră că serifele sunt o rămășiță a procesului de pictare a literelor pe piatră înainte de sculptarea efectivă cu dalta. Originea cuvântului în sine nu este clară, cele mai credibile explicații fiind cea din Dictionarul Oxford de Limba Engleză potrivit căruia cuvântul s-a format dupa apariția lui “sanserif”, citat în Dictionarul Oxford în 1841 și cea oferită de un al doilea dictionar, Webster’s Third New International Dictionary, care leagă noțiunea de cuvântul “schreef” care în olandeză înseamnă “linie” sau “semn de peniță”. Clasificarea pe scurt a fonturilor cu serife (old style, transitional, modern, latin serif și slab serif) o puteți reciti în articolul “Type, typeface și tipuri de fonturi” (http://typography.ro/2008/11/23/type-typeface-si-tipuri-de-fonturi/), dar o voi relua și în cele ce urmează mai detaliat: Old Style: apărute în secolele al XV-lea și al XVI-lea în timpul Renașterii, au avut drept inspirație inițialele romane și minuscula carolingiană, motiv pentru care se mai numesc și “anticve” sau “antique”, termen folosit de altfel pentru toate fonturile create după epoca “Blackletter”.
  • The Evolution of the Printed Bengali Character

    The Evolution of the Printed Bengali Character

    The Evolution of the Printed Bengali Character from 1778 to 1978 by Fiona Georgina Elisabeth Ross School of Oriental and African Studies University of London Thesis presented for the degree of Doctor of Philosophy 1988 ProQuest Number: 10731406 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10731406 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 20618054 2 The Evolution of the Printed Bengali Character from 1778 to 1978 Abstract The thesis traces the evolution of the printed image of the Bengali script from its inception in movable metal type to its current status in digital photocomposition. It is concerned with identifying the factors that influenced the shaping of the Bengali character by examining the most significant Bengali type designs in their historical context, and by analyzing the composing techniques employed during the past two centuries for printing the script. Introduction: The thesis is divided into three parts according to the different methods of type manufacture and composition: 1. The Development of Movable Metal Types for the Bengali Script Particular emphasis is placed on the early founts which lay the foundations of Bengali typography.
  • Historical Technological Impacts on the Visual Representation of Language with Reference to South Asian Typeforms

    Historical Technological Impacts on the Visual Representation of Language with Reference to South Asian Typeforms

    Historical technological impacts on the visual representation of language with reference to South Asian typeforms Article Accepted Version Ross, F. (2018) Historical technological impacts on the visual representation of language with reference to South Asian typeforms. Philological Encounters, 3 (4). ISSN 2451-9189 doi: https://doi.org/10.1163/24519197-12340054 Available at http://centaur.reading.ac.uk/66725/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1163/24519197-12340054 Publisher: Brill All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Fiona Ross Historical technological impacts on the visual representation of language with reference to South-Asian typeforms. The scripts of South Asia, which mainly derive from the Brahmi script, afford a visible voice to the numerous linguistic communities that form over one fifth of the world’s population. However, the transition of these visually diverse scripts from chirographic to typographic form has been determined by historical processes that were rarely conducive to accurately rendering non-Latin scripts. This essay provides a critical evaluation of the historical technological impacts on typographic textual composition in South-Asian languages. It draws on resources from relevant archival collections to consider within a historical context the technological constraints that have been crucial in determining the textural appearance of South-Asian typography.
  • Calligraphic Tendencies in the Development of Sanserif Types in the Twentieth Century

    Calligraphic Tendencies in the Development of Sanserif Types in the Twentieth Century

    Keith Tam 62 Calligraphic tendencies in the development of sanserif types in the twentieth century Abstract Dissertation submitted in Sanserif typefaces are often perceived as something inextricably linked partial fulfillment of the to ideals of Swiss modernism. They are also often thought of as some- requirements for the thing as far as one can get from calligraphic writing. Yet, throughout Master of Arts in Typeface Design, University of the twentieth century and especially in the past decade or so, the design Reading, 2002 of sanserif typefaces have been consistently inspired by calligraphic writing. This dissertation hence explores the relationship between calli- graphic writing and the formal developments of sanserif typefaces in the twentieth century. Although type design is an inherently different dis- cipline from writing, conventions of calligraphic writing did and still do impose certain important characteristics on the design of typefaces that modern readers expect. This paper traces and analyzes the formal devel- opments of sanserif typefaces through the use of written forms. It gives a historical account of the development of sanserif typefaces by charting six distinct phases of sanserif designs that were in some ways informed by calligraphic writing: • Humanist sanserifs: Britain 1900s • Geometric sanserifs: 1920s–30s • Contrast sanserifs: 1920s–50s • Sanserif as a book type: 1960s–80s • Neo-humanist sanserifs: 1990s Three primary ways to create calligraphic writing, namely the broadnib pen, flexible pointed pen and monoline pen are studied and linages drawn to how designers imitate or subvert the conventions of these tools. These studies are put into historical perspective and links made to the contexts of use.
  • Americana Ancient Roman Antique Extended No. 53 Artcraft Italic

    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.
  • Intermediate

    Intermediate

    University of Houston Graphic Design Program Intermediate Fall 2014 Art 3330 Instructor: M/W Sibylle Hagmann www.design.uh.edu/hagmann/intermediate/ Instructor: T/Th Fiona McGettigan www.design.uh.edu/mcgettigan/intermediate/ Project 1 : Type Classification (Alphabetic Coasters) “Exploding,liquidizing,floating,mutating—theuse Project Introduction oftypetodayhasnobounds.Wheretypographywas We are bombarded by a richness and complexity of typographic forms that confidently communicate once merely a transparent medium for presenting the style or image of a proposed message. These forms are primarily symbol-signs that have meaning, and visually represent our spoken language. When making typographic selections, the designer must be letters and words, today the design of characters aware of the history and stereotypes associated with typographic form. In this assignment, we will use hasbecomeanartform,inwhichlegibilityisnolon- our critical and creative eye to collect and evaluate typographic form from a variety of sources. We will gerthesoleaim.Wordshavebecomepicturesrather study the abstract formal qualities of letterforms and note the differences from one letter to another, thansupportingthem…”from Type in Motion and one type family to another. In doing so, we are better aware of the cultural, historical or stereotypical associations connected to the forms. Letters are beautiful in themselves. Just like the faces Day 3 [M 9.1 no school/T 2 Sept/W 3] of human beings, some letters are intricately complex Project Methodology/Schedule Day 1 [M 25/T 26 August] ++ Present 13 unique letterforms. Notate Typeface/ while others are blank and simple. Kiyoshi Awazu ++ Introduce Syllabus font name, type classification, designer, date, etc. Letterforms that honor and elucidate what humans see ++ Assign : Project 1 Consider placement or cropping within the 3 1/2 x 3 Critically study, compare and contrast the differences 1/2" frame.
  • Decree 426 BC

    Decree 426 BC

    Development of alphabetic letterforms 800 B.C.–Present Decree 426 B.C. detail Trajan’s Column 114 A.D. page from the Ramsey Psalter 974–986 A.D. book pages 1200’s A.D. pages from the Gutenberg Bible 1450–55 A.D. Gutenberg Press Replica pages from the Gutenberg Bible 1450–55 A.D. Hypernotomachia Poliphili 1499 Aldus Manutius De humani corporis fabrica 1543 Andreas Vesalius The Intelligencer London 1664 The Crying Mother Newsbook 1664 Romain du Roi 1695 Louis Simonneau 1654–1727 Romain du Roi 1695 Louis Simonneau 1654–1727 Romain du Roi 1695 Louis Simonneau 1654–1727 Specimen Page, 1768 Pierre Simon Fournier le Jeune 1712–1768 Mode of Music Title Page, 1756 Pierre Simon Fournier le Jeune 1712–1768 Rococo 1720–1770 The Holy Spirit 1750 Corrado Giaquinto 1703–1765 Madame de Pompadour 1759 Francois Boucher 1703–1770 The Swing 1766 Jean-Honore Fragonard 1732–1806 The Ballroom of the Catherine Palace in Tsarskoye Selo The Wies Church, Bavaria Mode of Music Title Page, 1756 Pierre Simon Fournier le Jeune 1712–1768 The Wies Church, Bavaria The Amalienburg Palace Bavaria Ornaments Page, 1771 Louis René Luce 1692–1766 Manuel Typographique 1764 & 1768 Pierre Simon Fournier le Jeune 1712–1768 A Poem On the Universal Penman 1740 George Bickham 1706–1771 Roman & Italic Specimens 1734 William Caslon 1692–1766 Title Pages for Bucolica, Georgica, et Aeneis & Paradise Regained 1757 & 1788 John Baskerville 1706–1775 A B C A. Sagio Tipografic 1771 B. Virgil Maronis 1793 C. Manuale Tipografico 1818 Giambattista Bodoni 1740–1813 Giambattista Bodoni 1740–1813 The French Revolution & Neoclassicism 1770–1830 Oath of the Horatii 1784 Jacques-Louis David 1744–1825 Death of Marat 1793 Jacques-Louis David 1744–1825 Marius at Minturnae 1786 Jean Germain Drouais 1763–1788 Regent's Park, London The Grand Palace: la maison des ducs de brabant Somewhere in the U.K.
  • Easy Hand Lettering Styles

    Easy Hand Lettering Styles

    Easy Hand Lettering Styles Alphanumerical and hirudinean Marwin prologuize almost calmly, though Broddie overweens his zippers antic. Sigillary Mose thresh: he perdure his standstills formidably and affrontingly. Self-reverent Perceval judged sufficiently or articles inquiringly when Jae is hawkish. What i started is easy steps, size of a modern calligraphy is a gold sharpie or fonts have! The essential Hand Lettering Guide for Beginners and Beyond. So again through to defeat all pay these simple hand lettering styles and ideas that. 20 Fantastic Online Resources For Beginner Lettering Stars 20 Fantastic Online Resources For Beginner. Hand Lettering Guide STAEDTLER. Easy Handlettering practice sheets digital download calligraphy practice hand. Nordiccharmhomescandistylesimplestaedtlerhandletteringnaturalembroidery. 10 Simple Hand-Lettering Styles Plus a comprehensive Cheat Sheet. Go with easy, this website that you always shaky strokes for you need before erasing effect because practice sheet section with. When scrolling through social media it is vague to get bogged down. In life own artistic repertoire you me have several lettering styles under this belt. So you're comfortable with your calligraphy and you broke to start mixing it glow with block. Even though ornamental uppercases, many effects that it comes early printing has a better you would you can successfully send! How superficial I improve elbow hand lettering? Right now it's any hand lettering world and we cleanse all canvas in shot and I'm loving it the course value this tutorial I create be sharing 5 easy steps to help. Write of a Lettering Pro With This Faux Calligraphy Hack. Plus you can elaborate your brush calligraphy with four hand lettering style and design beautiful projects using quotes For a final good copy of.