DOCSLIB.ORG

Two Type Dept. Studio™ Pro Type Specimen Technical Documentation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Two Type Dept. Studio™ Pro Type Specimen Technical Documentation Two Type Dept. Studio™ Pro Technical Type Specimen Documentation Studio™ Pro Expansion Program • 90 pts uRoman • 15 ptsuuuItalic u uu Stylesuuu Ttd Studio Pro 83 Ttd Studio Pro 85 Regular, Italic Ttd Studio Pro 98 Ttd Studio Pro 100 Medium, Italic Ttd Studio Pro 113 Ttd Studio Pro 115 SemiBold, Italic Ttd Studio Pro 133 Ttd Studio Pro 135 Bold, Italic Ttd Studio Pro 153 Ttd Studio Pro 155 UltraBold, Italic Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Technical Type Specimen Documentation Family Name: Studio™ Pro A similar experiment was conducted by Styles: Regular, Regular Italic, Medium, Encoding: Latin Extended Umberto Fenocchio in Italy, with his major Medium Italic, SemiBold, SemiBold Italic, Desktop File Format: OpenType CFF type design œuvre Linea for Italian type Bold, Bold Italic, UltraBold, UltraBold Italic. Webfont File Format: Woff, Woff2, EOT foundry Fonderia Tipografica Cooperativa Designer: Alberto Moreu (2015–2017) (1966–1969). Not a revival, Studio™ Pro is Features: 10 stylistic alternates at Think Work Observe, Type Dept. conceived for modern tasks and to be sets, case sensitive forms, contextual URL: http:t-wo.itfontstudio-pro visualized on modern devices: with a very alternates (circled numbers, interrobang, Enquiries: [email protected] standard, still elegant shape; plenty of left and right arrows, multiply, roman alternatives and open type features studied numbers), latin extended (base, Western, About Studio™ Pro to make possible to use, in a smart way, all Central & South Western Europe, Studio™ Pro is a sans-serif font based on the wide range of glyphs; a tall x-height, Afrikaans), localized forms (Catalan, Dutch, the research done during 60’s and 70’s by that makes it readable also when used Moldavian, Romanian, Turkish), old style European type designers. They examined at a very small size; finally, proportions that and tabular figures, slashed zero, standard the two most important sans serif make it very neutral, still very recognizable and discretionary ligatures, rounded typefaces at that time with the aim to and unique. punctuation. renew them and to work out a new proposal of forms with proper optical and rhythmical corrections. Studio™ Pro Family Overview • 105 pts Sans Sans Sans Sans Sans Sans Sans Sans Sans Sans Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Characters Set Type Specimen OpenType Features Uppercase, lowercase ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Proportional, old style figures and slashed zero 1234567890 H Accented characters (Latin extension) ÁáĂăÂâÄäÀàĀāĄąÅåǺǻÃã ÆæǼǽ ćČčÇçĈĉĊċ ÐðĎďĐđ ÉéĔĕĚěÊêËëĖėÈèĒēĘę Əə ĞğĜĝĢģĠġ ĦħĤĥ ÍíÎîÏïİ£ÌìĪīĮįĨĩ IJij Ĵĵ Ķķĸ ĹĺĻļŁłĿŀĽľ ŃńŇňŅņŊŋÑñ ÓóŎŏÔôÖöÒòŐőŌōØøǾǿÕõ Œœ Þþ ŔŕŘřŖŗ ŚśŠšŞşŜŝȘș ŦŧŢţȚțŤť ÚúŬŭÛûÜüÙùŰűŪūŲųŮůŨũ ẂẃŴŵẄẅẀẁ ÝýŶŷŸÿỲỳ ŹźŽžŻżƵƶ Standard and discretionary ligatures ­ Tabular figures and signs ¡¢£¤¥¦§¨©ª«¬®¯° ±²³´µ¶·¸ ¹º»¼½¾ Case sensitive forms H¿ÀÁÂÃÄÅÆÇÈÉ ÊËÌÍÎÏÐÑÒÓÔÕÖ×ØÚÞßà Mathematical operators, currencies +±−×÷=≠≈~∅∞∫<≤>≥¬√∂%‰⦻∏∑|¦°ℓ⋅ ⁄ ◊ ¤¢ƒ$€£¥₣₧฿₢₤₩₫₮₱₸₹₺₽ Roman and circled numbers ⅠⅡⅢⅣⅤⅥⅦⅧⅨⅩⅪⅫⅬⅭⅮⅯ ➀➁➂➃➄➅➆➇➈ Arrows, symbols ↑↗→↘↓↙←↖↔↕ ◯□△ ☑╳ ✓✕ ⤬⤫ ✖ Alternates 1ªefghijklmnopqrstuvwxyz H¹²³⁴⁵⁶⁷⁸⁹⁰ H₁₂₃₄₅₆₇₈₉₀ 1 ­⁄ Punctuation, various ½⅓⅔¼¾⅛⅜⅝⅞ Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Expansion Regular Characters Set Type Specimen Program Regular Italic OpenType Features Medium Medium Italic SemiBold SemiBold Italic Bold Bold Italic UltraBold UltraBold Italic Alternates ¡¢ £¤¥¦§ ¨© ª«¬ ® ¯°±² ³ ´µ¶· ¸¹º »¿ ÀÁÂÃÄ ÅÆ⁄ÇÈ ÉÊHËÌ e Í ⁄ÎÏ Punctuation, various *⁂⁑⁕•\/·.:;,…„“”‘’‚"'!‼¡?¿‽#_—–-«»‹›@&¶§†‡ ™℠ ©®Ⓟ Rounded punctuation ëìí îï ðñòó ôõö÷øù úûüýþÿ ~ } |{ [] ^`@>=< ;:. -, +)( &% $01 23 45 67 89 ABCD EFGH IJKLMNOP QRSTUVWXYZabcd ef ghijk ISOIEC 8859 ISO Part Latin Western European Codelist ISO Part Latin Central European ISO Part Latin Southern European ISO Part Latin North European ISO Part Latin Turkish ISO Part Latin Nordic ISO Part Latin Baltic Rim ISO Part Latin ISO Part Latin South-Eastern European OpenType Pro Afrikaans Jola-Fonyi Rombo supported languages Albanian Kabuverdianu Rundi Asu Kalaallisut Rwa Azerbaijani Kalenjin Samburu Basque Kamba Sango Bemba Kikuyu Sangu Bena Kinyarwanda Scottish Gaelic Bosnian Latvian Sena Catalan Lithuanian Serbian (Latin) Chiga Low German Shambala Colognian Lower Sorbian Shona Cornish Luo Slovak Croatian Luxembourgish Slovenian Czech Luyia Soga Danish Machame Somali Embu Makhuwa-Meetto Spanish English Makonde Swahili Esperanto Malagasy Swahili (Congo Estonian Malay – Kinshasa) Faroese Maltese Swedish Filipino Manx Swiss German Finnish Maori Taita French Meru Teso Friulian Morisyen Turkish Galician North Ndebele Upper Sorbian Ganda Northern Sami Vunjo German Norwegian Bokmål Walser Gusii Norwegian Nynorsk Welsh Hungarian Nyankole Zulu Icelandic Oromo Inari Sami Polish Indonesian Portuguese Irish Romanian Italian Romansh Ttd Studio™ Pro Type Specimen OpenTypeÍ OpenType fonts containing PostScript data OpenType fonts can be installed and used OpenTypeÍ is a cross-platform font file have an .otf suffix in the font file name, alongside PostScript Type 1 and TrueType format developed jointly by Adobe and while TrueType-based OpenType fonts have fonts. Microsoft. The two main benefits of the a .ttf file name suffix. OpenType fonts can OpenType format are its cross-platform include an expanded character set and http:www.adobe.comproductstypeopentype.html compatibility (the same font file works layout features, providing broader linguistic on Macintosh and Windows computers), support and more precise typographic and its ability to support widely expanded control. Feature-rich OpenType fonts character sets and layout features, can be distinguished by the word “Pro” which provide richer linguistic support which is part of the font name and appears and advanced typographic control. in application font menus. Case sensitive forms (A2 Format) ÐAÀ FORMATÑ ¡Diseño! ÊDISEÑO! 165$, f–w 2017 ¿ÄÃÚ, FÓWÀÈ¿Å Old style gures 20×12÷3+67=147 ×÷+= Tabular gures and signs 36$+8×1981% º£¦ Automatic fractions 6×3/12+3/8 6×⁄+⁄ Circled gures (1)(8) (1)(8) Superscripts and subscripts 6C, [He]2s22p2 ₆C, [He]2s²2p² Lavoisier[6] Lavoisier⁶ Standard and Discretionary Ligatures Infinity, Strasse Innity, Straße Interrobang Carbon‽ Carbon‽ Circled gures ➀, ➁, ➂ ➀, ➁, ➂ Roman numerals Ⅰ, Ⅱ, Ⅲ Ⅰ, Ⅱ, Ⅲ Leftright arrows A → B, B ← A A → B, B ← A Numero Sign No.´ №´ Ballot Box with Check Ballot Box with X [v] [x] ☑ ╳ Ttd Studio™ Pro Type Specimen OpenType Features: Automatic Fractions, Discretionary Ligatures: Ballot Box with Localized Forms: Catalan, Dutch, Case Sensitive Forms, Circled Figures, Check, Ballot Box with X, Circled Figures, Moldavian, Romanian, Turkish. Ligatures, Old Style Figures, Tabular Interrobang, LeftRight Arrows, Numero Stylistic Sets: ss01, ss02, ss03, ss04, ss05, Figures and Signs, Superscripts and Sign, Roman Numerals. Contextual ss06, ss06, ss07, ss08, ss09, ss10. Subscripts. Alternates: Multiply. Contextual alternates: multiply 9x12, 8 x 16, x 9×12, 8 × 16, ¦ 2x4, 1741 x 38 ×, × Localized Forms: Catalan, Dutch, Moldavian, Romanian, Turkish Paral·lel, CRUIJFF, Paraŀlel, CRUIJFF, Timişoara, Spaţiu, Timișoara, Spațiu, DIYARBAKIR DİYARBAKIR Stylistic Sets: ss01 Alvar Aalto Alvr Alto ss02 BACKGROUND BACK£ROUND ss03 Knapsack ¨napsacª ss04 RUBBER ¯UBBE¯ ss05 Quadricromia ®uadricromia ss06 12×21+⁄ ´¸×¸´+Å⁄È ss07 PE—1/1 PEÏ11 ss08 @rietveld ³rietveld ss09 Studio® StudioÍ ss10 “Tipograca” ZTúpograAcaa Ttd Studio™ Pro Type Specimen Two Type Dept. Studio™ Pro Regular Type Specimen Regular Italic Regular • 100 pts + SAlt ↔ − 15 pt ¯egular ¯egular ¯egular ¯egular ¯egular ¯egular ¯egular Ttd Studio™ Pro Type Specimen¯egular Two Type Dept. Studio™ Pro Regular Type Specimen Regular Italic 780 pts • Lowercase a ring Ttd Studio™ Pro Type Specimen Emil Ruder (1914–1970), typographe suisse fut publié en allemand, anglais et français, et l'emploi d'une grille pour structure, pro- et graphiste, qui avec Armin Hofmann parti- par l'éditeur suisse Arthur Niggli en 1967. duisant une mise en page asymétrique. cipa à la fondation de la Schule für Gestal- Le livre popularisa et propagea le style Ruder commença à l'enseigner en premier tung Basel (en français : école de design de suisse, et devient un texte de base pour en 1942 à la Allgemeine Gewerbeschule de Bâle) et du style graphique connu comme les programmes de graphisme et de typo- la ville suisse de Bâle. En 1948 Ruder ren- le style suisse. Ruder était un contributeur graphie en Europe et en Amérique du Nord. contra l'artiste-peintre Armin Hofmann. et un éditeur du Typografische Monatsblät- En 1962 il participa à la fondation du Ruder et Hoffman commencèrent une ter. Il est le créateur des couvertures pour International Center for the Typographic longue période de collaboration. Leur en- tous les numéros édités en 1961, puis occa- Arts (ICTA) (en français : centre internatio- seignement atteignit une réputation inter- sionnellement jusqu'en 1967. Ruder publia nal pour les arts typographique) à New nationale au milieu des années 1950. une grammaire basique de la typographie York. Le style suisse fut défini par l'utilisa- intitulée Emil Ruder : Typography. Le texte tion de polices d'écriture sans-serif, Regular, Regular Italic • 72 pts ↕ 68 pts ↔ −15 pts + SAlt Programm Wesentliches Methode Cptl Monatsblìtter Imprimerie ¯dúcl Graphische Schweizer Ttd Studio™ Pro Type Specimen Ttd Studio™ Pro Expansion Regular Edited by Type Specimen Program Regular Italic Two Type Dept. Medium © 2020 Medium
Load more

Recommended publications
  • Type Design for Typewriters: Olivetti by María Ramos Silva
    Type design for typewriters: Olivetti by María Ramos Silva Dissertation submitted in partial fulfilment of the requirements for the MA in Typeface Design Department of Typography & Graphic Communication University of Reading, United Kingdom September 2015 The word utopia is the most convenient way to sell off what one has not the will, ability, or courage to do. A dream seems like a dream until one begin to work on it. Only then it becomes a goal, which is something infinitely bigger.1 -- Adriano Olivetti. 1 Original text: ‘Il termine utopia è la maniera più comoda per liquidare quello che non si ha voglia, capacità, o coraggio di fare. Un sogno sembra un sogno fino a quando non si comincia da qualche parte, solo allora diventa un proposito, cio è qualcosa di infinitamente più grande.’ Source: fondazioneadrianolivetti.it. -- Abstract The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to bring some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers. The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, ‘Typewriters and text composition’, creates a link between the historical background and the machine.
    [Show full text]
  • 201876 L99 CROUWEL BW DEF.Indd
    _wim crouwel modernist _wim crouwel modernist Frederike Huygen _Lecturis Publishers CROUWEL_omslag_TEST_23092015.indd 2 15-11-15 13:37 . CROUWEL_omslag_TEST_23092015.indd 2 15-11-15 13:37 _contents 8_preface 154_04 _constructivist: liga, 14 _01 switzerland and ulm _wim crouwel: 170_company printing modish, modern, modernist 176 _05 33_biography in pictures _total design 1963-1972 196_calendars 58_02 _the third dimension 204 _06 112 _signs and elements _the stedelijk museum 118 _03 308_07 _1956-1964: _technology, systems and the van abbe museum patterns and nks 350 148 _circles and spirals _08 _TD 1973-1985: crouwel criticized 378_postage stamps 382_09 _crouwel in the media: a dogmatist full of contradictions 392_10 _museum director, design commissioner and museum designer 410_11 _comeback and revival 433_texts by crouwel 438_cv crouwel 441_bibliography and sources 456_index a graphic designer, but at the same time he is an _preface interdisciplinary designer, a member of a team, and active in and for the whole of our culture. _This book is – naturally enough – based on the earlier book in Dutch, Wim Crouwel, mode en module (1997), of which Hugues Boekraad and I were the authors. It is, however, a different book. Not only has Crouwel done a lot more work since 1997, but new insights about and further research into the profession have led to new texts and chapters. Thus the book now contains the first account of the genesis and development This book is a monographic study of a designer: of the famous New Alphabet and there is exten- Wim Crouwel. The primary object is to give a sive examination of Crouwel’s sources, examples broad picture of his work and activities.
    [Show full text]
  • 1) Massimo Vignelli 2) Wim Crouwel 3) Saul Bass 4) Neville Brody 5
    PosterPoster Analysis Analysis 1) Massimo Vignelli 2) Wim Crouwel 3) Saul Bass 4) Neville Brody 5) Paula Scher 6) Stefan Sagmeister 7) David Carson 8) Stephen Bliss MassimoMassimo Vignelli Vignelli Massimo Vignelli was an Italian designer who worked in a number of areas ranging from package design through houseware design and furniture design to public signage and showroom design. His first major foray into the field of identity and branding was through Unimark Interna- tional, which quickly became one of the largest design studios in the world. In August 1972, Vignelli’s design for the New York City Subway map appeared on the walls of subway stations and became a landmark in Modernist information design. Vignelli re- The origins of the map lie in the problems of the previous decade. In the mid- 1960s New York City Transit Authority was facing unprecedented difficulties in de- livering information to its riders: Inconsistent and out-of-date signage still referred to the old operating companies long after they had been subsumed under a single public authority. An influx of 52 million visitors for the 1964 New York World’s Fair (April 1964 to October 1965) highlighted shortcomings in wayfinding information for public transportation in New York City. Structural changes to the subway network (costing $100 million) to reduce bot- tlenecks, in particular the Chrystie Street Connection (approved 1963, expected WimWim Crouwel Crouwel Willem Hendrik “Wim” Crouwel is a Dutch graphic designer, type designer, and typographer. Between 1947 and 1949, he studied Fine Arts at Academie Minerva in Groningen, the Netherlands. In addition, he studied typography at what is now the Gerrit Rietveld Academie in Amsterdam.
    [Show full text]
  • Biblica Designing a New Typeface for the Bible
    Biblica Designing a New Typeface for the Bible Kurt Weidemann A new typeface, Biblica, was designed especially for a new German edition of the Bible. The type designs and production of earlier German Bibles were examined. A variety of legibility factors were taken into consideration to meet a required economy of space and the new production demands of a digital character generation system.. Today, half a millenium after Gutenberg, we have an over-abundance of type­ faces. Some, upon their disappearance, would not be missed at all. Each new alphabet faces an existence among thousands of competing forms, where an A is an A and a Z is a Z. There is no need to design new alphabets for aesthetic or stylistic considera­ tions. New letterforms can hardly be improvements over existing types. At best they may be similar. We should pay our respects to the Jansons, Sabons, Basker­ villes, Didots, Bodonis, and Caslons by refraining from laying hands on them to dress them up or to emulate them. Valid reasons for the design of new alphabets, however, may be found in the changing technologies of typesetting, printing pro­ duction, and in specific adaptation requirements, such as alterations necessary to fit classical originals into modern character generation systems. Such a specific design requirement was the assignment received from the Ger­ man Bible Society for a new edition of the Holy Bible. The occasion was the publi­ cation in 1982 of the first Bible translation mutually sponsored by the German Catholic and Protestant Church authorities. The commission for the design of a new alphabet is a service to the reader community moreso than to the client.
    [Show full text]
  • The Alphabet Van Doesburg
    The Alphabet Van Doesburg Christian wecker No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means including electronic, mechanical, photocopying, microfilming, recording or otherwise (except for that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except for reviewers for the public press) without written permission from the author and publisher. All right reserved Published 2008 Printed in the United States of America The paper used in this publication meets the minimum requirements of the American National Standard for Permanence of Paper for Printed Library Materials z39.48-1984. Copyright 2008 Christian Wecker Library of Congress Catalog Number: 0000000000 ISBN 0-000000-00-0 Table of Contents Introduction 2 De Stijl 4 Collaboration and alteration 9 After De Stijl 14 Bibliography 19 THE ALPHABET VAN DOESBURG 1 The War to End All Wars drew to a close in the fall of 1918. Europe had experienced more death, carnage, and destruction than previously thought possible. Out of the ashes of the ravaged continent new schools of thought emerged within the realms of religion, politics, and the arts. Europe saw its citizens questioning all that they had known to be true as a result of their lives being shaken in such a violent and disturbing manner. The growth of nationalism, the abandonment of religious and social beliefs once held sacred, and the desire to reassess the purpose and boundaries of fine art took shape. Pockets of new artistic movements arose as groups of artists separated by geographic borders organized and postulated new manifestos on art theory.
    [Show full text]
  • WIM CROUWEL & Typo- Graphy
    WIM CROUWEL & Typo- graphy The film HELVETICA introduced me to profile experiments with letter shapes. me some of her projects that play with Wim Crouwel and It was a rare chance Examples are the catalogues and message and typography. In the dream to see different generations of typog- posters for the Léger (1957), Hiroshima project she organized her typogra- raphers, designers and how they react (1957), Bazaine (1958), Lurçat (1959), phy according to the emotions of her when they hear the word “helvetica” Fernhout (1963),Michaux (1964), Vorm- dreams. The result is very chaotic but was quite funny in an inspiring way. gevers (1968), Oldenburg (1970) and sensible at the same time, as she used WIM CROUWEL is the big legendary Lucht kunst (1971) exhibitions. an elegant serif typeface. dutch graphic designer and typographer known for his systematic and creative In response to the technical limitations The most interesting thing to discover approach to the shape of letters. Van of the first computer-controlled typeset- in this research was, how powerful Abbe museum organised a special exhi- ters from 1963, Crouwel designed his typography actually is, when we want bition in their library occasionally for his ‘New Alphabet’, a font with only horizon- to communicate certain messages. And 80th birthday. tal and vertical lines. Crouwel did not how typefaces, just by themselves can design his alphabet for book typography already have a meaning, without even Crouwel studied at the Minerva Acad- specifically, but believed that people looking at the actual message. emy in Groningen then went to Amster- could get used to “new shapes of new dam, where he became a student under alphabets and new forms of typography.
    [Show full text]
  • The Evolution of Symbols Have Influ- Enced the Letterforms We Use Today
    The evolution of symbols have influ- enced the letterforms we use today. They played a prominent role in communication from recording infor- mation, representing ideas, and expressing ourselves. Pictograms Pictures of an object in the physical world. Some scholars say cave paintings could be considered one of the earliest forms of graphic communication; for instance, these could be hunt- ing instructions. Ideograms Simplified or stylized pictograms. Symbols made of geometric shapes to represent an idea. Phonograms Symbols or signs representing primary sounds. The Phoeni- cians developed a set of 22 symbols. Greek Alphabet The Phoenician alphabet was adapted by the Greeks, it was the first to have distinct letters for vowels as well as consonants Roman Alphabet Romans adopted the Greek alphabet and fashioned several more distinctive letters. Belief in important religious texts promoted the production of books. Nearly all books, Illuminated Manu- scripts, were written in monasteries, by scribes who were production letterers. Illuminated Manuscripts Books were objects of value and contained elaborate orna- mentation. Illustrated initials were painstakingly designed. Monks could devote a lifetime to a single manuscript. Parchment was being replaced by the invention and availability of paper. Wooden blocks of type stamps were being replaced with letterforms cast in steel. The increased demand for books, in- cluding the growth of universities, moved book craft from the monastery to production facilities. Invention of Printing Movable type was perfected by Johannes Gutenberg in Germany in the 15th century. For the first time, a technical system of mass production was applied to publishing. Each metal alphabet character could be hand-cast in great quanti- ties.
    [Show full text]
  • John Benjamins Publishing Company
    John Benjamins Publishing Company This is a contribution from Information Design Journal 20:1 © 2013. John Benjamins Publishing Company This electronic file may not be altered in any way. The author(s) of this article is/are permitted to use this PDF file to generate printed copies to be used by way of offprints, for their personal use only. Permission is granted by the publishers to post this file on a closed server which is accessible to members (students and staff) only of the author’s/s’ institute, it is not permitted to post this PDF on the open internet. For any other use of this material prior written permission should be obtained from the publishers or through the Copyright Clearance Center (for USA: www.copyright.com). Please contact [email protected] or consult our website: www.benjamins.com Tables of Contents, abstracts and guidelines are available at www.benjamins.com Information Design Journal 20(1), 16–31 © 2013 John Benjamins Publishing Company doi: 10.1075/idj.20.1.02bei Sofie Beier and Kevin Larson How does typeface familiarity affect reading performance and reader preference? Keywords: familiarity, legibility, readability, typeface approach is represented by type scholar Stanley Morison design, fonts, experimental study, typographic research (1889–1967), who believes that a functional typeface should “be so good that only very few recognize its Some typographers have proposed that typeface novelty” (Morison, 1930, p. 63); elsewhere Morison familiarity is defined by the amount of time that a explains that for a typeface to be satisfactory, the essen- reader has been exposed to a typeface design, while tial form must “correspond with that handed down” other typographers have proposed that familiarity is (Morison, 1924, p.
    [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]
  • Problems of Diacritic Design for Central European Languages
    PALO BÁLIK SK FILIP BLAŽEK CZ ROBERT KRAVJANSZKI HU AGNIESZKA MAŁECKA PL ZOFIA OSLISLO PL THE INSECTS PROJECT Problems of Diacritic Design for Central European Languages PALO BÁLIK SK FILIP BLAŽEK CZ ROBERT KRAVJANSZKI HU AGNIESZKA MAŁECKA PL ZOFIA OSLISLO PL THE INSECTS PROJECT Problems of Diacritic Design for Central European Languages Concept and editorial development AGNIESZKA MAŁECKA PL ZOFIA OSLISLO PL 2nd edition Katowice 2016 6—7 Introduction 8—9 About authors 12—35 FILIP BLAŽEK CZ Czech diacritics: from Hus to Unicode 36—61 ROBERT KRAVJANSZKI HU The case of Hungary 62—91 AGNIESZKA MAŁECKA, ZOFIA OSLISLO PL Polish diacritics: the history and principles of design 92—115 PALO BÁLIK SK Designing Slovak diacritics TABLE OF CONTENTS CZ › HU › PL › SK › 5 THE INSECTS PROJECT: Problems of Diacritic Design for Central European Languages, i.e. the book you are holding in your hands, is a proud product of a collaborative interna‑ tional research effort aimed at sharing knowledge about Central European typogra‑ phy and promoting design that is sensitive to the needs of all those who are unlucky enough to be native users of Czech, Hungarian, Polish and Slovak. On one hot July day in Bratislava, Robert Kravjanszki cracked an inside joke at the opening meeting of the project team, saying that diacritics made texts printed in our languages look like they were swarmed by insects. In addition to having us helpless with laughter, this quirkily funny and perfectly fitting metaphor became an instant inspiration for the project’s name. Perhaps few users of “diacriticless” languages (such as e.g.
    [Show full text]
  • Diacritical Marks
    PALO BÁLIK SK FILIP BLAŽEK CZ ROBERT KRAVJANSZKI HU AGNIESZKA MAŁECKA PL ZOFIA OSLISLO PL THE INSECTS PROJECT Problems of Diacriticinsekty Design for Central European Languages PALO BÁLIK SK FILIP BLAŽEK CZ ROBERT KRAVJANSZKI HU AGNIESZKA MAŁECKA PL ZOFIA OSLISLO PL THE INSECTS PROJECT Problems of Diacritic Design for Central European Languages Concept and editorial development AGNIESZKA MAŁECKA PL ZOFIA OSLISLO PL Katowice 2016 6—7 Introduction 8—9 About authors 12—35 FILIP BLAŽEK CZ Czech diacritics: from Hus to Unicode 36—61 ROBERT KRAVJANSZKI HU The case of Hungary 62—91 AGNIESZKA MAŁECKA, ZOFIA OSLISLO PL Polish diacritics: the history and principles of design 92—115 PALO BÁLIK SK Designing Slovak diacritics TABLE OF CONTENTS CZ › HU › PL › SK › 5 THE INSECTS PROJECT: Problems of Diacritic Design for Central European Languages, i.e. the book you are holding in your hands, is a proud product of a collaborative interna‑ tional research effort aimed at sharing knowledge about Central European typogra‑ phy and promoting design that is sensitive to the needs of all those who are unlucky enough to be native users of Czech, Hungarian, Polish and Slovak. On one hot July day in Bratislava, Robert Kravjanszki cracked an inside joke at the opening meeting of the project team, saying that diacritics made texts printed in our languages look like they were swarmed by insects. In addition to having us helpless with laughter, this quirkily funny and perfectly fitting metaphor became an instant inspiration for the project’s name. Perhaps few users of “diacriticless” languages (such as e.g.
    [Show full text]
  • Phototypesetting New Alphabet Typeface Wim Crouwel
    Maelyn Draper (101686715) 1960 to 1970 20TH CENTURY TYPOGRAPHY Phototypesetting In the 1960s, phototypesetting technology The Digiset was able to image 1000 characters took a huge leap forward when the first digital per second, which was an vast improvement phototypesetting machines were invented. on the manual phototypesetters of the time. These machines were the first to use digitally assembled typefaces. The new digital phototypesetting machines enabled typesetters to edit and save their The typefaces are created on a CRT (cathode work, and enabled the digitisation of fonts. ray tube) and the image was projected onto Wim Crouwel film or photosensitive paper using tiny lights. One of the setbacks of the new digital These lights could illuminate any part of a phototypesetting machines was their limited grid, and this would later become known as ability to represent curved lines. Early efforts “If I don’t know what to do, I use blue.” the bitmap format. to digitise fonts resulted in blurry characters. The first of these digital phototypesetting The first typeface which was designed purely - Wim Crouwel, 2007 machines was the Digiset, invented by the for digital use was Digi Grotesk, which was German Dr Ing Rudolf Hell in 1966. designed by the Hell Design Studio in 1968. Willem (Wim) Crouwel, born in 1928 in The Wim Crouwel has also contributed to the Netherlands, began his career as an abstract education of future designers, teaching at painter. In the early 1950s, he moved to various design academies and universities Amsterdam to study typography at the Gerrit in the Netherlands over the years.
    [Show full text]