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Serif Fonts Vol 2
Name Chaparral Pro Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Italic Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Italic Basic Latin ! " # $ % & ' ( ) * + , - . -
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. -
A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l . -
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. -
PDF (GJ-Thesis-Print.Pdf)
Collisional dynamics of macroscopic particles in a viscous fluid Thesis by Gustavo Joseph In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy California Institute of Technology Pasadena, California (Defended May ) ii © Gustavo Joseph All Rights Reserved iii Acknowledgements First of all, I would like to thank Prof. Melany L. Hunt, my academic adviser during my stay at Caltech. Throughout the years she has been a source of invaluable wisdom, support, and friendship. For all her encouragement and guidance, I owe her a debt of gratitude. I am also grateful to Dr. José Roberto Zenit Camacho, from whom I learned a simple way of looking at problems in order to extract non-trivial answers. From day one to D-day, he emphasized the importance of asking more questions than I wanted answered, and of letting the answers inspire new questions. As a surrogate adviser and critical inquisitor, Prof. Christopher E. Brennen always found the time and energy to encourage me to press on. He has been an endless font of knowledge and enthusiasm. Together with the aforementioned people, Prof. John F. Brady and Prof. Guruswami Ravichandran took time to review my Ph.D. dissertation and to serve on the committee. For their time and their insightful comments I remain ever thankful. Back in I was going from door to door in the Thomas Laboratory, trying to find a glass paperweight that could be used as a thick target wall for my experiments. Prof. Paul C. Jennings had on a bookshelf a block of Zerodur—a piece of mirror from the W. -
System Profile
Steve Sample’s Power Mac G5 6/16/08 9:13 AM Hardware: Hardware Overview: Model Name: Power Mac G5 Model Identifier: PowerMac11,2 Processor Name: PowerPC G5 (1.1) Processor Speed: 2.3 GHz Number Of CPUs: 2 L2 Cache (per CPU): 1 MB Memory: 12 GB Bus Speed: 1.15 GHz Boot ROM Version: 5.2.7f1 Serial Number: G86032WBUUZ Network: Built-in Ethernet 1: Type: Ethernet Hardware: Ethernet BSD Device Name: en0 IPv4 Addresses: 192.168.1.3 IPv4: Addresses: 192.168.1.3 Configuration Method: DHCP Interface Name: en0 NetworkSignature: IPv4.Router=192.168.1.1;IPv4.RouterHardwareAddress=00:0f:b5:5b:8d:a4 Router: 192.168.1.1 Subnet Masks: 255.255.255.0 IPv6: Configuration Method: Automatic DNS: Server Addresses: 192.168.1.1 DHCP Server Responses: Domain Name Servers: 192.168.1.1 Lease Duration (seconds): 0 DHCP Message Type: 0x05 Routers: 192.168.1.1 Server Identifier: 192.168.1.1 Subnet Mask: 255.255.255.0 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: Yes Auto Discovery Enabled: No Ethernet: MAC Address: 00:14:51:67:fa:04 Media Options: Full Duplex, flow-control Media Subtype: 100baseTX Built-in Ethernet 2: Type: Ethernet Hardware: Ethernet BSD Device Name: en1 IPv4 Addresses: 169.254.39.164 IPv4: Addresses: 169.254.39.164 Configuration Method: DHCP Interface Name: en1 Subnet Masks: 255.255.0.0 IPv6: Configuration Method: Automatic AppleTalk: Configuration Method: Node Default Zone: * Interface Name: en1 Network ID: 65460 Node ID: 139 Proxies: Proxy Configuration Method: Manual Exclude Simple Hostnames: 0 FTP Passive Mode: -
No. 3 Science and History Behind the Design of Lucida Charles Bigelow
204 TUGboat, Volume 39 (2018), No. 3 Science and history behind the design of Lucida Charles Bigelow & Kris Holmes 1 Introduction When desktop publishing was new and Lucida the first type family created expressly for medium and low-resolution digital rendering on computer screens and laser printers, we discussed the main design de- cisions we made in adapting typeface features to digital technology (Bigelow & Holmes, 1986). Since then, and especially since the turn of the 21st century, digital type technology has aided the study of reading and legibility by facilitating the Figure 1: Earliest known type specimen sheet (detail), development and display of typefaces for psycho- Erhard Ratdolt, 1486. Both paragraphs are set at logical and psychophysical investigations. When we approximately 9 pt, but the font in the upper one has a designed Lucida in the early 1980s, we consulted larger x-height and therefore looks bigger. (See text.) scientific studies of reading and vision, so in light of renewed interest in the field, it may be useful to say Despite such early optimism, 20th century type more about how they influenced our design thinking. designers and manufacturers continued to create The application of vision science to legibility type forms more by art and craft than by scientific analysis has long been an aspect of reading research. research. Definitions and measures of “legibility” Two of the earliest and most prominent reading often proved recalcitrant, and the printing and ty- researchers, Émile Javal in France and Edmund Burke pographic industries continued for the most part to Huey in the US, expressed optimism that scientific rely upon craft lore and traditional type aesthetics. -
Typography SBCC.Pdf
LET’S TALK ABOUT TYPOGRAPHY Typography can really enhance or kill a design PEOPLE STILL READ People may not participate in sustained reading the way they used to but people read. they text, tweet and post on Facebook. they search for things they need or want to know. People read what is important to them. Truth is there are different ways to read and they are all valid and important. As typographers, or designers working with type, we can support them all. Our first responsibility is to help readers find, understand and connect with the word, ideas and information. Our second responsibility is to honor the content! This is true for both print and web. TYPE ON THE WEB The web is really just weird paper. The way we design is the same. We give content form. When it comes to website typography, it’s hard to nail down what works best because typographical preference is both subjective and relative to the individual website. The deciding factor for any major web-based typographical decisions in the end, come down to the client and what they want to see happen. In working with the client, any talented web designer understands that good typography accomplishes the goal of readability. USING FONTS OTHER THAN WEB-SAFE FONTS FONT SQUIRREL has a converter that takes your font and converts it into the 3 types of file extension necessary for all major browsers and mobile devices. [ You upload the font and it will spit out the file you need. Then you upload those files to the host server.] FONT FACE gives you the command that you put in your css file that tells the browser what the font is and where it can find it. -
Hermann Zapf Collection 1918-2019
Hermann Zapf Collection 1918-2019 53 boxes 1 rolled object Flat files Digital files The Hermann Zapf collection is a compilation of materials donated between 1983 and 2008. Processed by Nicole Pease Project Archivist 2019 RIT Cary Graphic Arts Collection Rochester Institute of Technology Rochester, New York 14623-0887 Finding Aid for the Hermann Zapf Collection, 1918-2019 Summary Information Title: Hermann Zapf collection Creator: Hermann Zapf Collection Number: CSC 135 Date: 1918-2019 (inclusive); 1940-2007 (bulk) Extent: Approx. 43 linear feet Language: Materials in this collection are in English and German. Abstract: Hermann Zapf was a German type designer, typographer, calligrapher, author, and professor. He influenced type design and modern typography, winning many awards and honors for his work. Of note is Zapf’s work with August Rosenberger, a prominent punchcutter who cut many of Zapf’s designs. Repository: RIT Cary Graphic Arts Collection, Rochester Institute of Technology Administrative Information Conditions Governing Use: This collection is open to researchers. Conditions Governing Access: Access to audio reels cannot be provided on site at this time; access inquiries should be made with the curator. Access to original chalk calligraphy is RESTRICTED due to the impermanence of the medium, but digital images are available. Access to lead plates and punches is at the discretion of the archivist and curator as they are fragile. Some of the digital files are restricted due to copyright law; digital files not labeled as restricted are available for access with permission from the curator or archivist. Custodial History: The Hermann Zapf collection is an artificial collection compiled from various donations. -
: : S C H R I F T : T Y P O G R a F I E : G R a F I K : : : D a S 2 0 . J
::: S c h r i f t : T y p o g r a f i e : G r a f i k ::: D a s 2 0 . J a h r h u n d e r t ::: S c h r i f t : T y p o g r a f i e : G r a f i k i m 2 0 . J a h r h u n d e r t ::: und die IndustrielleAnfänge::: der WerbegrafikRevolution 1 8 9 0 – 1 9 1 0 : : : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: Frühe Plakatkunst :::um1900:: : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: :::1890–1914:: Art Nouveau/ J u g e n d s t i l : ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . J a h r h u n d e r t ::: Sachlichkeit Informative : : : 1 9 1 0 : : : ::: :::1890–1910:: : 1894 Century Lim Boyd Benton a h r h u n d e r t 1896 Cheltenham Bertram Goodhue 1898 Akzidenz Grotesk (Berthold) 2 0 . J 1900 Eckmann Otto Eckmann D a s 1901 Copperplate Frederic Goudy 1901 Auriol George Auriol G r a f i k 1907 Clearface Morris Fuller Benton : 1908 News Gothic Morris Fuller Benton g r a f i e o T y p : S c h r i f t ::: ::: S c h r i f t : T y p o g r a f i e : G r a f i k D a s 2 0 . -
Suspect in Wapiti Murder Held Without Bail
TUESDAY, AUGUST 14, 2018 108TH YEAR/ISSUE 65 SUSPECTCOUNTY COMMISSION IN WAPITI MURDER HELD WITHOUT BAIL BY CJ BAKER planned to “put an end” to a long-run- covering at West Park Hospital in Cody cedure allow judges to deny bail in first- ties a conviction could bring. Tribune Editor ning dispute with Donna Klingbeil over before being released and arrested on degree murder cases, when the death However, one of Klingbeil’s defense their assets on the night of Sunday, Aug. Thursday. Klingbeil has been charged penalty is a possibility and “the proof is attorneys, Anna Olson of Casper, dis- prosecutor argued in court on 5. Hours later, Dennis Klingbeil alleg- with first-degree murder, alleging he evident or the presumption great.” puted the prosecution’s description of Monday that authorities have edly called another family member and killed Donna Klingbeil “purposely and “The statement, ‘I shot my wife in the the case and of her client. Astrong evidence that Dennis reported that he’d shot Donna Klingbeil with premeditated malice.” head,’ that’s pretty good proof,” Skoric “The proof is not great. We have hear- Klingbeil murdered his wife, Donna in the head. Circuit Court Judge Bruce Waters argued, calling Klingbeil “an extreme say statements,” Olson argued. “This Klingbeil, at their Wapiti home. Donna Klingbeil, 75, later died of her sided with Skoric on Monday and or- danger to the community.” is a one-sided story of what happened. Park County Attorney Bryan Skoric injuries; meanwhile, Dennis Klingbeil, dered Dennis Klingbeil to be held in the He also argued that Klingbeil, who We don’t know what happened in that noted that one family member has told 76, reportedly overdosed on various Cody jail without bond pending further has “significant assets,” is a flight risk authorities that Dennis Klingbeil said he medications and spent several days re- proceedings. -
Coreldraw 9 Fonts Vs. Coreldraw 11 Fonts
CorelDraw 9 Fonts vs. CorelDraw 11 Fonts In this document, we compare the Western Europe Encoding PostScript Type 1 fonts of CorelDraw 9 (also offered by Corel as TrueType fonts) with the Western Europe Truetype fonts of CorelDraw 11. Source (as per Notice) CorelDraw 9 PS Fonts CorelDraw 11 TT Fonts 1. Unknown Source 20 4 2. Corel Corporation 70 6 3. Esselte Letraset Ltd. 33 0 4. URW Software 95 0 5. Bitstream Inc. 852 841 Total Number of Fonts 1070 851 CorelDraw 9 includes 219 additional fonts, especially those by Corel, Esselte Letraset and URW, which are missing in CorelDraw 11. Both versions of CorelDraw include nearly the same number of Bitstream fonts with minor differences. For instance, CorelDraw 9 contains 2 Weidemann font cuts, whereas CorelDraw 11 contains 4 Weidemann fonts. Font comparisons on the basis of font names are not possible, since Bitstream Inc., presumably after having been sued, changed many names. E.g. "Elegant Garamond", Bitstream's forgery of "Granjon", was later renamed to "ElegaGarmnd". However, Bitstream made a mistake. It did not change the TrueType unique identification record which still contains the old name "Elegant Garamond" and also another fancy name "Aldine 424" used elsewhere for Bitstream's forgery of the "Granjon" font designed by George W. Jones in 1924, at a time when Bitstream did not yet exist, so that the copyright year "1990" has also been forged. To the left: "Elegant Garamond BT" of 1998 Below: "ElegaGarmnd BT" of 2001 with the old TrueType ID of 1998: For Bitstream's "Type Odyssey 2" fonts see below page 34 seq.