DOCSLIB.ORG

ON the CHOICE of TYPEFACE Beatrice Warde

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ON the CHOICE of TYPEFACE Beatrice Warde is enormous compared to the extent to which a disc of metal, in a telephone receiver, vibrates to electric shocks produced by one voice and another; ON THE CHOICE OF TYPEFACE yet we find it easy to deduce from one such set of Beatrice Warde vibrations that an old friend is asking us to “guess who this is!” The legibility of a typeface has an exact parallel in Physical Considerations the audibility of a human voice. A lecturer must The beginner in book typography is prone to im- make every word audible and distinct; yet with- port aesthetic sentimentality into what is first of all in the limits of audibility lie the whole range of a matter of convenience. Baskerville and Fournier speaking tones from a metallic monotonous drawl were both designed during the eighteenth centu- to the infinitely flexible and persuasive tones of the ry, and some people think that they represent in good speaker. miniature, and in terms of their respective nation- Type, the voice of the printed page, can be leg- al cultures, the clarity and good manners of that ible and dull, or legible and fascinating, according age. But should you label an old or modern author to its design and treatment. In other words, what “dix-huitieme” and start matching his words to the book-lover calls readability is not a synonym what you consider a type of the era, it would be for what the optician calls legibility. better first to remember that Baskerville, being In choosing a type design for book printing relatively generous in set-width, will “drive out” the problem of ocular legibility has in most cases the book; whilst Fournier, a neatly condensed face, been solved in advance; that is, it is very unlikely will be more frugal of space. Thus Pride and Prej- that a typefounder or composing-machine manu- udice by Jane Austen, produced by Peter Davies facturer would produce and offer to good printers Ltd., had a large amount of text to begin with, a face of which any two characters had confusing and not too many pages were to separate one il- similarity, or in which any one letter ignored the lustration from the next: Fournier, in a beautifully “code” which governs its design in roman or ital- legible small size, solved the problem. Baskerville, ic. The size must be chosen in view of whether conversely, printed on bulky paper, has saved the work is one of reference, that is, to be read in many a fine book from seeming to offer less than short sections by people who are concentrating, the money’s worth. The typographer, whether he or a novel to be read uninterruptedly by people be connected with the printing or publishing of- who are enjoying themselves, or an educational fice, should be able at a few minutes’ notice to cal- book for young and reluctant eyes. Here again the culate (“cast off”) how many pages the copy will makers are not likely to cut a small size so small come to in a given face, taking into account the as to be “illegible”; though any size may be called point size, set-width, number of lines, and leading “unreadable” when it is too small or even too large between the lines. for a given purpose—a reader’s, not an oculist’s The word “set,” which appears in our type purpose. specimen books, means that an actual type of the The moment the question shifts to readability, widest letter in the font (such as cap. M) will be as however, these elementary precautions give way many points wide as the num ber given, and that to endless and delightfully varied experiments no the narrower letters will be proportionate to that less effective in each minute difference than is a width, if the type is cast on that indicated “set.” change of timbre in a speaking voice. Set a page Thus a font like Baskerville, of which the 12-pt. is in Fournier against another in Caslon and another “12 set,” is going to occupy more space, word for in Plantin, and it is as if you heard three differ- word, than Bodoni 135, 12-pt., which is 11 3/4 set; ent people delivering the same discourse—each Centaur and Garamond 12-pt., which are 11 1/4 with impeccable pronunciation and clarity, yet set, will take less space; and Fournier, which in 12 each through the medium of a different personal- pt. is 10 1/4 set, will vary from the width of Bask- ity. Perhaps the layman would not be able to tell erville by the proportion of 10 1/4 set to 12 set. one old-style setting from two others of the same Some typefaces are more successful in the siz- group; yet he could not read the three pages in es above 11-pt. than in those below it. The fine cut turn without at least a subconscious discrimina- of Bodoni demands injustice exquisite printing for tion. The smallest variation in serif-construction 6- and 8-pt.; Caslon and Garamond seem to many 1 to improve as the sizes increase. Aldine Bembo 12-pt. composition matrices—chosen, be it not- 270, used on these pages, is one of the new Old ed, not for aesthetic reasons, as all can be “good” Faces that preserves all its freshness and charm in designs, but for as practical reasons as hold good the smallest sizes. Fournier and Monotype Plan- in the paper-stores. Quite apart from the survival tin, for different reasons, are highly successful of the “One face” tradition, there is the fact that a in the smallest settings as well as in and over the composition series costs money. It is therefore nec- normal sizes. Centaur is a fine type in any size, but essary for laymen, buyers of printing, to discipline certain subtleties of cutting cannot be appreciated their enthusiasm for new faces. below 24-pt., and these details go to make it as If a Monotype user has four body composition successful an upper and lower case for poster work faces, and each is well-designed and adapted to a as has ever been designed. particular printing process, and if the four designs If the quality of paper is known in advance—as are sufficiently different to convey four different it must be in most cases, and especially where il- “tones of voice” it would be inordinate to expect lustrations are used—this will influence the choice that man to increase his type repertory without of a typeface. Old Face was not designed for cal- very good reason. A customer can confer a great endered paper, which did not exist until Basker- benefit upon a hitherto undistinguished printing ville’s experiments; the difficulty arises in the fact office by clamoring for one fine composition face that a smooth-finished surface of paper takes the where there was none before; but on the other inked copy with such ease that little or no impres- hand to wave aside Bembo and insist on Centaur sion into the fabric of the paper is necessary, and, or vice versa, is an ungrateful act. Besides, if there therefore, the only ink which comes off the type is is a really defensible necessity for Bembo in that that on the actual printing surface. In general, cal- particular job, why not reward the master print- endered or shiny surface (“art”) paper needs such er who, independently and of his own judgment, a face as Monotype Plantin, which is not notice- invested in that type without being prompted? In ably thinned down by such treatment. short, the man who wants a choice of good type- In the old days a printer had no reason such as faces must go where they are or else accept what these for stocking different typefaces. He worked he is offered—unless he is willing, in token of his on one kind of paper: handmade pure rag, with sincerity, to go shares with his printer and help the corrugated surface left by the wires of the purchase that font. paper-mould—a surface now known as antique Let us leave this matter with the admonition laid. He had only one process by which pictures that most old faces look anemic on coated paper, and type could be printed simultaneously. Now- that a few types like Plantin Light 113, Ehrhardt, adays he also has to be the master of a process as Bembo, Imprint, and Bell, are adaptable to vary- different from the old type-printing as the “kiss” ing processes, and that no printer ought to put in a impression of thousands of shallow dots of metal composition face except that a number of custom- on smooth paper is different from the pressure of ers over a number of years may be advantageously a deep-cut type and wood-blocks into damped served by it. paper. The modern printer is versatile, as his an- One other mechanical point in the choice of cestors never dreamed of being; he prints from a typefaces has to do with combinations of different rotary as well as a flat surface, and often from rub- alphabets. Nowadays italic is thought of as a part ber or copper cylinders. He has long recognized of the whole font loosely called “roman,” but the the necessity of using a special kind of paper for appearance in a page, or even a long sentence, each process. Nowadays, if only to prevent set-off, in italic would show why this form of letter, at he has learned to stock special inks for special pa- least until the middle of the sixteenth century, pers.
Load more

Recommended publications
  • Brand Style Guide.Indd
    California Baptist University Brand Style Guide CALIFORNIA BAPTIST UNIVERSITY BRAND STYLE GUIDE The CBU Brand A brand is the personality a consumer creates for the organizations or products he or she interacts with. Consumers attribute characteristics to organizations to help themselves understand and then engage or avoid them. Brands can be hopeful, helpful, funny, tired, aloof or cold. Consumers create and revise brand personalities every time they come into contact with the organization. These interactions leave impressions on the consumer’s memory. Visualize the impression a branding iron leaves on the backside of a cow and you begin to appreciate the value of each of your interactions with students, parents, alumni, donors and friends. Consistency is essential to building and maintaining a strong brand for two reasons. First, consumers compare each new interaction to memories of previous interactions. When each successive interaction reinforces previous interactions, brand strength is increased. When interactions conflict with each other, the consumer is left thinking the brand is confused and weak. Second, competition for the consumer’s mind is fierce with organizations competing for milliseconds of their attention through a steady barrage of commercial messages. Consistency in CBU’s message and presentation improves the viewer’s (or listener’s) comprehension and increases the likelihood he or she will understand our message in the brief moment we have to communicate it to them. This guide has been developed to help every member of the CBU workforce (1) understand that he or she IS the CBU brand, and (2) properly and consistently represent the brand in all visual and verbal communications.
    [Show full text]
  • 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]
  • Cloud Fonts in Microsoft Office
    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
    [Show full text]
  • Typography One Typeface Classification Why Classify?
    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
    [Show full text]
  • Pietro Bembo and Standards for Oral and Written Discourse: the Forensic, Dialectical, and Vernacular Influences on Renaissance Thought
    DOCUMENT RESUME ED 254 894 CS 504 879 AUTHOR Wiethoff, William E. TITLE Pietro Bembo and Standards for Oral and Written Discourse: The Forensic, Dialectical, and Vernacular Influences on Renaissance Thought. PUB DATE Apr 85 NOTE 29p.; Paper presented at the Annual Meeting of the Central States Speech Association (Indianapolis, IN, April 4-6, 1985). PUB TYPE Speeches/Conference Papers (150) Information Analyses (070) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Communication Skills; *Discourse Analysis; *Renaissance Literature; *Rhetoric; *Rhetorical Criticism; Speech Communication; *Standards; Theories; Writing (Composition) IDENTIFIERS *Bembo (Pietro); *Speaking Writing Relationship ABSTRACT Traditional assumptions about oral and written discourse persist among various philosophers ,and critics., Careful examination of the context for traditional assumptions, however, suggests that current scholarship should pursue altered lines of inquiry. Peculiar influences on Renaissance standards of purpose, style, and theme illustrate the nature of the problem, especially the works of Pietro Bembo, a Renaissance humanist chancellor and religious administrator. First, his forensic priorities in the principles and practice of rhetoric focused critical attention on a limited setting and purpose of discourse. Second, although written communications were customarily designed for oral proclamation, Renaissance developments in dialectic stressed the written word and promoted practical training in communicative skills outside rhetorical
    [Show full text]
  • Copyrighted Material
    INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets,
    [Show full text]
  • Typesetting Articles for Res Philosophica∗†
    Typesetting Articles for Res Philosophica∗y Boris Veytsmanz 2019/04/14, v1.35 Abstract This package provides a class for typesetting articles for the journal Res Philosophica, http://www.resphilosophica.org. Contents 1 Introduction2 2 User Interface2 2.1 Commercial Fonts...........................2 2.2 Invocation and Options........................2 2.3 Topmatter................................3 2.3.1 Commands for Authors....................3 2.3.2 Commands for Editors.....................5 3 Special Notes6 3.1 Bibliography..............................7 4 Implementation9 4.1 Options.................................9 4.2 Loading Classes and Packages..................... 11 4.3 Page Dimensions and Paragraphing.................. 12 4.4 Headers................................. 12 4.5 Top Matter Macros........................... 14 4.6 Typesetting Top Matter........................ 18 4.7 Notes.................................. 21 4.8 Typesetting End Matter........................ 21 4.9 Sectioning................................ 23 4.10 Additional Commands......................... 24 4.11 The End................................. 25 ∗ c 2012, Boris Veytsman yThis work was commissioned by the Saint Lois University [email protected], [email protected] 1 1 Introduction According to the statement at http://www.resphilosophica.org/, Res Philo- sophica is an international, quarterly journal of philosophy that publishes research in all areas of philosophy, historical and topical. Founded as The Modern School- man by Jesuit Scholastics in 1925, the journal is edited by members of the Phi- losophy Department at Saint Louis University and supported generously by the College of Arts and Sciences. This package is intended for the authors and editors of the journal to typeset the articles in LATEX. Note that the journal is typeset in Linotype Sabon,. The users may buy the fonts and install their free LATEX support [1], or use the options bodyfont=cm and rpfont=cm to typeset the articles using Computer Modern.
    [Show full text]
  • CSS Font Stacks by Classification
    CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed.
    [Show full text]
  • Opentype Outline Flavour
    OpenType outline flavour: CFF - PostScript-Outlines Contained fonts: Akhbar™ Light Akhbar™ Regular Akhbar™ Bold Albany® Std Regular Albany® Std Italic Albany® Std Bold Albany® Std Bold Italic Albertina™ Std Regular Albertina™ Pro Regular Albertina™ Pro Italic Albertina™ Std Italic Albertina™ Std Medium Albertina™ Pro Medium Albertina™ Pro Medium Italic Albertina™ Std Medium Italic Albertina™ Std Bold Albertina™ Pro Bold Albertina™ Pro Bold Italic Albertina™ Std Bold Italic Albertus® Pro Light Albertus® Pro Roman Albertus® Pro Italic Albertus® Std Light Albertus® Std Roman Albertus® Std Italic Alisal™ Std Regular Alisal™ Pro Regular Alisal™ Pro Italic Alisal™ Std Italic Alisal™ Std Bold Alisal™ Pro Bold Almanac™ Regular Amadeo™ Std Regular Amadeo™ Std Regular SC Amadeo™ Std Bold Amadeo™ Std Bold SC Amanda™ Std Regular Amanda™ Pro Regular Amanda™ Pro Bold Amanda™ Std Bold Amasis™ eText Regular Amasis™ eText Italic Amasis™ eText Bold Amasis™ eText Bold Italic Andale® Mono WGL Regular Andale® Mono WGL Regular Andale® Mono WGL Italic Andale® Mono WGL Italic Andale® Mono WGL Bold Andale® Mono WGL Bold Andale® Mono Std Regular Andale® Mono Pro Regular Andale® Mono Pro Bold Andale® Mono Std Bold Andale® Mono WGL Bold Italic Andale® Mono WGL Bold Italic Andy™ Std Regular Andy™ Pro Regular Andy™ Pro Italic Andy™ Std Italic Andy™ Std Bold Andy™ Pro Bold Andy™ Pro Bold Italic Andy™ Std Bold Italic Antique Roman™ Std Solid Apollo™ Std Roman Apollo™ Pro Roman Apollo™ Pro Italic Apollo™ Std Italic Apollo™ Std Semibold Apollo™ Pro Semibold Aqua Life™ Pi
    [Show full text]
  • Modern Recreations of Typeface at Genesee Country Village & Museum and the Cary Graphics Art Collection
    Rochester Institute of Technology RIT Scholar Works Theses 5-2021 A Type of Preservation: Modern Recreations of Typeface at Genesee Country Village & Museum and the Cary Graphics Art Collection Koda Drake [email protected] Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Drake, Koda, "A Type of Preservation: Modern Recreations of Typeface at Genesee Country Village & Museum and the Cary Graphics Art Collection" (2021). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. THE ROCHESTER INSTITUTE OF TECHNOLOGY COLLEGE OF LIBERAL ARTS A Type of Preservation: Modern Recreations of Typeface at Genesee Country Village & Museum and the Cary Graphics Art Collection A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE BACHELOR OF SCIENCE DEGREE IN MUSEUM STUDIES MUSEUM STUDIES PROGRAM BY Koda Drake May 2021 The members of the Committee approve the thesis of Koda Drake submitted on May 7, 2021. ______________________ Juilee Decker, Ph.D. Primary Advisor ______________________ Peter Wisbey Secondary Advisor _____________________ Juilee Decker, Ph.D. MUSE Program Director Acknowledgements I appreciate and thank all of those who have supported me as I have worked on my thesis. I doubt that I would have been able to complete this work without their support. I would like to give special thanks to my thesis advisors, Peter Wisbey and Juilee Decker. Without their expertise, this paper would have been abandoned while it was simply an idea.
    [Show full text]
  • Titling Fonts
    Titling Fonts by Ilene Strizver HISTORICALLY, A “titling font” WAS A FONT OF METAL TYPE designed specifically for use at larger point sizes and display settings, including headlines and titles. Titling fonts, a specialized subset of display typefaces, differ from their text counterparts in that their scale, proportion and design details have been modified to look their best at larger sizes. They often have a more pronounced weight contrast (resulting in thinner thins), tighter spacing, and more condensed proportions than their text- sized cousins. Titling fonts may also have distinctive refinements that enhance their elegance and impact. Titling fonts are most often all-cap, single-weight variants created to complement text families, such as the These titling faces are stand-alone designs, rather than part of a larger family. a lowercase; Perpetua Titling has three ITC Golden Cockerel Titling (upper) is more streamlined than its non-titling cousin (lower). weights; and Forum Titling, based on a It also has different finishing details, as shown Frederick Goudy design, has small caps on the serif ending stroke of the C. in three weights that were added later. The overall design of most (but not all) titling fonts designed as part of the titling fonts is traditional or even historic Dante, Plantin, Bembo, Adobe in nature. In the days of metal type, Garamond Pro, and ITC Golden Cockerel titling capital letters took up the full typeface families. point size body height. For example, 48 point Perpetua titling caps were They can also be standalone designs, basically 48 points tall, whereas regular 48 point Perpetua was sized such that Dante Titling (upper) has greater weight such as Felix Titling, Festival Titling, and the tallest ascender and longest contrast and is slightly more condensed than Victoria Titling Condensed.
    [Show full text]