DOCSLIB.ORG

Catalogo Tipos Neufville 3 (2013)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogo Tipos Neufville 3 (2013) Specimen of Typefaces 3 CATÁLOGO de3 TIPOS Arabescos nd NEUFVILLE DIGITAL Catálogo 3 de Neufville Digital Catalogue 3 of Neufville Digital 23JKIL Andralis nd OsF Regular, Italic + SC Regular & Bold | Futura nd Black + Condensed Bold | Sully-Jonquières nd Regular & Bold | Arabescos nd Neufville Digital Bauer Classics Futura nd Futura nd Light & Oblique | Book & Oblique | Medium & Oblique | Demibold & Oblique | Bold & Oblique | Extrabold & Oblique + Condensed Light & Oblique | Medium & Oblique | Demibold & Oblique | Bold & Oblique | Extrabold & Oblique + SC OSF Light & Oblique | Book & Oblique | Medium & Oblique | Demibold & Oblique Originalmente Futura fue diseñada entre 1924 y 1928 por Paul Renner, un escritor prolífico en tipografía y director de la Escuela de Maestros Artesanos para Impresores WerbegestaltFutura nd Light 65 en Múnich entre 1927 y 1933. A lo largo de muchos años la familia fue aumentada con las Arts et métiers graphiques versiones Oblique y Condensed Futura nd Medium 32 y una gran variedad de estilos, todos los cuales están disponibles en Futura nd. También por primera vez en las fuentes digitales de Futura, ciertos caracteres MephistoFutura nd Extrabold 72 originales han sido incluídos tales como las ligaduras fi, fl y cifras elzevirianas, junto con Meisterschule für Deutschlands Buchdrucker versalitas totalmente nuevas. Futura nd Extrabold 30 Las versiones OpenType incluyen caracteres alternativos. Andralis nd OsF Regular, Italic & Bold + SC Regular 9/12 Futura nd Bold 42 Futura was originally designed between 1924 and 1928 by Paul Renner, a prolific writer on typography, and director of the Master School for German Printers in Munich between 1927 and 1933. Over many years, the family was expanded with oblique & condensed versions, and a Futura nd Condensed Extrabold 120 wide range of weights, all of Munich which are made available here in Futura nd. The Metropolitan Opera Also, for the first time in Futura nd Medium Oblique 34 digital fonts of Futura, certain original characters have been included, such as the fi & fl ligatures and old style figures, along with entirely new small capitals. The OpenType geometricFutura nd SC OsF Light 92 versions also include alternate characters. Conceptually simplest Andralis nd OsF Bold + SC Bold 9/12 Futura nd SC OsF Bold 36 set básico de caracteres | basic character set Futura nd Medium !”#$%&’()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ÄÅÇÉÑÖÜáà âäãåçéèêëíìîïñóòôöõúùûü†°¢£§•¶ß®©™´¨≠ÆØ∞±≤≥¥µªºæø¿¡¬ƒ«»…ÀÃÕŒœ–“”‘’÷ÿŸ⁄€‹›fifl‡·‚„‰ÂÊÁËÈÍÎÏÌÓÔÒÚÛÙ Bauer Classics Neufville Digital Bold & Oblique + SC OSF Condensed Light & Oblique | Medium & Oblique | Bold & Oblique Diseñada por / Designed by Paul Renner (1924-1928) Escritura constructivaFutura nd Cn Medium 78 El valor artístico de un tipo debe ponerse a prueba solo ante el ojo humano Futura nd SC OsF Light Oblique 16 Futura nd Cn 110 Mann ohne Eigenschaften Futura nd Book 46 Elementary contrastFutura nd Cn SC OsF Medium 84 Futura nd ha sido completamente redigitalizada en relación con Futura nd has been completely redigitized with reference to the la versión original del tipo. Por ejemplo el estilo Medium, el cual en original version of the typeface. For example, the Medium weight, algunas versiones digitales anteriores de Futura era muy parecido al which in some previous digital versions of Futura was very close to Book, se ha restituido en Futura nd a un grosor intermedio entre Book the Book weight, has been restored in Futura nd to a weight inter- y Demibold, convirtiéndolo en óptima opción cuando se necesite com- mediate between Book and Demibold, making the Medium weight poner texto que sea robusto y legible. Futura nd se ha adecuado para a useful option for text that needs to be robust and legible. Futura componer textos extensos, y para este fin, el espacio entre las letras nd has been made very suitable for the setting of lengthy texts , and ha sido revisado para que no sea demasiado estrecho. Las versiones to this end, the spacing between the letters has been revised, so that Oblique también han sido considerablemente mejoradas mantenien- it is not too tight. Also the Oblique versions are much improved, do la forma geométrica de las letras sin deformarlas con la inclina- maintaining the geometric form of the letters without distortion by ción. Por primera vez la familia Futura nd ofrece versalitas y cifras slanting. For the first time, Futurand offers Small Capitals and Old elzeverianas y contiene todos los caracteres necesarios para la com- Style Figures for the family, and contains all the necessary charac- posición moderna, incluyendo el signo del Euro, el cual en Futura nd ters for modern typesetting, including the Euro Sign, which in Futu- es una innovación que se ajusta al estilo del tipo y al mismo tiempo ra nd is an innovation which matches the style of the typeface while corresponde al ancho de las cifras. also fitting the width of numerals. Andralis nd OsF Regular & Italic + SC Regular 9/12 Andralis nd OsF Bold + SC Bold 9/12 set básico de caracteres | basic character set Futura nd SC OsF Medium !”#$%&’()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ÄÅÇÉÑÖÜáà âäãåçéèêëíìîïñóòôöõúùûü†°¢£§•¶®©™´¨≠ÆØ∞±≤≥¥µªºæø¿¡¬ƒ«»…ÀÃÕŒœ–“”‘’÷ÿŸ⁄€‹›‡·‚„‰ÂÊÁËÈÍÎÏÌÓÔÒÚÛÙ Neufville Digital Bauer Classics Futura nd Light 8/12 Futura nd Light Oblique 8/12 Futura nd Book 8/12 Futura nd Book Oblique 8/12 Futura nd Medium 8/12 Futura nd Medium Oblique 8/12 Futura nd Demibold 8/12 Futura nd Demibold Oblique 8/12 Futura nd Bold 8/12 Futura nd Bold Oblique 8/12 Futura nd Extrabold 8/12 Futura nd Extrabold Oblique 8/12 Futura nd Cn Light + Cn SC OsF 8/12 Futura nd Cn Light Oblique 8/12 Futura nd Cn Medium 8/12 Futura nd Cn Medium Oblique 8/12 Futura nd Cn Bold 8/12 Futura nd Cn Bold Oblique 8/12 set básico de caracteres | basic character set Futura nd Cn Medium !”#$%&’()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ÄÅÇÉÑÖÜáà âäãåçéèêëíìîïñóòôöõúùûü†°¢£§•¶®©™´¨≠ÆØ∞±≤≥¥µªºæø¿¡¬ƒ«»…ÀÃÕŒœ–“”‘’÷ÿŸ⁄€‹›‡·‚„‰ÂÊÁËÈÍÎÏÌÓÔÒÚÛÙ Bauer Classics Neufville Digital Futura nd Cn Extrabold 8/12 Futura nd Cn Bold Oblique 8/12 Futura nd SC OsF Light 8/12 Futura nd SC OsF Light Oblique 8/12 Futura nd SC OsF Book 8/12 Futura nd SC OsF Book Oblique 8/12 Futura nd SC OsF Medium 8/12 Futura nd SC OsF Medium Oblique 8/12 Futura nd SC OsF Bold 8/12 Futura nd SC OsF Bold Oblique 8/12 Futura nd Cn SC OsF Light 8/12 Futura nd Cn SC OsF Light Oblique 8/12 Futura nd Cn SC OsF Medium 8/12 Futura nd Cn SC OsF Medium Oblique 8/12 Futura nd Cn SC OsF Bold 8/12 Futura nd Cn SC OsF Bold Oblique 8/12 0123456789 f i f l fi fl Old style figures | Cifras elzevirianas Sin ligaduras, without ligatures | Con ligaduras, with ligatures set básico de caracteres | basic character set Futura nd Cn SC OsF Bold Neufville Digital Bauer Classics Futura nd Display & Black Futura nd Display | Black Diseñada por / Designed by Paul Renner (1929-1932) Plakat-SchlagzeileFutura nd Display 70 Getting rid of capitals in type-written letters is understandable Futura nd Black 17 GROTESK TYPEFutura nd Display 90 MÁQUINA DE ESCRIBIR Futura nd Black 44 Edificios de ingeniería para los arquitectos modernos Futura nd Display 24 ArchitypeFutura ND Black 109 Futura nd Medium & Medium Oblique + SC OsF Medium 8/12 Futura nd Medium + SC OsF Medium 8/12 Futura nd Bold & Bold Oblique + SC OsF Bold 8/12 Futura nd Bold + SC OsF Bold 8/12 set básico de caracteres | basic character set !”#$%&’()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ÄÅÇÉÑÖÜáà âäãåçéèêëíìîïñóòôöõúùûü†°¢£§•¶ß®©™´¨≠ÆØ∞±≤≥¥µªºæø¿¡¬ƒ«»…ÀÃÕŒœ–“”‘’÷ÿŸ⁄€‹›fifl‡·‚„‰ÂÊÁËÈÍÎÏÌÓÔÒÚÛÙ !”#$%&’()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ÄÅÇÉÑÖÜáà âäãåçéèêëíìîïñóòôöõúùûü†°¢£§•¶ß®©™´¨≠ÆØ∞±≤≥¥µªºæø¿¡¬ƒ«»…ÀÃÕŒœ–“”‘’÷ÿŸ⁄€‹›fifl‡·‚„‰ÂÊÁËÈÍÎÏÌÓÔÒÚÛÙ Bauer classics Neufville Digital Elizabeth nd Elizabeth nd Roman | Italic | Swash Diseñada por / Designed by Elizabeth Friedlander (1937) , Andreu Balius (2005) Der Ring des Nibelungen Elizabeth nd Italic + Swash 65 Heizölrückstoßabdämpfung Elizabeth nd 57 Zwölf Boxkämpfer jagten Eva quer über den Sylter Deich Elizabeth nd 28 BARCELONAElizabeth nd 100 Elizabeth Friedlander (nacida Friedländer, 1903-1984) nació en Elizabeth Friedlander (née Friedländer, 1903-1984) was born in Berlin. Berlín. Estudió diseño y tipografía con E.R.Weiss en la Academia She studied design and typography with E.R. Weiss at the Berlin Academy and de Berlín y trabajó como diseñadora gráfica para la elegante went to work as a graphic designer for the elegant Ullstein journal “Die Dame”. revista de Ullstein Die Dame. Recibió el encargo para diseñar una She was commissioned to design a typeface for the Bauersche Giesserei in tipografía para la Bauersche Giesserei de Frankfurt am Main, un Frankfurt am Main, a most unusual commission for a woman at that time. encargo muy poco común para una mujer en aquellos tiempos. Her typeface Elizabeth was first cut by the Bauersche Giesserei in 1938. Su tipo Elizabeth se grabó en la Bauersche Giesserei en 1938. Georg Hartmann writes that the typeface is one of the best and most beautiful ones Georg Hartmann escribe que el tipo es uno de los mejores y más ever produced. It is particularly loved by private presses and for printing jobs that bellos jamás producidos. Es particularmente apreciado por las require a delicate touch. prensas privadas y para impresos que requieren un toque delicado. Penrose Annual (1936,
Load more

Recommended publications
  • Gotische Schrift
    l Gutenberg l Gotische Schrift l Schwabacher l Fraktur l Renaissance-Antiqua l Barock-Antiqua l Klassizistische Antiqua l Egyptienne l Grotesk l Jugendstil DIE ENTWICKLUNG DER DRUCKSCHRIFTEN l Johannes Gensfleisch, genannt Gutenberg * um 1400 in Mainz † 1468 ebenda Mit Gutenbergs Erfindung des Buchdrucks mit beweglichen Metalllettern und der Druckerpresse begann eine ganz neue Epoche. Die Verwendung der beweglichen Lettern ab 1450 revolutionierte die her- kömmliche Methode der Buchproduktion (Handschriften). Der Buchdruck breitete sich schnell in Europa und später in der ganzen Welt aus. Es begann die große Zeit der Entwicklung der Druckschriften. Im deutschsprachigen Raum setzten sich die gebrochenen Schrif- ten durch: Textura (Gotisch), Schwabacher, Fraktur und Kanzlei. Im italienischen Sprachraum konnte sich die gotische Schrift nicht durchsetzen. Dort entstand um 1300 die Rotunda oder Rundgotisch, eine offene Schrift von guter Lesbarkeit und Vorläufer der Antiqua-Schriften. GEBROCHENE SCHRIFTEN l Gotische Schrift (1300 – 1450) Von der Normandie breitete sich in Frank- reich ein neuer Stil aus: die Gotik. Dem Baustil entsprechend war auch die Schrift kantig und hochaufragend, das Schriftbild wirkte eng und düster. Damals bestimmte der christliche Glaube maßgebend das Leben und Kunstschaffen. Die Schrift der Zeit, die Textura, wurde ihrer würdevollen Form wegen hauptsäch- lich für liturgische Bücher verwendet. Auch Gutenberg schnitt seine Typen in dieser Schrift für seine Bibel. Daneben entwickelten sich die gotischen Buchkursiven mit ihren teilweise verschleif- ten Formen von großer Lebendigkeit. GEBROCHENE SCHRIFTEN l Schwabacher (1400) Im 15. Jhd. entstand durch die Vermi- schung der Textura mit der gotischen Kursivschrift die gut lesbare Schwabacher mit ihren offenen Formen. Der derbe Charakter brachte ihr gro- ße Beliebtheit und sie wurde bald zur meistgedruckten Schrift der volkstümlichen Literatur.
    [Show full text]
  • Modernizacijos Atspindžiai Lietuvos Taikomojoje Grafikoje. Art Deco Tipografika Ir Jos (Re)Aktualizacija
    VILNIAUS DAILĖS AKADEMIJA GRAFINIO DIZAINO KATEDRA Magistro baigiamasis darbas Modernizacijos atspindžiai Lietuvos taikomojoje grafikoje. Art deco tipografika ir jos (re)aktualizacija Atliko: Jolanta Klišonytė . (parašas) Darbo vadovas: Prof. dr. Giedrė Jankevičiūtė . (parašas) Recenzentas: Dr. Gintarė Žemaitytė . (parašas) Vilnius 2015 Turinys Įvadas 1. Vakarų modernizmas ir tarpukario Lietuva 1.1.1 Lietuvos gyvenimo pokyčiai ir miesto kultūros raida 1.1.2 Art deco stilius ir jo apraiškos Lietuvoje 2. Tipografikos priemonių taikymas Lietuvos art deco taikomojoje grafikoje 2.1.1 Plakatai 2.1.2 Reklama 2.1.3 Knygų ir žurnalų viršeliai 2.2 Lietuvos tipografikos modernūs bruožai 3. Atvejo studija: Telesforo Kulakausko tipografika 4. Art deco tipografikos (re)aktualizacija Išvados Santrauka / Summary Priedai: A. M. Cassandre Nord Express 1927 plakato semiotinė analizė Literatūra Iliustracijos su pavadinimais 2 Aš, Jolanta Klišonytė, kandidatė grafinio dizaino magistro laipsniui gauti, pareiškiu, kad šis baigiamasis darbas paremtas mano paties tyrimais ir remiasi tik tokia papildoma informacija, kuri nurodyta nuorodose, paaiškinimuose, šaltinių, literatūros bei iliustracijų sąrašuose. Pareiškiu, kad baigiamajame darbe nėra naudojamasi kitų darbais to nenurodant ir nė viena baigiamojo darbo dalis nepažeidžia jokių asmens ar institucijos autorinių teisių. Taip pat nė viena baigiamojo darbo dalis nebuvo pateikta jokiai kitai aukštojo mokslo institucijai kaip akademinis atsiskaitymas ar siekiant gauti mokslo laipsnį. Vilnius, 2015 03 10 3 Įvadas Šią temą pasirinkau todėl, kad mane sudomino art deco stiliaus laikotarpyje pradėta naudoti tipografika ir jos ypatumai. Iki šiol tipografika, kaip XX a. Lietuvos modernizmo bruožas, nebuvo nagrinėta, ir tai mane paskatino labiau domėtis šia tema. Šis tyrimas yra glaudžiai susietas su praktiniu darbu, kuriame nagrinėju art deco modeliavimą šiuolaikiniame kontekste.
    [Show full text]
  • „Bitstream“ Fonts
    Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.
    [Show full text]
  • 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.
    [Show full text]
  • Bitstream Font Name Aliases Fontotéka 3.0 Compiled by Petr Somol, Based on Jon A
    Bitstream Font Name Aliases fontotéka 3.0 Compiled by Petr Somol, based on Jon A. Pastor‘s list from http://cgm.cs.mcgill.ca/~luc/jonpastor.txt. E-mail: [email protected] The list should not be considered complete, nor accurate. It is more a work in progress than anything else. Bitstream Name Common Name Designer(s) Date(s) Orig. Remarks/Attributions Vend. (all) (M.Macrone/J.Pastor,P.S.) (M.M,P.S.) (J.P., P.S.) Aachen Aachen Colin Brignall, Alan Meeks 1969-1977 17 Ad Lib Ad Lib Freeman Craw 1961 6 Aldine 401 Bembo Stanley Morison after Francesco 1929 after 1,4 Griffo / Giovanni Tagliente 1495 / 1520 Aldine 721 Plantin Frank Hinman Pierpont after ~1930 after 1,4 Robert Granjon‘s type used by 16th ~1550 / 16h century printer Christophe Plantin cent. Alternate Gothic No. 2 Alternate Gothic Morris Fuller Benton 1903 6 Amazone Amazone Leonard H. D. Smit 1958 12 Amelia Amelia Stanley Davis 1967 18, 2 American Text American Text Morris Fuller Benton 1932 6 Americana Americana Richard Isbell, Whedon Davis 1965 6 Aurora Aurora ? 1928 (c.) 11 Baker Signet Baker Signet Arthur Baker 1965 18 Balloon Balloon Max R. Kaufmann 1939 6 Bank Gothic Bank Gothic Morris Fuller Benton 1930-33 6 Baskerville Baskerville George W. Jones after John 1929 after 2 Baskerville ~1754-1775 Baskerville No.2 Baskerville No.2 ? ? 19 Bauer Bodoni Bauer Bodoni Heinrich Jost, Louis Höll after 1926 after 8 Giambattista Bodoni ~1800 Bell Gothic Bell Gothic Chauncey H. Griffith 1938 2 Belwe Belwe Georg Belwe before 1950 20 Bernhard Bold Con- Bernhard Bold Con- Lucian Bernhard
    [Show full text]
  • Neotipografia Material Poetics In
    NEO-TIPO-GRAFÍA: MATERIAL POETICS IN THE SPANISH HISTORICAL AVANT-GARDE Zachary Rockwell Ludington Severna Park, Maryland Master of Arts, University of Virginia, 2009 Bachelor of Arts, University of North Carolina at Chapel Hill, 2007 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Spanish, Italian & Portuguese University of Virginia August, 2014 © 2014 Zachary Rockwell Ludington 2 ACKNOWLEDGEMENTS AND DEDICATION I must first extend my warmest thanks to my advisor, Andrew A. Anderson, for his scholarship and for his sharp and supportive critical eye. My work in this dissertation owes a great deal not only to his previous research but also to his helpful comments and his guidance throughout the course of the project. I would also like to thank every member of the Department of Spanish, Italian & Portuguese at the University of Virginia, past and present. I owe specific debts of gratitude to a few friends in the department who have especially enriched my experience during my time at the University, both academically and personally. They are Fernando Operé, David T. Gies, Gustavo Pellón, Randolph Pope, Mané Lagos, Daniel Chávez, Eli Carter, Omar Velázquez Mendoza, Tally Sanford, Shawn Harris, Julia Garner, Luca Prazeres, Diana Arbaiza, Stephen Silverstein, Jülide Etem, Sarah Bogard, Alejandra Gutiérrez, Keith Howard, Tim McAllister, Adriana Rojas Campbell, Gabrielle Miller, Gillian Price, Melissa Frost, and Diana Galarreta. Friends and colleagues outside the department but ever present and interested in my work are Ana Elia García Pérez, Nathan Brown, John Lyons, Paul A. Cantor, Shaun Cullen, Chicho Lorenzo, Tico Braun, Antonio Reyes, Manuela Jiménez, Brian Carr, and Erik J.
    [Show full text]
  • New Typography in Scandinavia 2 in the Design Histories of Kjetil Fallan and Julia Meer.2 Titled
    New Ty pog raphy in Scandinavia: Domesticating theory and practice amongst the graphic trades, 1927–43 Trond Klevgaard A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy The Royal College of Art / Victoria and Albert Museum 22 December 2017 79,976 words ii Copyright statement 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. iii Abstract This work provides the first extended account of New Typography’s path in Scandinavian countries, a topic which has yet to receive attention beyond a handful of articles and book chapters. Based on an exhaustive study of graphic trade journals published in Denmark, Norway and Sweden between the years of 1927 and 1943, it charts debate on New Typography and discusses the journals’ changing designs. Additional visual material has been sourced from a number of Scandinavian archives. In discussing the spread of New Typography’s theory and aesthetic from elsewhere in Europe, and then primarily from Germany, the thesis uses the concepts of domestication and networks, rather than those of diffusion or influence and centre–periphery. Dealing with a period in which the graphic designer had yet to appear as a professional figure, New Typography’s impact on a range of professional groups — all of which held responsibility for the design of graphic materials — is considered.
    [Show full text]
  • Alphabet Book, So If You’D Like Curved Leg to Find a Letter, You’Re Going to Have to Know What Letter It Comes After
    history and meggsy The evolution of the i and j Kerning typo graphy/graphers Lowercase/uppercase (majuscule/miniscule) Mechanical typesetting The Beowulf typeface Old style figures Distinguishing typefaces Roman Futura Serif/Sans Serif Claude Garamond and his face The W and U, and their parent the V Bradbury Thompson (badass) Univers (Adrian Frutiger) Wolfgang Weingart, educator Hermann Zapf, calligrapher drooling and geeky Chinese Calligraphy Emigre Q x height rhetoric and banter Handwriting Never! Prehistoric vs PostScript Y - the Crystal Goblet R Of course this is an alphabet book, so if you’d like curved leg to find a letter, you’re going to have to know what letter it comes after. If you’re not to good with the alphabet, you can find it on the V page. Fonts that are used by a printer are actually computer programs. They consist of 3 10 lineto a lot of numbers and statements 3 7 lineto like the commands lineto or curve- to which draw (think hard) lines and 487 256 522 7 9 c 205 urv curves. The example b is shown eto For the Beowulf 4 9 3 5 2 with the postscript code that is used 2 5 typeface, van 6 5 4 0 to draw it. 1 1 Rossum and van 0 6 c u r v e Blockum replaced all 0 10 lineto t o the lineto and curveto commands with something they 5 6 5 1 2 wrote called freakto. Instead of a straight line or a curve, 4 5 0 0 - 1 2 it draws a random spikey-looking line.
    [Show full text]
  • Sans Serif Typefaces By: Years, All of Which Were Designed by Ben- Ton and Issued by A.T.F
    Category Serif Classification Transitional Designer(s) Henry Baskerville Foundry Baskerville NB Here using Baskerville URW from Adobe Typekit BASKERVILLE Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the newer styles of Giambattista Bodoni & Firmin Didot. References Wikipedia : Baskerville Font: The Sourcebook Black dog Publishing Pau and Berger eds: 30 Essential Typefaces for a Lifetime History CHARACTERISTICS In Birmingham, England, Henry Baskerville ad- vanced the use of more delicate typefaces that could The Baskerville typeface is the result of withstand the repeated poundings on the press. He John Baskerville’s intent to improve upon also developed smoother paper so the typefaces could the types of William Caslon. He was aim- print without breaks or clogs. Had an airy quality ing at simplicity and quiet refinement due to the lightness of the letterforms and generosity though: of the page margins. Melted down his type after each printing. • increasing the contrast between thick and thin strokes Baskerville’s typeface was the culmination of a larg- • making the serifs sharper and more er series of experiments to improve legibility which tapered also included paper making and ink manufactur- • shifting the axis of rounded letters to a ing. His background as a writing master is evident more vertical position. in the distinctive swash tail on the uppercase Q and • making curved strokes more circular in in the cursive serifs in the Baskerville Italic. shape and making characters more regu- lar.
    [Show full text]
  • Capítulo 1. Historia De La Tipografía
    Historia de la tipografía En este capítulo conoceremos el desarrollo de la tipogra- fía, desde Gutenberg, con la invención de los tipos móvi- les de metal, hasta la actualidad. Encontraremos informa- ción de tipógrafos, tipografías, innovaciones técnicas, fundiciones tipográficas y otros acontecimientos relevan- tes que ocurrieron durante estos 5 siglos y que además 1nos adentrarán en el universo de la tipografía. 1.1 Incunables: 1440-1500 Con la disponibilidad del papel, la impresión con bloques de madera tallada y la creciente demanda de libros, naciones como Italia, Alemania, Francia y los Países Bajos, buscaban la produc- ción de textos por medio de la mecanización utilizando tipos móviles. Alrededor de 1440, Johann Gensfleisch zum Gutenberg, desarrolló en Alemania una técnica para elaborar moldes de tipos que se utilizarían para la impresión de letras individuales (los chi- nos fueron los primeros en utilizar tipos móviles, hechos de made- ra, durante la primera mitad del siglo xi); escogió el tipo textura como modelo, imitando el trabajo de los escribas de la época, para que el nuevo estilo fuera aceptado. La obra más representa- tiva de Gutenberg es su Biblia de 42 líneas que desarrolló con esta técnica, la cual estuvo vigente por 500 años. Los tipos móviles 1 Retrato del s. xvi de la posible apariencia de Gutenberg (A. Thevet, Pourtraits et vies, 1584). Página de la Biblia de 42 líneas de Gutenberg. Las ilustraciones, así como algunos detalles en la composición del texto, fueron añadidas a mano después de haberse impreso. Este ejemplar se encuentra en la Biblioteca Británica en 2 Londres.
    [Show full text]
  • 2012 Slanted 380356
    UvA-DARE (Digital Academic Repository) Form folgt Architektur: deutsche Egyptienne-Schriften des frühen 20. Jahrhunderts und ihre Schriftproben Lommen, M. Publication date 2012 Document Version Final published version Published in Slanted Link to publication Citation for published version (APA): Lommen, M. (2012). Form folgt Architektur: deutsche Egyptienne-Schriften des frühen 20. Jahrhunderts und ihre Schriftproben. Slanted, 20, 108-111. http://www.slanted.de/shop/slanted-20-slab-serif General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 WINTIR -ISSN 2012113 1887-8510 EUR DE EUR CH CHf UK US OTHERS ... , I" .... I "'"111 ,.11111 141 251 118 I S 28 I 18 .... •' .-� •·. ;..:-= ' L l.' � . I.,. 11 . � · , .. · ..,., l -- . -.. I 'lv � · � • ..· - .,..._'!- .,, ,"t" ,.- ( ' ... • I J -!lil ) �:· I ·�..
    [Show full text]
  • Doug Olena Geboren Am 5
    Doug Olena Geboren am 5. Mai 1953. http://www.olena.com/ Abernathy Doug Olena http://www.olena.com/ Abernathy Italic Doug Olena http://www.olena.com/ Adastra Doug Olena Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Adastra Plain Doug Olena Linotype Herbert Thannhaeuser · 1928 · D. Stempel AG Alais Califfa Doug Olena http://www.olena.com/ Alfereta Doug Olena http://www.olena.com/ Ambergris Doug Olena http://www.olena.com/ Ambergris Italic Doug Olena http://www.olena.com/ Ampersands Doug Olena http://www.olena.com/ ABCDEFGHIJKLM abcdefghijklmnopqrstuvwxyz Aquarium Doug Olena http://www.olena.com/ Ark Casual Doug Olena http://www.olena.com/ Arwen Doug Olena Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Barko Doug Olena http://www.olena.com/ Barko Italic Doug Olena http://www.olena.com/ http://www.klingspor-museum.de Basaltic Doug Olena http://www.olena.com/ Basaltic Incline Doug Olena http://www.olena.com/ Basaltic Foil Doug Olena http://www.olena.com/ Basaltic Foil Incline Doug Olena http://www.olena.com/ Blackface Two Doug Olena http://www.olena.com/ Blocks Doug Olena Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Bones Doug Olena http://www.olena.com/ FFD Broadway Doug Olena http://www.olena.com/ FFD Broadway Engraved Doug Olena http://www.olena.com/ Morris F. Benton · 1928 · ATF Burrito Doug Olena http://www.olena.com/ Calvin Doug Olena http://www.olena.com/ Carver’s Doug Olena http://www.olena.com/ Casablanca Doug Olena http://www.olena.com/ Chevalier
    [Show full text]