DOCSLIB.ORG

Offizin Parnassia Vättis Ättis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Offizin Parnassia Vättis Ättis Offizin Parnassia Vättis ättis M O N O T Y P E – S C H R I F T E N Seite 1/13 Serie *) Schrift Schriftgrössen C = Composition Fonts: Maschinensatz / Handsatz D = Display Fonts: Handsatz 481 Albertus D: 18-24-36-72 324 Albertus Titling D: 14-18-24-36-48-72 538 Albertus Bold Titling D: 42-60-72 538 Albertus Light D: 24 63 Albion C: 9-10-12D 63 Albion C: 6D-9-10-12 5 Albion C: 6-8 74 Albion Extended C: 7,5-10 42 Albion Half Fat C: 6-7-9-10-11-12 70 Albion No. 4 C: 6.5-7.5-9-10-11-12 624 Amharic C: 10 L-145 Antique Bold Condensed D: 14-18-24-30-36 3 Antique Old Style C: 6-8-9-10-11-12 549 Arabic: Naksh C: 12 D: 24 238 Ashley Crawford D: 36 574 Ashley Script D: 14-18-24-30-36-48-60-72 78 Barbou Roman C:12 78 Barbou Italic C:12 78 Barbou Small Caps C:12 L-3531 Baskerville Italic C: 6-7-8-9-10-11-12-14-18-24 D: 36 L-353 Baskerville Roman C: 6-7-8-9-10-11-12-14-18-24 D: 30-36 169 Baskerville Small Caps C: 6-8-9-9,5-10-11-12-14 169 Baskerville Roman C: 6-8-9-9,5-10-11-12-14-16-18-22-24 D: 18-24-30-36-42-48-60-72 169 Baskerville Italic C: 6-8-9-9,5-10-11-12-14-16-18-24 D: 18-24-30-36-42-48-60-72 312 Baskerville Bold C: 6-8-9-10-11-12-14-24 D: 18-24-30-36-48 313 Baskerville Semi-Bold Roman C: 6-8-9-10-11-12-14 D: 18 313 Baskerville Semi-Bold Italic C: 8-10-12-14 L-4021 Bell Italic C: 8-9-10-11-12-14 D: 18-24-30-36 L-402 Bell Roman C: 8-9-10-11-12-14 D: 18-24-30-36 341 Bell Small Caps C: 8-9-10-11-12-14 341 Bell Roman C: 8-9-10-11-12-14 D: 18-30 341 Bell Italic C: 8-9-10-11-12-14 370 Bembo Italic Titling D: 42 270 Bembo Small Caps C: 6-8-9-10-11-12-13-14-18 270 Bembo Roman C: 6-6D-8-9-10-10.5-11-12-12D-13-14-16-18-24 D:18-22-24-30-36-42-48-72 270 Bembo Italic C: 6-6D-8-9-10-10.511-12-12D13-14-16-24 D: 18-30-36-48 428 Bembo Bold C: 6-8-10-10.5-11-12D-13-14-18 294 Bembo Condesed Italic Italic C: 13-16 L-127 Ben Franklin Initials D: 36 213 Bernhard Cond D: 20 L-21 Binny Old Style D: 14-18-24-30 *) L = Matrices produced by Lanston-Monotype USA; the others are produced by Monotype UK Offizin Parnassia Vättis ättis M O N O T Y P E – S C H R I F T E N Seite 2/13 119 Blado Italic C: 10-11-12-13-16D: 24 L-3751 Bodoni Italic C: 6-7-8-9-10-11-12-14-18 D: 24 L-375 Bodoni Roman C: 6-7-8-9-10-11-12-14-18 D: 14-18-24-30-36-36D-48 L-1751 Bodoni Italic C: 6-7-8-9-10-11-12 D: 14-18-24-30-36 L-175 Bodoni Roman C: 6-7-8-9-10-11-12 D: 14-18-24-30-36 135 Bodoni Small Caps C: 6.5-8-10-11-12 135 Bodoni Roman C: 6.5- 8-9-10-11-12-13 D: 14-18-24-30-36-42-48-60-72 135 Bodoni Italic C: 6.5-8-9-10-11-12-13 D: 14-18-24-30-36-36D-42-48-60 L-2751 Bodoni Bold Italic C: 6-8-10-12 D:14-18-24-30-36-48 L-275 Bodoni Bold Roman C: 6-8-10-12-14-18 D:14-18-24-30-36-48 260 Bodoni Bold Roman C: 6.5-8-10-11-12-13 D: 14-16-18-24-30-36-42-48-60 L-775 Bodoni Bold Condensed Roman D: 30 529 Bodoni Bold Condensed Roman D: 14-18-24-30-36-42-48-60-72 529 Bodoni Bold Condensed Italic D: 14-18-24-30 L-194 Bodoni Bold Shaded D: 14-18-24-30-36 L-8751 Bodoni Book Italic C: 7-8-9-10-11-12 D: 14-18-24-30-36 L-875 Bodoni Book Roman C: 7-8-9-10-11-12 D: 14-18-24-30-36 L-575 Bodoni Panneled D: 18-30 L-6751 Bodoni Ultra Italic D: 12-14-18-24-36 L-675 Bodoni Ultra Roman D: 12-14-18-24-30-36-42-48 120 Bodoni Ultra Bold Roman D: 14-18-24-30-36-42-48 120 Bodoni Ultra Bold Italic D: 14-18-24-30-36-42-48 L-398 Bookman New D: 14-18-24-30-36 L-981 Bookman Old Style Italic C: 6-8-10-12 D: 14-18-24-30-36 L-98 Bookman Old Style Roman C: 6-8-10-12 D: 14-18-24-30-36 Bracelet D: 24-36 278 Braggadocio D: 36 L-306 Broadway D: 12-14-18-24-30-36 L-307 Broadway Engraved D: 14-18-24-30-36 L-302 Brush D: 18-24-30-48 L-462 Bulmer Roman C: 6-7-8-9-10-11-12-14-18 D: 14-16-24-30-36 L-462 Bulmer Italic C: 6-7-8-9-10-11-12-14-18 D: 14-16-24-30-36 578 Burmese C:16 L-225 Calligraphia D: 18-24-30-36 197 Canterbury C: 6-8-10-12 L-231 Canterbury Semi Bold (Della Robbia) D: 14-18-24-30-36 L-351 Caps in Circles D: 8-10-12-18-24 Carnet de Bal D: 30 Carnival D: 14-24 128 Caslon Italic Swash C: 11-12-14 209 Caslon Titling D: 24-30-36-72 128 Caslon Small Caps C: 8-10-11-12-14 128 Caslon Roman C: 8-10-11-12-14-18 128 Caslon Italic C: 8-10-11-12-14-18 L-791 Caslon Bold Italic C: 6-8-10-12-14-18 D: 14-18-24-30-36 L-79 Caslon Bold Roman C: 6-8-10-12-14-18 D: 14-18-24-30-36 L-113 Caslon Condensed D: 14-18-24-30-36 Offizin Parnassia Vättis ättis M O N O T Y P E – S C H R I F T E N Seite 3/13 L-5371 Caslon New Italic C: 6-8-9-10-12 D: 18-24-30-36 L-537 Caslon New Roman C: 6-8-9-10-12 D: 18-24-30-36 L-3371 Caslon Old Style Italic Swash D: 18-24-30-36 L-3371 Caslon Old Style (= 128 Caslon) Italic C: 6-7-8-9-10-11-12 D: 14-18-24-30-36 L-337 Caslon Old Style (= 128 Caslon) Roman C: 6-7-8-9-10-11-12 D: 14-18-24-30-36 L-371 Caslon Old Style English Italic C: 6-8-10-12 D: 14-18-24-30-36 L-37 Caslon Old Style English Roman C: 6-8-10-12 D: 14-18-24-30-36 600 Castellar D: 24-36-48-60-72 252 Centaur Small Caps 6-8-9-10-11-12-14-18 252 Centaur Roman C: 6-8-9-10-11-12-14-16-18-24 D: 36-42-48 252 Centaur Italic C: 6-8-9-10-11-12-14-16-18-24 D: 30-36-42-48 352 Centaur (Oxford Bible Type) Roman/Italic C: 18 L-1181 Century Bold Italic D: 14-18-24-30-36 L-118 Century Bold Roman C: 6-8-10-12 D: 14+-18+-24+-30+-36+ L-4181 Century Bold Condensed Italic D: 24-30-36 L-418 Century Bold Condensed Roman D: 36 L-201 Century Expanded Italic C: 6-8-10-12 D: 14 L-20 Century Expanded Roman C: 6-8-9-10-12 D: 14-18-24-30-36 L-1571 Century Old Style Italic C: 6-7-8-9-10-12 D: 14 L-157 Century Old Style Roman C: 6-7-8-9-10-12 D: 14 L-4201 Century Schoolbook Italic C: 6-7-8-9-10-11-12-14-18 D: 14-18-24-30-36 L-420 Century Schoolbook C: 6-7-8-9-10-11-12 D: 14-18-24-30 227 Century Schoolbook Small Caps C: 6-7-8-9-10-11-12-14 227 Century Schoolbook Italic C: 6-7-8-9-10-11-12-14 D: (Series 650) 14-18-24-30-36-48 227 Century Schoolbook C: 6-7-8-9-10-11-12-14 D: (Series 650) 14-18-24-30-36-42-48 477 Century Schoolbook Bold C: 6-7-8-9-10-11-12-14 D: (Series 651) 14-18-24-30-36-42-48 L-86 Cheltenham Bold Roman C: &-8-10-12 D: 14 -18-24-30-36 L-861 Cheltenham Bold Italic C: 6-8-10-12 D: 14-18-24-30-36 L-881 Cheltenham Bold Condensed Italic D: 14-18-24-30 L-88 Cheltenham Bold Condensed Roman C: 6-8-10-12 D: 14-18-24-30-36 L-287 Cheltenham Bold Extended C: 12-14-18-24-30-36 L-141 Cheltenham Bold Extra Condensed C: 8-10-12 D: 14-18-24-30-36 L-12 Cheltenham Bold Outline D: 14-18-24-30-36 L-286 Cheltenham Inline D: 18-24-36 L-186 Cheltenham Medium Roman C: 6-8-9-10-11-12 D: 14-18 L-1861 Cheltenham Medium Italic C: 6-8-9-10-11-12 L-64 Cheltenham Old Style Roman C: 8-10-12 D: 14-18-24-30-36 L-261 Cheltenham Old Style Italic C: 8-10-12 D: 14-18-24-30-36 L-264 Cheltenham Old Style Condensed D: 18-24-30-36 L-1641 Cheltenham Wide Italic D: 14 L-164 Cheltenham Wide Roman C: 6-8-10-12 D: 14-18-24-30-36 12 Clarendon C: 5-6-8-9-10-12 L-891 Clearface Italic D: 14-18-24-36 L-89 Clearface Roman C: 10 D: 14-18-24-30-36 157 Clearface Bold C: 8 272 Cloister Small Caps C: 6-8-10-12 272 Cloister Roman C: 6-8-10-12 Offizin Parnassia Vättis ättis M O N O T Y P E – S C H R I F T E N Seite 4/13 272 Cloister Italic C: 6-8-10-12 L-95 Cloister Black C: 12 D: 14-18-24-36 L-2951 Cloister Bold Italic Swash D: 14-18-24-30-36 L-2951 Cloister Bold Italic C: 6-9-10-12 D: 14-18-24-30-36 L-295 Cloister Bold Roman C: 6-9-10-12 D: 14-18-24-30-36 271 Cloister Bold Roman C: 12 L-3951 Cloister Old Style Italic D: 24-36 L-395 Cloister Old Style Roman D: 14-18-24-36 165 Cochin Roman C: 8-12 165 Cochin Italic C: 8-12-13 L-616 Cochin Bold D: 14-18-30 L-253 Cochin Bold Toold D: 24 L-262 Cochin Open D: 36 121 Colm Cille (Gaelic) Roman C: 8-10-12-14 121 Colm Cille (Gaelic) Italic C: 8-10-12 L-202 Comstock D: 12-14-18-24 511 Condensa D: 30 L-282 Cooper Black D:12-14-18-24-30-36 609 Coptic: Louvain C: 10 17 Cushing Small Caps C: 10-12 17 Cushing C: 10-12 L-25 Cushing Old Style C: 6-7-8-9-10-12 D: 14-18-24-30-36 42 Cyrillic Albion Half Fat C: 9-10-11 75 Cyrillic Modern Wide C: 7.5 27 Cyrillic Neo Didot C: 9-10-11-13 260 Cyrillic: Bodoni Bold D: 24 262 Cyrillic: Gill Sans D: 14-16-24-30-36-48-60-72 362 Cyrillic: Gill Sans Light D: 72 334 Cyrillic: Times Bold D: 14-24 327 Cyrillic: Times Italic C: 8-10 D: 14-18-24-30-36-42-48-60-72 327 Cyrillic: Times New Roman C: 8-10 D: 14-18-24-30-36-42-48-60-72 Dandy D: 36 612 Dante Titling D: 16D-20D-28D-36D 592 Dante Small Caps C: 6D-7D-8D-9D-10D-11D-12D-13D-14D 592 Dante Roman C: 6D-7D-8D-9D-10D-11D-12D-13D-14D D:36 592 Dante Italic C: 6D-7D-8D-9D-10D-11D-12D-13D-14D L-1111 De Vinne Italic D: 18-24-30-36 L-11 De Vinne Roman D: 18-24-30-36 21 De Vinne Condensed C: 12 L-111 De Vinne Condesed D: 14-18-24-30-36 L-42 De Vinne Outline Roman D: 14-18-24-30-36-42 L-41 De Vinne Outline Italic D: 14-30 L-3151 Deepdene Italic C: 6-8-10-12 D: 36 L-315 Deepdene Roman C: 6-8-10-12 D: 36 L-317 Deepdene Bold D: 24 436 Dorchester Script D: 18-24-36 282 Egyptian Bold Condensed C: 6D Offizin Parnassia Vättis ättis M O N O T Y P E – S C H R I F T E N Seite 5/13 453 Ehrhardt Small Caps C: 6-7-8-9-10-11-12-14 453 Ehrhardt Roman C: 6-7-8-9-10-11-12-14 D: 18-24 453 Ehrhardt Italic C: 6-7-8-9-10-11-12-14 573 Ehrhardt Semi Bold C: 6-8-9-10-11-12 D: 18-24-30-36 19 Elzevir Roman C: 6-8-11-12 19 Elzevir Italic C: 6-8-11-12 320 Emerson Small Caps C: 8-10-11-12-14 320 Emerson Roman C: 8-10-11-12-14 D:18-24 320 Emerson Italic C: 8-10-11-12-14 D: 18-24 L-323 Engravers Bold D: 24 147 Engravers Bold Titling D: 24(1)-24(2)-24(3)-24(4)-24(5) L-223 Engravers Roman 10-12-18-24 586 Fabritius C: 10D-14D 323 Falstaff Roman C: 10D-12D D: 16D-18D-24D-30D-36D-48D 323 Falstaff Italic D: 14D-18D-48D 554 Festival Titling D: 42 536 Figaro D:
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]
  • NEWSLETTER 43 Antikvariat Morris · Badhusgatan 16 · 151 73 Södertälje · Sweden [email protected] |
    NEWSLETTER 43 antikvariat morris · badhusgatan 16 · 151 73 södertälje · sweden [email protected] | http://www.antikvariatmorris.se/ [dwiggins & goudy] browning, robert: In a Balcony The Blue Sky Press, Chicago. 1902. 72 pages. 8vo. Cloth spine with paper label, title lettered gilt on front board, top edge trimmed others uncut. spine and boards worn. Some upper case letters on title page plus first initial hand coloured. Introduction by Laura Mc Adoo Triggs. Book designs by F. W. Goudy & W. A. Dwiggins. Printed in red & black by by A.G. Langworthy on Van Gelder paper in a limited edition. This is Nr. 166 of 400 copies. Initialazed by Langworthy. One of Dwiggins first book designs together with his teacher Goudy. “Will contributed endpapers and other decorations to In a Balcony , but the title page spread is pure Goudy.” Bruce Kennett p. 20 & 28–29. (Not in Agner, Ransom 19). SEK500 / €49 / £43 / $57 [dwiggins] wells, h. g.: The Time Machine. An invention Random House, New York. 1931. x, 86 pages. 8vo. Illustrated paper boards, black cloth spine stamped in gold. Corners with light wear, book plate inside front cover (Tage la Cour). Text printed in red and black. Set in Monotype Fournier and printed on Hamilton An - dorra paper. Stencil style colour illustrations. Typography, illustra - tions and binding by William Addison Dwiggins. (Agner 31.07, Bruce Kennett pp. 229–31). SEK500 / €49 / £43 / $57 [bodoni] guarini, giovan battista: Pastor Fido Impresso co’ Tipi Bodoniani, Crisopoli [Parma], 1793. (4, first 2 blank), (1)–345, (3 blank) pages. Tall 4to (31 x 22 cm).
    [Show full text]
  • Type ID and History
    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
    [Show full text]
  • SOPHIE SCHNEIDEMAN RARE BOOKS Catalogue 21
    SOPHIE SCHNEIDEMAN RARE BOOKS Catalogue 21 Sophie Schneideman RARE BOOKS CATALOGUE ILLUSTRATED & PRIVATE PRESS BOOKS, ARTISTS’ BOOKS, BOOKBINDINGS, ART We prefer to give customers on our mailing list the opportunity to buy books from catalogues before we put items up for sale on our website. Items in this catalogue will be posted onto www.ssrbooks.com a week or so after the catalogue has been sent out and in many cases there will be additional photographs to view there. If you are interested in buying or selling rare books, need a valuation or just honest advice please contact me at: SCHNEIDEMAN GALLERY Open by appointment days a week or by chance – usually Mon-Fri –. The gallery is open on Saturday – but if you want to view the books please let me know in advance. Portobello Road, London, w sa [email protected] www.ssrbooks.com WE ARE PROUD TO BE A MEMBER OF THE ABA, PBFA & ILAB AND ARE PLEASED TO FOLLOW THEIR CODES OF CONDUCT Prices are in sterling and payment to Sophie Schneideman Rare Books by bank transfer, cheque or credit card is due upon receipt. All books are sent on approval and can be returned within days by secure means if they have been wrongly or inadequately described. Postage is charged at cost. EU members,, please quote your vat/tva number when ordering. The goods shall legally remain the property of Sophie Schneideman Rare Books until the price has been discharged in full. Printed in Great Britain by Henry Ling Ltd, Dorchester Designed in Adobe Jenson by Geoff Green Book Design, Cambridge Adobe Jenson is based on the designs of Nicholas Jenson’s typeface, first cut in .
    [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]
  • Andre Benard Annexes These.Pdf
    THÈSE DE DOCTORAT DE L’ÉCOLE NORMALE SUPÉRIEURE DE CACHAN Présentée par Monsieur Bernard André Pour obtenir le grade de DOCTEUR DE L’ÉCOLE NORMALE SUPÉRIEURE DE CACHAN Domaine : Sciences de l’éducation Sujet de la thèse : UTILISATION DES PROGICIELS IDENTIFICATION D’OBSTACLES ET STRATÉGIES DE FORMATION ANNEXES Nom du Laboratoire : UMR STEF/ENS CACHAN/INRP 61, avenue du Président Wilson, 94235 Cachan cedex (France) Sommaire Annexe 1 : analyse de la revue EPI Chapitre 2 section 2.1.3. p. 52 ................................. 5 re Annexe 2 : chapitre 2, 2.2.1. p. 80 Enquête auprès des étudiants de DEUG 1 année en Sciences et Techniques des Activités Physiques et Sportives de Paris 1 ....................... 28 Annexe 3 Histoire du traitement de texte chapitre 6, p. 194 .......................................... 57 Annexe 4 Chapitre 4 typographie et dactylographie (chapitre 4 p. 150)........................ 65 Annexe 5 Conseils typographiques aux dactylos de Charles Dellion (chapitre 4 p. 149) ........................................................................................................................................ 87 Annexe 6 Traitement automatique des traces dans les fichiers .................................... 117 Annexe 7 Polices de caractères sous Windows utilisables dans Word......................... 133 Annexe 8 Exemples de mises en forme posant des problèmes de visibilité et de lisibilité (voir chapitre 8) ............................................................................................................ 205 Annexe 1 : analyse de la revue EPI Chapitre 2 section 2.1.3. p. 52 Annexe 1 : analyse de la revue EPI Page d’accueil de l’Association EPI : http://www.epi.asso.fr/association/epi_presentation.htm L'association EPI Enseignement Public et Informatique L'association Enseignement Public et Informatique, association pionnière fondée en 1971, continue de militer pour l'évolution du service public d'enseignement et de formation à la promotion duquel elle reste attachée.
    [Show full text]
  • 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.
    [Show full text]
  • Alien Heads Found in Georgia
    Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. It features a large x-height (tall lower-case letters) and its thin strokes are thicker than would be common on a typeface designed for display use or the higher resolution of print. Besides, Georgia's bold is also unusually bold and bolder than most bolds. Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy.
    [Show full text]
  • Menupro 9 User Guide Getting Started • I
    MenuPro® by SoftCafé Version 9 MenuPro® User's Guide Copyright © 1994-2010 SoftCafe, LLC. All rights reserved. Microsoft is a registered trademark of Microsoft Corporation. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark Office and elsewhere. Adobe and Acrobat are trademarks of Adobe Systems Incorporated. Abadi, Albertus, Arial, Bembo, Corsiva, Gill Sans, Pepita and Swing are trademarks of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. Binner Gothic, Braggadocio, Broadway, Colonna, Coronet, Forte, Gallia, Ginger, Impact, Imprint, Matura, Palace Script, and Runic are trademarks of The Monotype Corporation and may be registered in certain jurisdictions. American Diner is a trademark of HandCraftedFonts Company. Buffalo Gal is a trademark of Thomas A. Rickner. Curlz is a trademark of The Monotype Corporation. Ginko is a trademark of Paul Pegoraro. Lebeau is a trademark of Bo Berndal. Andy and Looseprint are trademarks of Steve Matteson. Caslon Antique, Choc, Mistral, Ortem and Zambesi are trademarks of Polyvroom BV. Cruz Handy and Woodcut Alpha are trademarks of Agfa Monotype Corporation may be registered in certain jurisdictions. Balmoral, ITC Braganza, ITC Juanita, ITC Rastko and Papyrus are trademarks of the International Typeface Corporation and may be registered in certain jurisdictions. ITC Eras and ITC Rennie Mackintosh are trademarks of the International Typeface Corporation registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions. Ashley Crawford, Galaxy Run, Goudy Ornate, Haarlemmer and Othello are trademarks of Agfa Monotype Corporation and may be registered in certain jurisdictions.
    [Show full text]