Avant Garde Gothic Ligatures Typography
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INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam. -
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Copyrighted Material
INDEX A Betz, Jennifer, 211 Compatil, 74 Accented characters, 192 Binner Gothic, 79 Compugraphics, 25 Accent marks, 192 Bitmapped fonts, 32–33 Condensed type, regular vs., 80 Adobe Bickham Script Pro, 34, 45, Blackletter type styles, 47 Consistency of design traits, 61 80, 123 Blake, Marty, 79 Contextual alternates, 123 Adobe Caslon Pro, 42, 125, 165 Bodega Sans, 114 Contoured type, 136–144 Adobe Garamond, 55 Bodoni, Giambattista, 19, 20 Contrast, 77 Adobe Illustrator, 25 Bodoni fonts, 20, 81 Cooke, Nick, 202 Adobe Paragraph Composer, 145 Boldface, 88, 89 Copperplate, 44 Adobe Single-line Composer, 145 Boustrophedon, 17 Copyright symbol, 185–187 Adobe Trojan, 95 Bowl, 40, 41 Coquette, 49 Akuin, Vincent, 103 Boxed initials, 109 Coster, Laurens, 18 Aldus Freehand, 25 Braces, 189 Counter, 40, 41 Alexander Isley, Inc., 92 Brackets, 189–190 Courier, 181 Alfon, 61 Brewer, Amber, 55 Cuneiforms, 16 Alignment, 134–144 Brush scripts, 46 Curly brackets, 189 hung punctuation, 155–156 Bullets, 187–188 Curve, setting type on, 158 with initial caps, 105 Byrne-Sain, Theresa, 171 Custom typefaces, designing, 201–207 optical, 155 visual, 157–160 C D Alphabets, 16–17 Calcite Pro, 121 D’Amico, Dee Densmore, 203 Alternate characters, 123 Calligraphers, 67 Dartangnon, 46 A N D, 99, 190 Calligraphic typestyles, 46, 66 Dashes, 176–177 Angled brackets, 189 Caps: Deaver, George, 111 Apostrophes, 180 drop, 106 Decorative initials, 108 Appearance of typefaces: initial, 105–111 Decorative typefaces, 48–49 desirable characteristics in, lowercase vs., 80, 94 Deidrich, -
Monotype Imaging Monotype
Monotype Imaging 2011 Annual Report CORPORATE HEADQUARTERS Monotype Imaging Inc. Linotype GmbH Monotype Imaging (Korea) 500 Unicorn Park Drive Werner-Reimers-Straße 2-4 #805, 642-6, Seongji Heights Woburn, MA 01801 61352 Bad Homburg 3-Cha Building, Yeoksam-dong PHONE: 781 970 6000 Germany Gangman-gu, Seoul 135-717 FAX: 781 970 6001 PHONE: 49 (0) 6172 484-418 Korea FAX: 49 (0) 6172 484-429 PHONE: 02-2051-9900 FAX: 02-6919-2044 Monotype Imaging Ltd. Monotype Imaging Hong Kong Ltd. Monotype Imaging K.K. Unit 2, Perrywood Business Park 7A Yardley Commercial Building 8th fl oor Hikari Building Salfords, Redhill, Surrey 3 Connaught Road West, Sheung Wan 1-43-7 Yoyogi RH1 5DZ Hong Kong Shibuya-ku, Tokyo 151-0053 England PHONE: 852 2575 6789 Japan PHONE: 44 (0)1737 765959 FAX: 852 2591 9232 PHONE: 81 3 5304 0920 FAX: 44 (0)1737 769243 FAX: 81 3 5304 0921 Monotype Imaging Holdings Inc. BOARD OF DIRECTORS and CORPORATE OFFICERS DIRECTORS EXECUTIVE OFFICERS Robert M. Givens Douglas J. Shaw Chairman of the Board of Directors President, Chief Executive Offi cer and Director Roger J. Heinen, Jr. John L. Seguin Pamela F. Lenehan Executive Vice President Robert L. Lentz Scott E. Landers Senior Vice President, Douglas J. Shaw Chief Financial Offi cer, Treasurer and Assistant Secretary Peter J. Simone Janet M. Dunlap Vice President, General Counsel and Secretary Daniel T. Gerron Vice President, Corporate Development Lisa Landa Monotype Imaging Holdings Inc. is a leading provider of text imaging solutions. Our end-user and embedded Vice President, Corporate Marketing solutions for print, Web and mobile environments enable people to create and consume dynamic content on Steven R. -
Copyrighted Material
INDEX A Benton, Linn Boyd, 22 Charlemagne, 188 Accented characters, 213 Benton, Morris Fuller, 28 Cholla, 116 Accent marks, 213 Berthold, 25 Circle P, 212 Adobe Bickham Script Pro, 38, 51, 190 Betz, Jennifer, 257 Clarendon, 49 Adobe Caslon Pro, 48 Bilardello, Robin, 116 Clarendon Light, 140 Adobe Garamond, 63 Binner Gothic, 92 Clark, Phillip, 128 Adobe Illustrator, 25 Bitmapped fonts, 36–37 Cole, Amanda, 147 Adobe Paragraph Composer, 159 Black, Kathleen, 221 Color, 137, 191 Adobe Single-line Composer, 159 Blackletter type styles, 53 changing, 140 Adobe Trojan, 145 Blake, Marty, 92 evenness of, 76 Akuin, Vincent, 147 Bodoni, Giambattista, 20, 26, 27 for motion typography, 232 Aldus Freehand, 25 Bodoni fonts, 20, 95 on the Web, 226 Alexander Isley, Inc., 142 Boldface, 132, 133 Column depth, 225 Alfon, 74 Boustrophedon, 17 Column width, 224–225 Alignment, 108–110, 112–119 Bowl, 46, 47 Commercial Script, 51 hung punctuation, 153 Boxed initials, 187 Compatil, 78 with initial caps, 183 Braces, 214 Compugraphics, 25 optical margin, 153–154 Brackets, 214 Computer-generated styling, 202–203 visual, 155–157 Brewer, Amber, 63 Condensed type, regular vs., 93 Alphabets, 16–17 Bright, Colin, 128 Consistency of design traits, 74 Alternate characters, 190 Brush scripts, 52 Contextual alternates, 40, 190–191 A N D, 141, 214 Bullets, 209–210 Contoured type, 110, 112–119 Angled brackets, 214 Contrast, 90 Apostrophes, 199 C Cooke, Nick, 248 Appearance of typefaces: Calligraphers, 81 Copperplate, 50 desirable characteristics in, 74–76 Calligraphic typestyles, -
Adobe® Font Name Reference Table (Fntnames.Pdf)
® Adobe® Font Name Reference Table (Fntnames.pdf) © 1997 Adobe Systems Incorporated. All rights reserved. ® Contents Typeface Trademark Symbols . 3 Introduction . 7 Font Name Reference Table . 11 Package 100 . 25 Package 200 . 42 Package 300 . 57 Package 400 . 74 Appendix A: Font Menu Name Revisions . 82 Appendix B: Trademark Attribution Statements . 91 Adobe Technical Support Technical Adobe ® Typeface Trademark Symbols The following list of trademark attribution symbols is arranged alpha- betically by family name. The name of the originating company (e.g., ITC) and prefixes such as “new” in names like “New Baskerville” were not used for alphabetizing. The trademark attribution statements are in Appendix B of this document. A Aachen™, Agfa®, Aja®, Berthold® Akzidenz Grotesk®, Albertus®, Aldus*, Alexa®, ITC American Typewriter®, Americana®, Amigo™, Andreas™, ITC Anna®, Antique Olive®, Apollo™, Arcadia*, Ariadne*, Arnold Bocklin*, Ashley Script™, New Aster™, Auriol*, ITC Avant Garde Gothic®, Avenir* B Baker Signet™, Balzano™, Banco®, Banshee™, Barmeno™, Berthold Baskerville™, Berthold Baskerville Book®, ITC New Baskerville®, ITC Bauhaus®, ITC Beesknees®, Bellevue™, Belwe™, Bembo®, ITC Benguiat®, ITC Benguiat Gothic®, ITC Berkeley Old Style®, Berliner Grotesk™, Berling™, Bermuda™, Bernhard Bold Condensed*, New Berolina™, Berthold®, Bickham Script™, Biffo™, Birch®, Blackoak®, Block Berthold®, Bauer Bodoni™, Berthold Bodoni®, Berthold Bodoni Old Face™, AG Book™, ITC Bookman®, Boton®, Boulevard™, Briem®, Bulmer™ C PMN Caecilia*, Caflisch Script®, -
STYLE GUIDE Style and Usage Guidelines for Roanoke County’S Official Seal and Branding Mark
STYLE GUIDE Style and Usage Guidelines for Roanoke County’s Official Seal and Branding Mark May 2017 TABLE OF CONTENTS OFFICIAL SEAL BRANDING MARK Official Seal ...............................................................4 Approved Branding Mark ................................... 15 Standard Colors .......................................................5 Standard Colors ..................................................16 Single Color And Reverse Usage .............................6 Single Color And Reverse Usage ........................ 17 Incorrect Usage Examples .......................................7 Incorrect Usage Examples ..................................18 Minimum Size .............................................................8 Minimum Size ........................................................ 19 Minimum Spacing / Space Requirements ........... 8 Minimum Spacing / Space Requirements .......19 Typography / Font .............................................. 8 Typography / Font ..........................................20 Official Seal With Department Names ..................... 9 Branding Mark With Department Names ............21 Usage with Other Agencies .................................... 10 Usage with Other Agencies ..................................22 Usage With Photographs ........................................ 11 Usage With Photographs ......................................23 Flag ........................................................................... 12 Letterhead .............................................................24 -
Available Font List
Available Font List Block is the standard font. If you are looking for a specific symbol You may choose an alternative font or other graphic, contact us for more from this document, which shows information. a representative sampling of the You may also upload your own logo or characters in each font. graphic, in the following formats: • PDF Pack 0 • Bitmap images: Bitmap *.bmp, *.dib / Pack 0 includes basic fonts, such as Arial JPEG *.jpg, *.jpeg / TIFF files *.tif / Unicode font, which covers the largest PNG Import *.png number of alphabets. • Vector images: *.dig / Autocad *.dxf / Pack 1 PostScript *.eps / HPGL *.hpg, *plt / Pack 1 gathers the most used fonts, IGES *.igs / Windows Metafile *.wmf including a full range of Helvetica and • Surface format images Futura fonts. • Vision numeric file formats: *.vnd / *.vnl / *.vnn / *.vna (3D) / Geometric toolpath Pack 2 *.0**, *.p Pack 2 offers many fonts for specific uses: • Viewing VNA files single line and standardized fonts for industry, stencil fonts, dot fonts for glass • 3D formats: 3D Studio ASCII *.asc / engraving, industry and signage symbols. ISO *iso, *.u / IGES *igs / Digitized ISO and Renishaw file *.iso, *.asd / Picza Pack 3 *.vnv Vision numeric native toolpath Pack 3 includes cursive script font, format signet ring relief font, finely crafted font, • Lvec engine: *.dxf, *.cmx, *dwg, *.qbr monogram font, fancy font, emoticons, • Text files: KCD *.txt sport symbols, religious symbols, zodiac signs. This pack also offers more fonts in Arabic, Armenian, Cyrillic, Georgian, Greek and Hebrew alphabets. Pack 4 Pack 4 offers fonts from asian alphabets and a fancy Curlz font. -
Training Your Eye Typefaces Used on This Page: Eurostile Bold Condensed + Regular Times New Roman
Training your eye Typefaces used on this page: Eurostile Bold Condensed + Regular Times New Roman "Human Society, the world, man in his entirety is in the alphabet. The alphabet is a source...first comes the house of man and its construction, then the human body, its build and deformities; then justice, music, the church; war, harvest, geometry; the mountain, nomadic life and se- cluded life, astronomy, toil and rest; the horse and the snake; the hammer and the urn which-- turned over and struck-- makes a bell; trees, river, roads; and fi- nally destiny and God. That is what the alphabet signi- fies.” --Victor Hugo, 1802-1885 1 Training your eye Typefaces used on this page: Eurostile Bold Condensed Times New Roman Hoefler Text Regular Zapfino Regular + glyph X "Human Society, the world, man 12-point type is too large. in his entirety is in the alphabet. The alphabet is a source...first comes the house of man and its Metric Kerning. construction, then the human Line length is too short (not enough body, its build and deformities; words on the line) giving uneven then justice, music, the church; spacing and lots of hyphens. war, harvest, geometry; the Quote marks are ditto marks, not mountain, nomadic life and se- quote marks. cluded life, astronomy, toil and Computer ellipsis is to tightly kerned. rest; the horse and the snake; the hammer and the urn which-- Double hyphen instead of em dash is turned over and struck-- makes OK for an email. a bell; trees, river, roads; and fi- Paragraph space is created by nally destiny and God. -
Ed Benguiat Obituary
Ephram Edward Benguiat 1927-2020 This week we learned of the passing of the most prolific American type designer of the second half of the twentieth century. Ed Benguiat was also a pilot, a philosopher, a skilled raconteur, an engaging personality, and a world-class jazz percussionist. But his legacy will be not merely his great talent but his great adaptability to client needs. In the 1960s, with huge type libraries rare, New York City art directors would pay hundreds of dollars for a couple of words set in a specialized head- line font. If planning a long campaign, that would easily justify designing a typeface, considering also the possibility that somebody else might want to use the same face later. Most of these were not intended for a typeset- ting computer, but rather a filmstrip-driven machine, where each letter was hand-positioned by the operator for optimal fit, usually specified by the client as TNT (Tight, Not Touching). Ed designed hundreds of such faces for his employer, Photo-Lettering Inc., often without being credited for them, although if you see a face with Hand- tooled in its name it’s probably one of his. Because he was designing for art directors with many different opinions, he learned to adapt his design skills to match almost any style. This skill was highlighted shortly after it became possible to buy typesetting machines inexpensively, especially those of Compugraphic Corp. Under- standing that an opportunity existed to market typefaces to owners of these machines, Photo-Lettering created the International Typeface Corporation, ITC, to produce them. -
Typesetting Technologies and Typographic Refinements Reported in the Previous Issue of U&Lc
AdBbCcIdFA, Ff Cig Fih hij Kk H Mm 1Nn Oo Pp Qt.! ft 41V■.:Wv, Zz 12345678908A-11 Ss(' ?( UPPER AND LOWER CASE, THE INTERNATIONAL JOURNAL OF TYPOGRAPHICS PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION, VOLUME FOUR, NUMBER FOUR, DEC. 1977 Fad U&Ic VOLUME 4. NUMBER 4 1977 HERB LUBALIN. EDITORIAL 6. DESIGN DIRECTOR AARON BURNS, EDITORIAL DIRECTOR EDWARD RONDTHALER, EDITORIAL DIRECTOR JACK ANSON FINKE, ASSOCIATE EDITOR ANDY DIDORA. TONY DISPIGNA. LOUISE FILI, LYDIA GERSHEY, KELLY KAO, ANNA McCUSKER, TED SZUMILAS, DOUG TURSHEN, ALAN WOOD, ART & PRODUCTION EDITORS JOHN PRENTKI, BUSINESS AND ADVERTISING MANAGER EDWARD GOTTSCHALL. EDITORIAL ADVERTISING COORDINATOR 0 INTERNATIONAL TYPEFACE CORPORATION 1977 PUBLISHED FOUR TIMES A YEAR IN MARCH,JUNE,SEPTEMBER AND DECEMBER BY INTERNATIONAL TYPEFACE CORPORATION 216 EAST 45TH STREET. NEW YORK, N.Y. 10017 A JOINTLY OWNED SUBSIDIARY OF PHOTO-LETTERING, INC. AND LUBALIN, BURNS & CO. INC. CONTROLLED CIRCULATION POSTAGE PAID AT NEW YORK, N.Y. AND AT FARMINGDALE. N.Y. PUBLISHED IN U.S.A. ITC OFFICERS: EDWARD RONDTHALER, CHAIRMAN AARON BURNS, PRESIDENT HERB LUBALIN EXECUTIVE VICE PRESIDENT JOHN PRENTKI, VICE PRESIDENT, GENERAL MANAGER BOB FARBER, SENIOR VICE PRESIDENT ED BENGUIAT, VICE PRESIDENT STEPHEN KOPEC, VICE PRESIDENT U.S. SUBSCRIPTION TO INDIVIDUAL $6.00: SINGLE COPIES $1.50 ELSEWHERESUBSCRIPTION. SB.00: SINGLE COPIES $2.50 Vision '77 covered much more than the new typesetting technologies and typographic refinements reported in the previous issue of U&lc. It was concerned with everything from information flow and systems to the -role of creative graphics in making communications work; with the experience of companies that have used various typesetting systems; with the viewpoints of educators, designers and typographic services concerning the new machines and materials; and with what the near future holds in store. -
Point Size Is Different from X-Height
x-Height By Allan Haley THE TERM X-HEIGHT REFERS TO THE HEIGHT OF THE LOWERCASE X in a given typeface at any given size. It provides a way of describing the general proportions of any typeface. Conversely, display typefaces are used to entice a reader into text copy, to create a mood or feeling, or to announce important information. Point Size Is Different Than x-Height The point size of a typeface is basically a measure of its overall height, from the top of the tallest character above the baseline to the longest descender beneath the baseline. However, since, over 95 percent of all Latin letters read are lowercase, with proportions that vary from typeface to typeface, their x-height is an important factor in both legibility and readability. It offers a x-heights can vary dramatically from typeface to typeface. highly practical way to classify the size of the vast majority of the characters read. a relatively generous x-height, while Small x-Heights Seemingly similar typefaces may in fact those in the Bernhard Modern family are Although a large letter size may be have very different x-height proportions. usually considered small. preferable in some scenarios, bigger is For example, the lowercase characters in not always better. This visibility usually the Gill Sans typeface family are Large x-Heights comes at a price. As the x-height noticeably smaller than those of the Large x-heights generally make a increases, the length of the ascenders ITC Avant Garde Gothic typeface family. typeface more visible at any given size.