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Akzidenz-Grotesk
Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. ''german: label=none, italic=no, "Akzidenz"'' indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to fine printing, and "grotesque" was a standard name for sans-serif typefaces at the time. Originating during the late nineteenth century, Akzidenz-Grotesk belongs to a tradition of general-purpose, unadorned sans-serif types that had become dominant in German printing during the nineteenth century. Relatively little-known for a half-century after its introduction, it achieved iconic status in the post-war period as the preferred typeface of many Swiss graphic designers in what became called the 'International' or 'Swiss' design style which became popular across the Western world in the 1950s and 1960s. Its simple, neutral design has also influenced many later typefaces. It has sometimes been sold as Standard i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Akzidenz-Grotesk Variations
Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. ''german: label=none, italic=no, "Akzidenz"'' indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to fine printing, and "grotesque" was a standard name for sans-serif typefaces at the time. Originating during the late nineteenth century, Akzidenz-Grotesk belongs to a tradition of general-purpose, unadorned sans-serif types that had become dominant in German printing during the nineteenth century. Relatively little-known for a half-century after its introduction, it achieved iconic status in the post-war period as the preferred typeface of many Swiss graphic designers in what became called the 'International' or 'Swiss' design style which became popular across the Western world in the 1950s and 1960s. Its simple, neutral design has also influenced many later typefaces. It has sometimes been sold as Standard i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sans-serif
In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. Sans-serif typefaces have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word , meaning "without" and "serif" of uncertain origin, possibly from the Dutch word meaning "line" or pen-stroke. In printed media, they are more commonly used for display use and less for body text. Before the term "sans-serif" became common in English typography, a number of other terms had been used. One of these outmoded terms for sans-serif was gothic, which is still used in East Asian typography and sometimes seen in typeface na ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sans-serif
In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. Sans-serif typefaces have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word , meaning "without" and "serif" of uncertain origin, possibly from the Dutch word meaning "line" or pen-stroke. In printed media, they are more commonly used for display use and less for body text. Before the term "sans-serif" became common in English typography, a number of other terms had been used. One of these outmoded terms for sans-serif was gothic, which is still used in East Asian typography and sometimes seen in typeface na ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Berthold Type Foundry
H. Berthold AG was one of the largest and most successful type foundries in the world for most of the modern typographic era, making the transition from foundry type to cold type successfully and only coming to dissolution in the digital type era. History H. Berthold was founded in Berlin in 1858 by Hermann Berthold, initially to make machined brass printer's rule. It then moved into casting metal type particularly after 1893. The company played a key role in the introduction of major new typefaces and was a successful player in the development of typesetting machines. The production premises were on Wilhelmstrasse No. 1 until 1868, and then on Mehringdamm 43. In 1979 the factory moved to another location between Teltow Canal and Wiesenweg in Lichterfelde. The H. Berthold foundry's most celebrated family of typefaces is arguably Akzidenz-Grotesk (released 1898), an early sans-serif which prefigured by half a century the release of enormously popular neo-grotesque faces such as H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Optical Size
In metal typesetting, a font is a particular size, weight and style of a typeface. Each font is a matched set of type, with a piece (a "sort") for each glyph. A typeface consists of a range of such fonts that shared an overall design. In modern usage, with the advent of computer fonts, the term "font" has come to be used as a synonym for "typeface", although a typical typeface (or "font family") consists of a number of fonts. For instance, the typeface "Bauer Bodoni" (sample shown here) includes fonts "Roman" (or "Regular"), " Bold" and ''" Italic"''; each of these exists in a variety of sizes. The term "font" is correctly applied to any one of these alone but may be seen used loosely to refer to the whole typeface. When used in computers, each style is in a separate digital "font file". In both traditional typesetting and modern usage, the word "font" refers to the delivery mechanism of the typeface. In traditional typesetting, the font would be made from metal or wood type: ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Didone (typography)
Didone () is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth. It is characterized by: * Narrow and unbracketed (hairline) serifs. (The serifs have a nearly constant width along their length.) * Vertical orientation of weight axes. (The vertical strokes of letters are thick.) * Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.) * Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.) * An unornamented, "modern" appearance. The term "Didone" is a 1954 coinage, part of the Vox-ATypI classification system. It amalgamates the surnames of the famous typefounders Firmin Didot and Giambattista Bodoni, whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as modern o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metal Type
In typesetting, a sort or type is a block with a typographic character etched on it, which is lined up with others to print text. In movable-type printing, the sort or type is cast from a matrix mold and assembled by hand with other sorts bearing additional characters into lines of type to make up a ''form'', from which a page is printed. Background From the invention of movable type up to the invention of hot metal typesetting essentially all printed text was created by selecting sorts from a type case and assembling them line by line into a form used to print a page. When the form was no longer needed all of the type had to be sorted back into the correct slots in the type case in a very time-consuming process called "distributing". This sorting process led to the individual pieces being called sorts. It is often claimed to be the root of expressions such as "out of sorts" and "wrong sort", although this connection is disputed. During the hot metal typesetting era, pri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Blackletter
Blackletter (sometimes black letter), also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 until the 17th century. It continued to be commonly used for the Danish, Norwegian, and Swedish languages until the 1870s, and for the German language until the 1940s, when Hitler's distaste for the supposedly "Jewish-influenced" script saw it officially discontinued in 1941. Fraktur is a notable script of this type, and sometimes the entire group of blackletter faces is incorrectly referred to as Fraktur. Blackletter is sometimes referred to as Old English, but it is not to be confused with the Old English language, which predates blackletter by many centuries and was written in the insular script or in Futhorc. Along with Italic type and Roman type, blackletter served as one of the major typefaces in the history of Western typography. Origins Carolingian minuscule was the direct ancestor of blackletter. Blacklett ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Walter Tracy
Walter Valentine Tracy RDI (14 February 1914 – 28 April 1995) was an English type designer, typographer and writer. Biography Walter Tracy was born in Islington, London and attended Shoreditch Secondary school. At the age of fourteen he was apprenticed to the large printing firm William Clowes as a compositor. When he had completed his apprenticeship, Tracy went to work in the typographic studio of The Baynard Press, a printing house. From 1938 to 1946, Tracy had been rejected by the army's medical examination, he worked in an advertising agency as a print buyer. From 1947 Tracy began to work part-time for the British Linotype & Machinery Ltd. (L&M) company, a subsidiary of Mergenthaler Linotype. The following year he was hired as a full-time employee by L&M, where he was going to spend the following 30 years. There he became involved with designing typefaces for newspapers, and classified advertising. His typeface Jubilee, designed to be more robust than Stanley Moris ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counter (typography)
In typography, a counter is the area of a letter that is entirely or partially enclosed by a letter form or a symbol (the counter-space/the hole of). The stroke that creates such a space is known as a "bowl". Latin letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Latin letters containing open counters include c, f, h, s etc. The digits 0, 4, 6, 8, and 9 also possess a counter. An aperture is the opening between an open counter and the outside of the letter. The lowercase ' g' has two typographic variants: the single-storey 'g' has one closed counter and one open counter (and hence one aperture); the double-storey '' has two closed counters. The digit ' 4' also has two typographic variants: the closed-top variant '4' has a closed counter, and an open-top (e.g. handwritten) '' has an open counter. Open and closed apertures Different typeface styles have different tendencies to use open or more closed apertures. This de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Walbaum (typeface)
Walbaum is the name given to serif typefaces in the "Didone" or modern style that are, or revive the work of early nineteenth-century punchcutter Justus Erich Walbaum (1768 – 1837), based in Goslar and then in Weimar. Walbaum-style typefaces are "rational" in design, with minimal serifs and strong contrast between thin horizontal and thick vertical strokes, following the work of typefounders such as Firmin Didot and Giambattista Bodoni. They are often used in publishing and remain very popular in Germany. Walbaum also designed fraktur blackletter typefaces, which (while not stylistically related) similarly have a structured and precise design. Walbaum sold the materials of his foundry to Brockhaus, who in turn sold them to the Berthold Type Foundry. In the twentieth century, Walbaum's type regained popularity through its sale by Berthold and copies were made by several companies. Digital revivals exist from František Štorm (in a release with optical sizes), Monotype (a 1933 ve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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