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International Typeface Corporation
The International Typeface Corporation (ITC) was a type manufacturer founded in New York in 1970 by Aaron Burns, Herb Lubalin and Edward Rondthaler. The company was one of the world's first type foundries to have no history in the production of metal type. It is now a wholly owned brand or subsidiary of Monotype Imaging. History The company was founded to design, license and market typefaces for filmsetting and computer set types internationally. The company issued both new designs and revivals of older or classic faces, invariably re-cut to be suitable for digital typesetting use and produced in families of different weights. Although it is claimed that the designers took care to preserve the style and character of the original typefaces, several ITC revivals, such as ITC Bookman and ITC Garamond in particular, have received criticism that the end result was related in name only to the original faces. Among the company's notable type designers was Ed Benguiat, the creator of Tif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Typeface
A typeface (or font family) is the design of lettering that can include variations in size, weight (e.g. bold), slope (e.g. italic), width (e.g. condensed), and so on. Each of these variations of the typeface is a font. There are list of typefaces, thousands of different typefaces in existence, with new ones being developed constantly. The art and craft of designing typefaces is called ''type design''. Designers of typefaces are called ''type designers'' and are often employed by ''type foundry, type foundries''. In desktop publishing, type designers are sometimes also called ''font developers'' or ''font designers''. Every typeface is a collection of glyphs, each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used for character (symbol), characters from different scripts, e.g. Roman uppercase A looks the same as Cyrillic uppercase А and Greek uppercase alpha. There are typefaces tailored for special applications, s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bauhaus (typeface)
The Bauhaus typeface design is based on Herbert Bayer's 1925 experimental ''Universal'' typeface and the Bauhaus aesthetic overall. The Bauhaus school sought to modernize, unify and standardize design into an idealistic form that would combine function with aesthetics. One aspect of their many proposed reforms was a series of related Bauhaus typefaces. Common elements of Bauhaus fonts include geometric, sans-serif letterforms. History Contrary to their current perception, in its early years, the Bauhaus school printed serif art nouveau typefaces. After some years of design work at the school, Herbert Bayer and Joost Schmidt created the more recognizable proposals -- sans-serif geometric letterings, with decorative elements of the font removed for a crisp industrial style. In that era, they would only be drafts, and were not manufactured into printing typefaces yet, although they were used for signs, book covers and publications by the Bauhaus. The most well known Bauhaus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Goudy Sans
Goudy Sans is a sans-serif typeface designed by Frederic Goudy around 1929–1931 and published by Lanston Monotype. Unlike many sans-serifs, which often have an unadorned appearance with a geometric or industrial aesthetic, Goudy Sans has a more organic and decorative structure resembling painted lettering, with flared stroke ends and an avoidance of straight lines, typifying Goudy's taste towards designs with an organic feel. Goudy added several complementary decorative alternate characters. Goudy drew a complementary italic with letterforms inspired by handwriting, decorative features such as swashes and curls, again with a number of decorative alternates. Lewis Blackwell in ''20th-Century Type'' describes it as "something of a sport...with pronounced tendency to the inscriptional in its 'chiselled' junctions". The proportions of the lower-case are slightly condensed. Goudy described the design as not popular in his lifetime and did not give it a specific name; it was publi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Golden Type
The Golden Type is a serif font designed by artist William Morris for his fine book printing project, the Kelmscott Press, in 1890. It is an "old-style" serif font, based on type designed by engraver and printer Nicolas Jenson in Venice around 1470. It is named for the ''Golden Legend'', which was intended to be the first book printed using it. The original design has neither an italic nor a bold weight, as neither of these existed in Jenson's time. Morris's aim in the Kelmscott Press was to revive the style of early printing and medieval manuscripts, and the design accordingly is a profound rejection of the harsh, industrial aesthetic of the contemporary Didone typefaces used at the time in general-purpose printing, and also of the relatively pallid "modernised old style" designs popular in books. Instead, the design has a relatively heavy "colour" on the page. The design is a loose revival, somewhat bolder than Jenson's original engraving, giving it something of the appearanc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Golden Cockerel Press
The Golden Cockerel Press was an English fine press operating between 1920 and 1961. History The private press made handmade limited editions of classic works. The type was hand-set and the books were printed on handmade paper, and sometimes on vellum. A feature of Golden Cockerel books was the original illustrations, usually wood engravings, contributed by artists including Eric Gill, Robert Gibbings, Peter Claude Vaudrey Barker-Mill, John Buckland Wright, Blair Hughes-Stanton, Agnes Miller Parker, David Jones, Mark Severin, Dorothea Braby, Lettice Sandford, Gwenda Morgan, Mary Elizabeth Groom and Eric Ravilious. Hal Taylor's foundation (1920–1924) The Golden Cockerel Press was founded by Harold (Hal) Midgley Taylor (1893–1925) in 1920 and was first in Waltham St Lawrence in Berkshire where he had unsuccessfully tried fruit farming. Taylor bought an army surplus hut and assembled it in Waltham St Lawrence as a combined workshop and living quarters. The Press was set ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Friz Quadrata
Friz Quadrata is a Vox-ATypI classification#Glyphic, glyphic serif typeface designed by Ernst Friz and Victor Caruso for Visual Graphics Corporation in 1965. VGC worked with the International Typeface Corporation to create an additional, bold weight. It is currently available from the International Typeface Corporation, ITC and Mergenthaler Linotype Company, Linotype foundries. Because of its level of detail and graphic weight, it is often used as a display font, for short texts and headlines. Usage Friz Quadrata is highly recognizable, and its strong, classic look has been used by a range of institutions and entities; the regular version was used for all official logos of the Chile, Chilean government until 2010. It is the typeface for the Quebec wordmark and on the identifying signage of 1 Police Plaza, the headquarters of the New York City Police Department. The Computer Entertainment Rating Organization of Japan uses the bold font for its logo, with Helvetica Black used for let ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Freestyle Script
Freestyle Script is an informal display script typeface that was designed by Colin Brignall in 1969 and Martin Wait in 1981, by Letraset. Freestyle Script is famously used for commercials in 1980s, birthday cards, decorative, logos and many others. The bold version was designed in 1986. The publishers of this font are Adobe, ITC, Monotype Imaging, Elsner+Flake, Esselte Corporation, Scangraphic Type, Linotype, Image Club, and Letraset. This font has few versions, namely Regular, Bold, LT, Plain, LET, EF, SB, SH, SH Reg Alt, and SB Reg Alt. Freestyle Script font supports up to 78 different languages for cursive (plain) and 33 different languages for other styles (Regular, Bold, Alt, etc.). The Cyrillic version of Freestyle Script was created in 1993, consisting of the glyphs in Latin supplement. The font has been included in MyFonts since 2000. History Freestyle Script was first designed by Colin Brignall in 1969 and then by Martin Wait in 1981 for regular and cursive font. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Franklin Gothic
Franklin Gothic and its related faces are a large family of sans-serif typefaces in the industrial or grotesque style developed in the early years of the 20th century by the type foundry American Type Founders (ATF) and credited to its head designer Morris Fuller Benton. “Gothic” was a contemporary term (now little-used except to describe period designs) meaning sans-serif. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards. Despite a period of eclipse in the 1930s, after the introduction of European faces like Kabel and Futura, they were re-discovered by American designers in the 1940s and have remained popular ever since. Benton's Franklin Gothic family is a set of solid designs, particularly suitable for display and trade use such as headlines rather than for extended text. Many versions and adaptations have been made since. Probably ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eras
Eras is a humanist sans-serif typeface designed by Albert Boton and Albert Hollenstein and was released by the International Typeface Corporation (ITC) in 1976. Eras is licensed by the Linotype type foundry. A distinct and curious feature of Eras is its slight, 3-degree right tilt. Eras follows ITC's formulary of increased x-height, and multiple weights from light to ultra bold, though because all weights are slightly slanted, no italic version of the font is supplied. Eras is further distinct for its open bowls on the characters a, P, R, 6, and 9. The letter W changes shape from a merged 'double V' shape in the lighter variants to the standard W symbol in the bolder variants. The typeface has been widely used by Telecom Italia Mobile as a corporate typeface TIM stopped use of Eras in 2016. It was also used in the emblem and image of the 1998 FIFA World Cupbr> in the credits for the movie ''Caddyshack'' and in the video games ''Tekken Tag Tournament'', '' Jet Ion GP'' and '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cheltenham (typeface)
Cheltenham is a typeface for display use designed in 1896 by architect Bertram Goodhue and Ingalls Kimball, director of the Cheltenham Press. The original drawings were known as ''Boston Old Style'' and were made about 14" high. These drawings were then turned over to Morris Fuller Benton at American Type Founders (ATF) who developed it into a final design. Trial cuttings were made as early as 1899 but the face was not complete until 1902. The face was patented by Kimball in 1904. Later the basic face was spun out into an extensive type family by Morris Fuller Benton. Cheltenham is not based on a single historical model, and shows influences of the Arts and Crafts Movement. Originally intended as a text face, "Chelt" became hugely successful as the "king of the display faces." Part of the face's huge popularity is because, as it has elements of both an old style and transitional face, a Cheltenham headline complements virtually any body type. The overwhelming popularit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charter (typeface)
Bitstream Charter is a serif typeface designed by Matthew Carter in 1987 for Bitstream Inc. Charter is based on Pierre-Simon Fournier’s characters, originating from the 18th century. Classified by Bitstream as a transitional-serif typeface (Bitstream Transitional 801), it also has features of a slab-serif typeface and is often classified as such. Charter was originally optimized for printing on the low-resolution 300 dpi laser printers of the 1980s, and remains suitable for printing on both modern high-resolution laser printers and inexpensive lower resolution inkjet printers due to its strong, legible design. Its structure was optimised for low-memory computers and printers. In a 2013 interview, Carter explained that it used "a very simplified structure and a minimum number of curves, more straight-line segments... very economical compared to, say, Times New Roman," but noted that rapid development of printers made this unnecessary even before he had finished the design. In i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Century Type Family
Century is a family of serif type faces particularly intended for body text. The family originates from a first design, Century Roman, cut by American Type Founders designer Linn Boyd Benton in 1894 for master printer Theodore Low De Vinne, for use in ''The Century Magazine''. ATF rapidly expanded it into a very large family, first by Linn Boyd, and later by his son Morris. Century is based on the "Scotch" genre, a style of type of British origin which had been popular in the United States from the early nineteenth century and is part of the "Didone" genre of type popular through the entire nineteenth century. Its design emphasizes crispness and elegance, with strokes ending in fine tapers, ball terminals, and crisp, finely pointed serifs. However, compared to many earlier typefaces in the genre, stroke contrast is quite low, creating a less sharp and highly readable structure. With ATF no longer operating, a wide variety of variants and revivals with varying features and quality ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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