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List Of Serif Typefaces
This list of samples of serif typefaces details standard serif fonts used in printing, classical typesetting and printing. __TOC__ List of samples Additional serif typefaces * Algerian * Allegro * Aurora * Belwe Roman * Book Antiqua (Monotype's imitation of Palatino) * Berkeley Old Style * Candida * Cartier * Century Old Style * Charis SIL * Cholla Slab * Clearface * Concrete Roman * Corona * Doves Type * Egyptienne * Elephant * Excelsior * Fairfield * Guardian Egyptian * Hightower Text * Imprint * Lexicon * Lexia * Memphis * Miller * Renault * Roman (vector font included with Windows 3.1) * Skeleton Antique * Sylfaen * Tower * XITS {{div col end See also *Fixedsys *List of display typefaces *List of monospaced typefaces * List of sans serif typefaces *List of script typefaces Serif Serif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Serif
In typography, a serif () is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts. A typeface or "font family" making use of serifs is called a serif typeface (or serifed typeface), and a typeface that does not include them is sans-serif. Some typography sources refer to sans-serif typefaces as "grotesque" (in German, ) or "Gothic", and serif typefaces as "roman". Origins and etymology Serifs originated from the first official Greek writings on stone and in Latin alphabet with inscriptional lettering—words carved into stone in Roman antiquity. The explanation proposed by Father Edward Catich in his 1968 book ''The Origin of the Serif'' is now broadly but not universally accepted: the Roman letter outlines were first painted onto stone, and the stone carvers followed the brush marks, which flared at stroke ends and corners, creating serifs. Another theory is that serifs were devised to neate ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aster (typeface)
The Aster typeface, which originated in Italy, was designed in 1958 by Francesco Simoncini for Simoncini SA Simoncini SA was a manufacturer of linecaster matrices established by Italian type designer Francesco Simoncini shortly after the Second World War. Simoncini had worked with the Ludwig & Mayer foundry before becoming the founder and managing di ... to be used in newspapers and books. This typeface is fairly wide with detailed, delicate serifs; it also has short ascenders and descenders for economy of space. The New Aster font family offers a few distinguishing marks, like the spurs of capitals A, N, V and W. References Modern serif typefaces Letterpress typefaces Photocomposition typefaces Digital typefaces Typefaces and fonts introduced in 1958 {{typ-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giambattista Bodoni
Giambattista Bodoni (, ; 16 February 1740 – 30 November 1813) was an Italian typographer, type-designer, compositor, printer, and publisher in Parma. He first took the type-designs of Pierre Simon Fournier as his exemplars, but afterwards became an admirer of the more modelled types of John Baskerville; and he and Firmin Didot evolved a style of type called "Modern", in which the letters are cut in such a way as to produce a strong contrast between the thick and thin parts of their body. Bodoni designed many typefaces, each one in a large range of type sizes. He is even more admired as a compositor than as a type designer, as the large range of sizes which he cut enabled him to compose his pages with the greatest possible subtlety of spacing. Like Baskerville, he sets off his texts with wide margins and uses little or no illustrations or decorations. Bodoni achieved an unprecedented level of technical refinement, allowing him to faithfully reproduce letterforms with very thin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lucian Bernhard
Lucian Bernhard (March 15, 1883 – May 29, 1972) was a German graphic designer, type designer, professor, interior designer, and artist during the first half of the twentieth century. Career He was influential in helping create the design style known as '' Plakatstil'' (Poster Style), which used reductive imagery and flat-color as well as ''Sachplakat'' ('object poster') which restricted the image to simply the object being advertised and the brand name. He was also known for his designs for Stiller shoes, Manoli cigarettes, and Priester matches. Though he studied briefly at the Akademie in Munich, he was largely self-taught. He moved to Berlin in 1901 where he worked as a poster designer and art director for magazines. In 1920, he became a professor at the Akademie der Künste until 1923, when he emigrated to New York City. In 1928, he opened the Contempora Studio with Rockwell Kent, Paul Poiret, Bruno Paul, and Erich Mendelsohn where he worked as a graphic artist and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bernhard Modern
Bernhard Modern is a modern style classification serif typeface designed by Lucian Bernhard in 1937 for the American Type Founders (ATF). Lucian Bernhard's Bernhard Modern typeface was the ATF's response to the many popular old-style engraving faces of the early 20th century. A somewhat decorative text typeface, it is distinct for its low x-height upright 2.0, alt=A diagram showing the line terms used in typography In typography, the x-height, or corpus size, is the distance between the baseline and the mean line of lowercase letters in a typeface. Typically, this is the height of the le ..., elongated ascenders, and relatively short descenders giving it an appearance of height without requiring excessive leading. Serifs are wide and splayed. The lowercase roman g is unusual for having the upper bowl larger than the lower one. Fordham University, in New York City, currently uses Bernhard Modern as the central typeface of its design identity. Both the 1959 version of ''The T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ed Benguiat
Ephram Edward Benguiat (; October 27, 1927October 15, 2020) was an American type designer and lettering artist. He designed over 600 typefaces, including Tiffany, Bookman, Panache, Souvenir, Edwardian Script, and the eponymous Benguiat and Benguiat Gothic. He was also known for his designs or redesigns of the logotypes for ''Esquire'', ''The New York Times'', ''Playboy'', ''McCall’s'', ''Reader’s Digest'', ''Photography'', '' Look'', ''Sports Illustrated'', ''The Star-Ledger'', ''The San Diego Tribune'', AT&T, A&E, Coke, Estée Lauder, Ford, and others. Other notable examples of Benguiat’s work are the logotypes for the original ''Planet of the Apes'' film, '' Super Fly'' and '' The Guns of Navarone,'' and the typeface for the opening credits for ''Stranger Things''. Early life Benguiat was born in Brooklyn, New York, on October 27, 1927 to Rose Nahum and Jack Benguiat. His mother was a driver with the Red Cross, and his father was a display director in the department s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Benguiat
ITC Benguiat is a decorative serif typeface designed by Ed Benguiat and released by the International Typeface Corporation (ITC) in 1977. The face is loosely based upon typefaces of the Art Nouveau period but is not considered an academic revival. The face follows ITC's design formulary of an extremely high x-height, combined with multiple widths and weights. The original version of 1977 contained numerous nonstandard ligatures (such as AB, AE, AH, AK, AR, LA, SS, TT) and alternate shapes for some letters which were not carried into the digital version. The font family consists of 3 weights at 2 widths each, with complementary italic. It is also sold as 'Formal 832' by Bitstream. ITC Benguiat Pro It is a version released in September 2008. It includes support for Central European and many Eastern European characters. ITC Benguiat Gothic ITC Benguiat Gothic is a sans-serif variant for the original serif font family. Both faces are loosely based upon typefaces of the Art Nouvea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stanley Morison
Stanley Arthur Morison (6 May 1889 – 11 October 1967) was a British typographer, printing executive and historian of printing. Largely self-educated, he promoted higher standards in printing and an awareness of the best printing and typefaces of the past. From the 1920s Morison became an influential adviser to the British Monotype Corporation, advising them on type design. His strong aesthetic sense was a force within the company, which starting shortly before his joining became increasingly known for commissioning popular, historically influenced designs that revived some of the best typefaces of the past, with particular attention to the middle period of printing from the Renaissance to the late eighteenth century, and creating and licensing several new type designs that would become popular. Original typefaces commissioned under Morison's involvement included Times New Roman, Gill Sans and Perpetua, while revivals of older designs included Bembo, Ehrhardt and Bell. Times N ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bembo
Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text. It is a member of the " old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman". Bembo is named for Manutius's first publication with it, a small 1496 book by the poet and cleric Pietro Bembo. The italic is based on work by Giovanni Antonio Tagliente, a calligrapher who worked as a printer in the 1520s, after the time of Manutius and Griffo. Monotype created Bembo during a period of renewed interest in the printing of the Italian Renaissance, under the influence of Monotype executive and printing historian Stanley Morison. It followed a previous more faithful revival of Manutius's work, Poliphilus, whose reputation it largely eclipsed. Monotype also created a second, much more eccentric italic for it ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Austin (punchcutter)
Richard Austin (1756–1832) was an England, English punchcutting, punchcutter. He was the original cutter of the typefaces now known as ''Bell'', ''Scotch Roman'', and ''Porson.'' Born in London 4 August 1756 and christened at St Luke's Old Street, he studied seal, die and copper-plate engraving as an apprentice to John Phillips near Finsbury Square. He married Phillips' daughter Sarah and set up on his own about 1786. He was hired by John Bell (publisher), John Bell's British Letter Foundry in 1788 as a punch-cutter, to imitate Didot's 1782 types "de la troisième manière," cut by Pierre Vafflard to F-A Didot's designs. Bell sold his interest in the foundry to S & C Stephenson. When the foundry closed in 1797, Austin brought in his own punches and sold strikes to Fry & Steele, Vincent Figgins, Figgins, and Caslon. Strikes were even sold in North America. Austin cut Greek types for Cambridge University Press in 1806–8, following designs provided by the famous master Richard Po ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bell (Monotype)
Bell is the name given to a serif typeface designed and cut in 1788 by the punchcutter Richard Austin for the British Letter Foundry, operated by publisher John Bell, and revived several times since. The Bell typeface has a precise appearance that features stylish contrasts between thick and thin strokes and ball terminals on many letters; it was influenced by the radical Didone styles of type becoming popular on the continent, in particular the work of the Didot family. However, it is less severe in design, somewhat similar to the earlier Baskerville and slightly later Bulmer typefaces. The figures are distinctive for being at fixed height, or lining, at approximately three-quarter the height of the capitals, in contrast to earlier numerals of variable height. The figures have a number of elaborate details reminiscent of the steely calligraphy of the period, and the slight inclination of some of them led Walter Tracy to suggest that Austin was following a written example. In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bodoni
Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction. When first released, Bodoni and other didone fonts were called classical designs because of their rational structure. However, these fonts were not updated versions of Roman or Renaissance letter styles, but new designs. They came to be called 'modern' serif fonts; since the mid-20th century, t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
