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Monotype Grotesque
Monotype Grotesque is a family of sans-serif typefaces released by the Monotype Corporation for its hot metal typesetting system. It belongs to the grotesque or industrial genre of early sans-serif designs. Like many early sans-serifs, it forms a sprawling family designed at different times. The family was popular in British trade printing, especially its series 215 and 216 regular and bold weights from around 1926, which have been credited to its American-born engineering manager Frank Hinman Pierpont. Several weights have been digitised. History and design Monotype Grotesque is a large family of fonts, including very bold, condensed and extended designs, created at different times. Monotype offered a sans-serif capital alphabet as its fourth typeface cut; others were developed later. Like many early sans-serif designs, it is strongly irregular, with designs created at different times that are adapted to suit each width and style at the expense of consistency. Monotype execut ... [...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] |
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] |
Monotype Typefaces
Monotype fonts were developed by the Monotype company. This name has been used by three firms. Two of them had their roots in "hot metal" or lead type in the printing industry. They did not adapt when the market changed as computer, offset and photographic systems became dominant. These were: * Lanston Monotype Cooperation in Philadelphia, USA * The Monotype Corporation Limited in Salfords, UK A third firm produces fonts for computer use: * Monotype Imaging Inc. The latter firm is in a sense the successor to the English Monotype factory. It has the rights to the original designs, and later obtained rights to many more designs from other sources. The remains of the production archive and what is left of the machines are at the Type Museum in London, England. There the original matrices can still be accessed and parts of the old machines ordered. The collection itself is the property of the British Science Museum. The survival of the Type Museum is threatened since the building ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Grotesque No
Since at least the 18th century (in French and German as well as English), grotesque has come to be used as a general adjective for the strange, mysterious, magnificent, fantastic, hideous, ugly, incongruous, unpleasant, or disgusting, and thus is often used to describe weird shapes and distorted forms such as Halloween masks. In art, performance, and literature, however, ''grotesque'' may also refer to something that simultaneously invokes in an audience a feeling of uncomfortable bizarreness as well as sympathetic pity. The English word first appears in the 1560s as a noun borrowed from French, and comes originally from the Italian ''grottesca'' (literally "of a cave" from the Italian ''grotta'', 'cave'; see grotto), an extravagant style of ancient Roman decorative art rediscovered at Rome at the end of the fifteenth century and subsequently imitated. The word was first used of paintings found on the walls of basements of ruins in Rome that were called at that time ''le Grot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alternate 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] |
Arial
Arial (also called Arial MT) is a sans-serif typeface and set of computer fonts in the neo-grotesque style. Fonts from the Arial family are included with all versions of Microsoft Windows from Windows 3.1 on, some other Microsoft software applications, Apple's macOS and many PostScript 3 computer printers. The typeface was designed in 1982, by Robin Nicholas and Patricia Saunders, for Monotype Typography. Each of its characters has the same width as that character in the popular typeface Helvetica; the purpose of this design is to allow a document designed in Helvetica to be displayed and printed with the intended line-breaks and page-breaks without a Helvetica license. Because of their almost identical appearances, both Arial and Helvetica have commonly been mistaken for each other. The Arial typeface comprises many styles: Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic, Extra Bold, Extra Bold Italic, Light, Light Italic, Narrow, Narrow Italic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phyllis Margaret Handover
Phyllis Margaret Handover (1923-1974), who published as P. M. Handover, was an English writer on typography.'Miss P. M. Handover: Writer on typography', ''The Times ''The Times'' is a British daily national newspaper based in London. It began in 1785 under the title ''The Daily Universal Register'', adopting its current name on 1 January 1788. ''The Times'' and its sister paper ''The Sunday Times'' (fou ...'', 24 July 1974 Works * ''The Site of the Office of the Times: the history from 1276 to 1956 of the site in Blackfriars, consisting of Printing House Square ... and other thoroughfares, the whole now being the freehold property of the Times Publishing Company limited'', Times Publishing Co., 1956 * ''Arbella Stuart, royal lady of Hardwick and cousin to King James'', 1957 * ''The second Cecil: the rise to power, 1563-1604 of Sir Robert Cecil, late first earl of Salisbury'', 1959 * ''Stanley Morison: a second handlist 1950-1959'', 1959 * ''Printing in London : from 1476 to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
James Mosley
James Mosley (born 1935) is a retired librarian and historian whose work has specialised in the history of printing and letter design. The main part of Mosley's career has been 42 years as Librarian of the St Bride Printing Library in London, where he curated and worked to expand the museum's large collection of printing and lettering materials, books and examples. This collection greatly expanded with the close of the metal type era, which saw many companies and printing shops selling off their equipment and archives. Mosley also expanded the library's collection of lettering and signs. He has also been a lecturer and professor at the University of Reading since 1964, and founded the British Printing Historical Society in that year. Particular areas of focus of his career have been, in Britain, William Caslon, Vincent Figgins and Talbot Baines Reed, Eric Gill (with whose brother Evan he worked in the 1950s), and, in Europe, the Romain du Roi. Education Mosley grew up in Twickenh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Deberny & Peignot
Deberny & Peignot (Fonderie Deberny et Peignot) was a French type foundry, created by the 1923 merger of G. Peignot & Fils and Deberny & Cie. It was bought by the Haas Type Foundry (Switzerland) in 1972, which in turn was merged into D. Stempel AG in 1985, then into Linotype GmbH in 1989, and is now part of Monotype Corporation. Starting in 1925, Deberny & Peignot type was distributed in the United States by Continental Type Founders Association. Typefaces These typefaces were produced by Deberny & Peignot:Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. ''The Encyclopedia of Type Faces.'' Blandford Press Lts.: 1953, 1983, , p. 2408-249 * Acier Noir (1936, A.M. Cassandre) * Ancien * Astrée (1921, Robert Girard), the Stephenson Blake version is known as ''Mazarin'' * Auriol, (1901–04, George Auriol) * Auriol-Labeur (George Auriol) * Auriol-Champlevé (George Auriol) * Banjo (1930) * Baskerville (1916), reengraved from the original punches. * Bellery-Desfontaine ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adrian Frutiger
Adrian Johann Frutiger ( ; 24 May 1928 – 10 September 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century. His career spanned the hot metal, phototypesetting and digital typesetting eras. Until his death, he lived in Bremgarten bei Bern. Frutiger's most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neogrotesque, humanist and geometric. Univers was notable for being one of the first sans-serif faces to form a consistent but wide-ranging family, across a range of widths and weights. Frutiger described creating sans-serif types as his "main life's work," partially due to the difficulty in designing them compared to serif fonts. Early life Adrian Frutiger was born in Unterseen, Canton of Bern, the son of a weaver. As a boy, he experimented with invented scripts and stylized handwriting in a negative reaction to the fo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Univers
Univers () is a large sans-serif typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957. Classified as a Grotesque (typeface classification), neo-grotesque sans-serif, one based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths. The original marketing for Univers deliberately referenced the periodic table to emphasise its scope. Univers was one of the first typeface families to fulfil the idea that a typeface should form a family of consistent, related designs. Past sans-serif designs such as Gill Sans had much greater differences between weights, while loose families such as American Type Founders' Franklin Gothic family often were advertised under different names for each style, to emphasise that they were not completely matching. By creating a matched range of styles and weights, Univers allowed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
