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Miller (typeface)
Miller is a serif typeface, released in 1997 by the Font Bureau, a U.S.-based digital type foundry. It was designed by Matthew Carter and is of the 'transitional' style from around 1800, based on the "Scotch Roman" type which originates from types sold by Scottish type foundries that later became popular in the United States. It is named for William Miller, founder of the long-lasting Miller & Richard type foundry of Edinburgh. The general purpose versions of Miller are Miller Text and the Miller Display optical size for display printing, though since their release they have given rise to a number of variants, including Miller Daily, Miller Headline and Miller Banner, as well as some variants commissioned for use in specific publications. The Miller family is widely used, mostly in newspapers and magazines. Miller is closely related to Carter's previous Scotch Roman revival, the very popular Georgia family for Microsoft. Carter had been working on plans for what became Miller w ... [...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] |
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] |
Point (typography)
In typography, the point is the smallest unit of measure. It is used for measuring font size, leading, and other items on a printed page. The size of the point has varied throughout printing's history. Since the 18th century, the size of a point has been between 0.18 and 0.4 millimeters. Following the advent of desktop publishing in the 1980s and 1990s, digital printing has largely supplanted the letterpress printing and has established the DTP point (DeskTop Publishing point) as the ''de facto'' standard. The DTP point is defined as of an international inch () and, as with earlier American point sizes, is considered to be of a pica. In metal type, the point size of the font describes the height of the metal body on which the typeface's characters were cast. In digital type, letters of a font are designed around an imaginary space called an '' em square''. When a point size of a font is specified, the font is scaled so that its em square has a side length of that parti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Guardian
''The Guardian'' is a British daily newspaper. It was founded in 1821 as ''The Manchester Guardian'', and changed its name in 1959. Along with its sister papers ''The Observer'' and ''The Guardian Weekly'', ''The Guardian'' is part of the Guardian Media Group, owned by the Scott Trust. The trust was created in 1936 to "secure the financial and editorial independence of ''The Guardian'' in perpetuity and to safeguard the journalistic freedom and liberal values of ''The Guardian'' free from commercial or political interference". The trust was converted into a limited company in 2008, with a constitution written so as to maintain for ''The Guardian'' the same protections as were built into the structure of the Scott Trust by its creators. Profits are reinvested in journalism rather than distributed to owners or shareholders. It is considered a newspaper of record in the UK. The editor-in-chief Katharine Viner succeeded Alan Rusbridger in 2015. Since 2018, the paper's main news ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Text Figures
Text figures (also known as non-lining, lowercase, old style, ranging, hanging, medieval, billing, or antique figures or numerals) are numerals designed with varying heights in a fashion that resembles a typical line of running text, hence the name. They are contrasted with lining figures (also called titling or modern figures), which are the same height as upper-case letters. Georgia is an example of a popular typeface that employs text figures by default. Design In text figures, the shape and positioning of the numerals vary as those of lowercase letters do. In the most common scheme, '' 0'', '' 1'', and '' 2'' are of x-height, having neither ascenders nor descenders; '' 6'' and '' 8'' have ascenders; and '' 3'', '' 4'', '' 5'', '' 7'', and '' 9'' have descenders. Other schemes exist; for example, the types cut by the Didot family of punchcutters and typographers in France between the late 18th and early 19th centuries typically had an ascending ''3'' and ''5'', a form pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Porson
Richard Porson (25 December 1759 – 25 September 1808) was an English classical scholar. He was the discoverer of Porson's Law. The Greek typeface '' Porson'' was based on his handwriting. Early life Richard Porson was born at East Ruston, near North Walsham, Norfolk, the eldest son of Huggin Porson, parish clerk. His mother was the daughter of a shoemaker from the neighbouring village of Bacton. He was sent first to the Bacton village school, kept by John Woodrow, and then to that of Happisburgh, kept by Mr Summers, where his extraordinary powers of memory and aptitude for arithmetic were discovered. His literary skill was partly due to the efforts of Summers, who long afterwards stated that in fifty years of scholastic life he had never come across boys so clever as Porson and his two brothers. He was well grounded in Latin by Summers, remaining with him for three years. His father also took pains with his education, making him repeat at night the lessons he had learnt in t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Porson (typeface)
Porson is an influential typeface in the Greek alphabet based on the handwriting of the English classicist Richard Porson. Creation Porson was a classicist with very careful Greek handwriting. His biographer wrote that he "excelled ... in writing with neatness and beauty" and "wrote notes on the margins of books with such studied accuracy that they rivalled print".Watson, 361 The punchcutter Richard Austin was commissioned by the Cambridge University Press to cut a type based on his handwriting, probably from 1806 onwards. It was cast by the Caslon foundry, but it never appeared in their specimens, seemingly as the type was proprietary to Cambridge.Bowman, x It was completed and used only after Porson's death in 1808, seemingly first in 1809 and more in 1810. Legacy After its first appearance, it was soon copied by other founders. By the end of the 19th century, it has become the predominant Greek type used in Britain, with Victor Scholderer's New Hellenic typeface (favored by C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Granjon
Robert Granjon (1513-November 16, 1589/March 1590) was a French type designer and printer. He worked in Paris, Lyon, Frankfurt, Antwerp, and Rome for various printers. He is best known for having introduced the typeface Civilité and for his italic type form, the design of which in modern days is used in Garamond Italic. He worked in Lyon as a librarian, printer, and engraver of typefaces. He married the daughter of Bernard Salomon. The first book in his typeface, Civilité, was ''Dialogue de la vie et de la mort'' by Ringhieri (1557). The invention made such an impact that King Henry II, on December 26, 1557, gave him an exclusive privilege to use the type for ten years. Granjon's italic had a greater slant angle, slanted roman capitals, and reduced weight and rigor. These qualities and its contrasting thick and thin strokes gave it a dazzling appearance that made it difficult to read. It was nevertheless the main influence for italic type design until the Arrighi model was rev ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galliard (typeface)
ITC Galliard is the name of a serif typeface designed by Matthew Carter and issued in 1978 by the Mergenthaler Linotype Company. Galliard is based on the sixteenth-century type of Robert Granjon. According to Alexander Lawson, "The name Galliard stems from Granjon's own term for an 8-point font he cut about 1570. It undoubtedly refers to the style of the face, for the galliard was a lively dance of the period."Lawson, Alexander, ''Anatomy of a Typeface'', Godine, 1990. Explaining what drew him to Granjon's work, Carter wrote on some of his more characteristic letterforms: "looking at them, adjectives like 'spirited, 'tense' and 'vigorous' come to mind...it is easy to admire Granjon's work." Mike Parker, Director of Typographic Development at Mergenthaler Linotype, had been inspired by seeing the types of Granjon at the Plantin-Moretus Museum in Antwerp. Matthew Carter, who joined Mergenthaler Linotype as a typeface designer in 1965, was also an admirer. His father, Harry Carter, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bell (typeface)
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] |
FontShop
FontShop International was an international manufacturer of digital typefaces (fonts), based in Berlin. It was one of the largest digital Type foundry, type foundries. The ''FontFont'' library of fonts contains designs by 160 type designers, among them renowned designers such as Peter Biľak, Evert Bloemsma, Erik van Blokland, Neville Brody, Martin Majoor, Albert-Jan Pool, Hans Reichel, Just van Rossum, Fred Smeijers, and Erik Spiekermann. The aim of FontFont is to offer typefaces by designers for Graphic designer, designers. FontShop International was acquired by Monotype Imaging on July 14, 2014. The deal came as part of Monotype's takeover of many of the other large digital type retailers, including Mergenthaler Linotype Company, Linotype, Monotype Imaging, Monotype, International Typeface Corporation, ITC, and Bitstream Inc., Bitstream. History After founding the first German reseller of typefaces FontShop on June 12, 1991, Joan Spiekermann, Erik Spiekermann, and Neville B ... [...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] |
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