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Optima (typeface)
Optima is a humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, West Germany in 1958. Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima was inspired by classical Roman capitals and the stonecarving on Renaissance-period tombstones Zapf saw in Florence on a 1950 holiday to Italy. Zapf intended Optima to be a typeface that could serve for both body text and titling. To prove its versatility, Zapf set his entire book ''About Alphabets'' in the regular weight. Zapf retained an interest in the design, collaborating on variants and expansions into his eighties. History Interested in calligraphy and the history of Italian printing and lettering, Zapf first visited Italy in 1950. While in Florence, Zapf was particularly interested in the design of the lettering in tombstones of the cemetery of the Basilica of Santa Croce, Florence, Basilica di Santa Croce in Flo ... [...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] |
Carol Twombly
Carol Twombly (born June 13, 1959) is an American designer, best known for her type design. She worked as a type designer at Adobe Systems from 1988 through 1999, during which time she designed, or contributed to the design of, many typefaces, including Trajan, Myriad and Adobe Caslon. Twombly retired from Adobe and from type design in early 1999, to focus on her other design interests, involving textiles and jewelry. A biography of Twombly and her type design career by Nancy Stock-Allen was published in 2016. Education Carol Twombly was born June 13, 1959 in Concord, Massachusetts. She attended and graduated from the Rhode Island School of Design (RISD) where she first studied sculpture, and later changed her major to graphic design. She credits her professors Charles Bigelow and Kris Holmes, whose studio she worked in, for her inspiration and stimulating her interest in typography. Gerard Unger, a visiting instructor at RISD during Twombly's time as a student, also influenc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Titling Capitals
In typography, titling capitals are a variant of uppercase Letter case is the distinction between the Letter (alphabet), letters that are in larger uppercase or capitals (or more formally ''majuscule'') and smaller lowercase (or more formally ''minuscule'') in the written representation of certain lang ... designed for heading and titles. The stroke width is reduced for use at larger point sizes where the stroke weight used in smaller text sizes would be too heavy. Titling faces are often made to complement text faces intended for book typesetting. Titling faces have more open counter-forms. References *Blackwell, Lewis. ''20th Century Type.'' Yale University Press: 2004. . *Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. ''The Encyclopædia of Type Faces.'' Blandford Press Lts.: 1953, 1983. . Typography Book design {{Digital-typography-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Type Color
Type color, or colour, is an element of typography that describes how dense or heavy the text appears on the page. Finding the correct balance of type color and white space can make text more easily readable. The term ''type color'' should not be confused with the usual meaning of color, (i.e. red, yellow, blue); instead it has more to do with the blackness or boldness of the text on the page. A bold font creates more contrast on the page, therefore creates more emphasis. Using a bold font is therefore one way that type color can be adjusted. There are four different decisions a typographer can make that affect the type color. These are the letter spacing, the way the specific font or type is designed, word spacing, and line spacing (leading). Text will appear darker or blacker if the letters are kerned more closely, or if there is less spacing between the lines of text. Other elements that affect type color can be harder to grasp, such as the rhythm of the type, the contrast, a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Italic Type
In typography, italic type is a cursive font based on a stylised form of calligraphic handwriting. Owing to the influence from calligraphy, italics normally slant slightly to the right. Italics are a way to emphasise key points in a printed text, to identify many types of creative works, to cite foreign words or phrases, or, when quoting a speaker, a way to show which words they stressed. One manual of English usage described italics as "the print equivalent of Underline, underlining"; in other words, underscore in a manuscript directs a typesetter to use italic. The name comes from the fact that calligraphy-inspired typefaces were first designed in Italy, to replace documents traditionally written in a handwriting style called chancery hand. Aldus Manutius and Ludovico Arrighi (both between the 15th and 16th centuries) were the main type designers involved in this process at the time. Along with blackletter and Roman type, it served as one of the major typefaces in the history ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oblique Type
Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called slanted or sloped roman styles. Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of counter (typography), counters and the thick-and-thin quality of strokes from the regular design. Type designers have described oblique type as less organic and calligraphic than italics, which in some situations may be preferred. Contemporary type designer Jeremy Tankard st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Optima Nova Specimen
Optima is a humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, West Germany in 1958. Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima was inspired by classical Roman capitals and the stonecarving on Renaissance-period tombstones Zapf saw in Florence on a 1950 holiday to Italy. Zapf intended Optima to be a typeface that could serve for both body text and titling. To prove its versatility, Zapf set his entire book ''About Alphabets'' in the regular weight. Zapf retained an interest in the design, collaborating on variants and expansions into his eighties. History Interested in calligraphy and the history of Italian printing and lettering, Zapf first visited Italy in 1950. While in Florence, Zapf was particularly interested in the design of the lettering in tombstones of the cemetery of the Basilica di Santa Croce in Florence, in which the strokes subtly ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Matthew Carter
Matthew Carter (born 1 October 1937) is a British type designer.Christophe_Plantin.html" ;"title="y Christophe Plantin">y Christophe Plantin' in typography's golden age was in perfect condition (some muddle aside) [along with] Plantin's accounts and inventories which names the cutters of his types." Carter also advised IBM as an independent consultant in the 1980s. Bitstream In 1981, Carter and his colleague Mike Parker created Bitstream Inc. This digital type foundry was one of the largest suppliers of type before its acquisition by Monotype in 2012. The company however did receive extensive criticism for its strategy of cheaply offering digitisations of pre-existing typefaces that it had not designed, often under alternative names (for example, Times New Roman as 'Dutch 801'). While technically not illegal, this selling of large numbers of typefaces on CD would be described by font designer John Hudson as "one of the worst instances of piracy in the history of type". In h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gill Sans
Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards. Gill Sans is based on Edward Johnston's 1916 "Underground Alphabet", the corporate font of London Underground. As a young artist, Gill had assisted Johnston in its early development stages. In 1926, Douglas Cleverdon, a young printer-publisher, opened a bookshop in Bristol, and Gill painted a fascia for the shop for him in sans-serif capitals. In addition, Gill sketched an alphabet for Cleverdon as a guide for him to use for future notices and announcements. By this time Gill had become a prominent stonemason, artist and creator of lettering in his own right and had begun to work on creating typeface designs. Gill was commissioned to develop his alphabet into a full metal type family by his friend Stanley Morison, an influential Monotype executive and historian of printing. Morison hoped that it could be Monotype's competitor to a wave of German sa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Italic Type
In typography, italic type is a cursive font based on a stylised form of calligraphic handwriting. Owing to the influence from calligraphy, italics normally slant slightly to the right. Italics are a way to emphasise key points in a printed text, to identify many types of creative works, to cite foreign words or phrases, or, when quoting a speaker, a way to show which words they stressed. One manual of English usage described italics as "the print equivalent of Underline, underlining"; in other words, underscore in a manuscript directs a typesetter to use italic. The name comes from the fact that calligraphy-inspired typefaces were first designed in Italy, to replace documents traditionally written in a handwriting style called chancery hand. Aldus Manutius and Ludovico Arrighi (both between the 15th and 16th centuries) were the main type designers involved in this process at the time. Along with blackletter and Roman type, it served as one of the major typefaces in the history ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oblique Type
Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called slanted or sloped roman styles. Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of counter (typography), counters and the thick-and-thin quality of strokes from the regular design. Type designers have described oblique type as less organic and calligraphic than italics, which in some situations may be preferred. Contemporary type designer Jeremy Tankard st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Britannic (typeface)
Britannic is a sans-serif typeface family that was sold in metal type by Stephenson Blake. It is a "modulated" or stressed sans-serif design, in which the vertical lines are clearly thicker than the horizontals. The Klingspor Museum reports that it was originally created by the Wagner & Schmidt foundry of Leipzig, Germany. In design it is intended for headings, advertisements and signs rather than continuous body text. Stephenson Blake advertised it as "just the right note for an advertising or display panel". Since Stephenson Blake did not continue operations into digital fonts, a variety of digitisations of different weights and widths of Britannic have been released by different companies. Some releases include an all-capitals condensed weight. The bold weight, digitised by URW, is included with some Microsoft software such as Office. A wry commentary on the design, presumably by Microsoft's typography manager Robert Norton, adds:This interesting face always excites heat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
