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Permanent Headline
Permanent Headline is a bold, highly compressed sans-serif typeface in the neo-grotesque style. It was designed by Karlgeorg Hoefer for the type foundry Ludwig & Mayer in Frankfurt am Main. It was released from 1964 and later issued by a range of companies in phototypesetting and digital versions. Similar to other common newspaper typefaces intended to be compact, such as Times New Roman, the design has deliberately minimised descenders to save space. This distortion reaches an extreme level in Permanent Headline, with the descenders eliminated and tails such as the curve of the 'y' kept above the baseline. The x-height (height of lower-case letters) is very high. The design is highly folded-up and condensed with narrow apertures, making the design harder to read at distance. Permanent Headline was also released in an "outlined" style and in versions with regular descenders. It was part of a larger “Permanent” sans-serif family without these attributes, which did not achieve ... [...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] |
Counter (typography)
In typography, a counter is the area of a letter that is entirely or partially enclosed by a letter form or a symbol (the counter-space/the hole of). The stroke that creates such a space is known as a "bowl". Latin letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Latin letters containing open counters include c, f, h, s etc. The digits 0, 4, 6, 8, and 9 also possess a counter. An aperture is the opening between an open counter and the outside of the letter. The lowercase ' g' has two typographic variants: the single-storey 'g' has one closed counter and one open counter (and hence one aperture); the double-storey '' has two closed counters. The digit ' 4' also has two typographic variants: the closed-top variant '4' has a closed counter, and an open-top (e.g. handwritten) '' has an open counter. Open and closed apertures Different typeface styles have different tendencies to use open or more closed apertures. This de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Private Eye
''Private Eye'' is a British fortnightly satire, satirical and current affairs (news format), current affairs news magazine, founded in 1961. It is published in London and has been edited by Ian Hislop since 1986. The publication is widely recognised for its prominent criticism and Parody, lampooning of public figures. It is also known for its in-depth investigative journalism into under-reported scandals and cover-ups. ''Private Eye'' is Britain's best-selling current affairs magazine, and such is its long-term popularity and impact that many of recurring in-jokes in Private Eye, its recurring in-jokes have entered popular culture in the United Kingdom. The magazine bucks the trend of declining circulation for print media, having recorded its highest ever circulation in the second half of 2016. It is privately owned and highly profitable. With a "deeply conservative resistance to change", it has resisted moves to online content or glossy format: it has always been printed o ... [...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] |
Impact (typeface)
Impact is a sans-serif typeface in the industrial or grotesk style designed by Geoffrey Lee in 1965 and released by the Stephenson Blake foundry of Sheffield. It is well known for having been included in the core fonts for the Web Core fonts for the Web was a project started by Microsoft in 1996 to create a standard pack of fonts for the World Wide Web. It included the proprietary fonts Andalé Mono, Arial, Arial Black, Comic Sans MS, Courier New, Georgia, Impact, Times Ne ... package and distributed with Microsoft Windows since Windows 98. In the 2010s, it gained popularity for its use in image macros and other internet memes. Design Lee was an advertising design director and designed Impact with posters and publicity material in mind. Its thick strokes, compressed letterspacing, and minimal interior counterform are specifically aimed, as its name suggests, to "have an impact". Impact has a high x-height, reaching nearly to three-quarters the capital line. Ascender (typograp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stephenson Blake
Stephenson Blake is an engineering company based in Sheffield, England. The company was active from the early 19th century as a type founder, remaining until the 1990s as the last active type foundry in Britain, since when it has diversified into specialist engineering. The type foundry began operations in July 1818 by silversmith and mechanic William Garnett and toolmaker John Stephenson, financially supported by James Blake. That November, news came that the breakaway Caslon foundry (formed when William Caslon III left the original firm and acquired Joseph Jackson's foundry in 1792§ ( Caslon foundry 1716; 1764; etc. §) was put up for sale by William Caslon IV. In 1819 the deal was concluded and Blake, Garnett & Co. were suddenly in charge of one of England's most prestigious typefoundries. In 1829 Garnett left to become a farmer. The company was renamed Blake & Stephenson in 1830, but Blake died soon after. It became Stephenson, Blake & Co. in 1841-1905. John Stephenson die ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Compacta (typeface)
Compacta is a condensed sans-serif typeface designed by Fred Lambert for Letraset in 1963. It is visually similar to the typefaces Impact and Haettenschweiler, though Compacta has a distinctively square shape in comparison. Letraset was a dry transfer system, widely used by amateur or small-scale lettering projects, although many professional designers used it as well. Compacta was Letraset's first original typeface design, and proved widely popular. Rights to it were acquired by Linotype and others, leading to it becoming available in other formats such as digitally. Compacta was reportedly designed to be similar to stencilled alphabets of the 1920s and to the 'much lusted-after' Schmalfette Grotesk, an upper-case only predecessor to Haettenschweiler, which had attracted attention among British designers but was not available in the UK. Impact was released slightly later for similar reasons. Lambert taught typography at the London College of Printing as well as working for Let ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Letraset
Letraset was a company known mainly for manufacturing sheets of typefaces and other artwork elements using the dry transfer method. Letraset has been acquired by the Colart group and become part of its subsidiary Winsor & Newton. Corporate history Letraset was founded in London in 1959, with the launch of the Letraset Type Lettering System. In 1961, Letraset came out with their dry transfer lettering system, which pioneered the technique. Starting in 1964, Letraset also applied the dry rub-down transfer technique to create a children's game called Action Transfers, which would later develop into Kalkitos (marketed by Gillette) and many other series of transferable figures that were very popular up to the 1980s.LETRASET was squired by the Swedish stationary company Esselte until 2000 when it was sold to a Management buyout headed up by Martin Gibbs and Michael Travers. Eventually sold to ColArt in 2012. Seeing a decline in the sales of its materials in the early 1990s, Letrase ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Helvetica
Helvetica (originally Neue Haas Grotesk) is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger and Eduard Hoffmann. Helvetica is a neo-grotesque design, one influenced by the famous 19th century (1890s) typeface Akzidenz-Grotesk and other German and Swiss designs. Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and '60s, becoming one of the most popular typefaces of the mid-20th century. Over the years, a wide range of variants have been released in different weights, widths, and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica as originally designed include a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, solid appearance. Developed by the ''Haas'sche Schriftgiesserei'' (Haas Type Foundry) of Münchenst ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Haettenschweiler
Haettenschweiler is a sans-serif typeface in the grotesque style that is very bold and condensed. It is intended for headlines and display text. Schmalfette Grotesk Versions of the font that are now commonly used are descend from an upper-case only design called Schmalfette Grotesk (German for bold condensed sans-serif) by Walter Haettenschweiler that was published in 1954. Schmalfette was published in the book ''Lettera'' (1954) which Haettenschweiler had written with Armin Haab. The ''Lettera'' series collected lettering designs (mostly hand-painted) and original designs, and was often used by designers as a source of inspiration. An early reuse of the design was in the German young peoples' magazine ''Twen''. Microsoft's history of the font, possibly written by Robert Norton (see below) notes that after ''Lettera 4'' was published the design 'was immediately picked up by designers at ''Paris Match'' who cut up pictures of it to make headlines' until it was publicly released. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 letter ''x'' in the font (the source of the term), as well as the letters ''v'', ''w'', and ''z''. (Curved letters such as ''a'', ''c'', ''e'', ''m'', ''n'', ''o'', ''r'', ''s'', and ''u'' tend to exceed the x-height slightly, due to overshoot; ''i'' has a dot that tends to go above x-height.) One of the most important dimensions of a font, x-height defines how high lowercase letters without ascenders are compared to the cap height of uppercase letters. Display typefaces intended to be used at large sizes, such as on signs and posters, vary in x-height. Many have high x-heights to be read clearly from a distance. This, though, is not universal: some display typefaces such as Cochin and Koch-Antiqua intended for publicity uses have low x- ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karlgeorg Hoefer
Karlgeorg Hoefer (6 February 1914 – 8 October 2000) was a German calligrapher and typographer. Hoefer was born in Schlesisch-Drehnow (now Drzonów) in Silesia. He taught typography at the Hochschule für Gestaltung Offenbach (until 1970 "Werkkunstschule Offenbach"). He held several calligraphy workshops for calligraphic societies in Los Angeles, San Francisco, Portland, Boston, Minneapolis-St. Paul, Portland and Washington. In 1987 he founded the Schreibwerkstatt-Klingspor Offenbach and supported the Klingspor Museum in Offenbach am Main. He designed fonts for Linotype, Klingspor, and Ludwig & Mayer, including the Permanent family and Permanent Headline. Today his most commonly seen font is the FE-Schrift, the standard font for German number plate A vehicle registration plate, also known as a number plate (British English), license plate (American English), or licence plate (Canadian English), is a metal or plastic plate attached to a motor vehicle or trailer for of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
