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Rusher's Patent Types
Rusher's Patent Types were the characters of an experimental serif typeface invented, patented and promoted by Philip Rusher in Banbury, England, from 1802 onwards. The typeface removed the descenders from the lower-case letters and shortened the ascenders, which Rusher hoped would make the typeface "more uniform" and save paper. The typeface was used for a few books but did not become popular. Patent Rusher patented the design on 20 May 1802, stating that by his invention "the letters will occupy less room...each line may be placed immediately under the body of the preceding line, and thus a great part of the paper...may be saved, or spaces may be placed between the lines to extend them to the usual distance asunder. In either case the printing will appear more uniform and beautiful". Rusher's patent showed a design for the roman or upright style, and for an italic apparently never manufactured as metal type. Rusher gave his occupation as bankers' clerk in the patent; he becam ... [...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] |
Fine Press
Fine press printing and publishing comprises historical and contemporary printers and publishers publishing books and other printed matter of exceptional intrinsic quality and artistic taste, including both commercial and private presses. History of fine press As part of the Arts and Crafts movement in the late 19th and early 20th centuries, the Englishman William Morris wanted to counter the industrialization of culture through a revival of craft in printing, printmaking, and publishing. One of the books they published was the Kelmscott Chaucer. Soon, fine presses began to spring up in the United States as well. The most prominent was the Roycroft Press. Los Angeles was a center of the fine press movement, particularly centered on the Ward Ritchie press. In the 1920s, San Francisco became known for the elegant publications of John Henry Nash, and likewise became a fine press center on the west coast. List of fine presses United States * Alderbrink Press (1897 - 1928?) * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samuel Johnson
Samuel Johnson (18 September 1709 – 13 December 1784), often called Dr Johnson, was an English writer who made lasting contributions as a poet, playwright, essayist, moralist, critic, biographer, editor and lexicographer. The ''Oxford Dictionary of National Biography'' calls him "arguably the most distinguished man of letters in English history". Born in Lichfield, Staffordshire, he attended Pembroke College, Oxford until lack of funds forced him to leave. After working as a teacher, he moved to London and began writing for ''The Gentleman's Magazine''. Early works include ''Life of Mr Richard Savage'', the poems ''London'' and ''The Vanity of Human Wishes'' and the play ''Irene''. After nine years' effort, Johnson's '' A Dictionary of the English Language'' appeared in 1755, and was acclaimed as "one of the greatest single achievements of scholarship". Later work included essays, an annotated ''The Plays of William Shakespeare'', and the apologue ''The History of R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Commercial Type
Commercial Type is a digital type foundry established in 2007 by type designers Paul Barnes and Christian Schwartz. Its work includes typefaces for ''The Guardian'', such as the Guardian Egyptian series, and other retail and commissioned typefaces. It created the open-source Roboto Serif typeface for Google and several of its typefaces are bundled with macOS macOS (; previously OS X and originally Mac OS X) is a Unix operating system developed and marketed by Apple Inc. since 2001. It is the primary operating system for Apple's Mac computers. Within the market of desktop and lapt .... References External links * * {{authority control Commercial type foundries Design companies established in 2007 Graphic design studios Companies based in Manhattan 2007 establishments in New York City ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Didone (typography)
Didone () is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth. It is characterized by: * Narrow and unbracketed (hairline) serifs. (The serifs have a nearly constant width along their length.) * Vertical orientation of weight axes. (The vertical strokes of letters are thick.) * Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.) * Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.) * An unornamented, "modern" appearance. The term "Didone" is a 1954 coinage, part of the Vox-ATypI classification system. It amalgamates the surnames of the famous typefounders Firmin Didot and Giambattista Bodoni, whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as modern o ... [...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] |
Small Caps
In typography, small caps (short for "small capitals") are characters typeset with glyphs that resemble uppercase letters (capitals) but reduced in height and weight close to the surrounding lowercase letters or text figures. This is technically not a case-transformation, but a substitution of glyphs, although the effect is often approximated by case-transformation and scaling. Small caps are used in running text as a form of emphasis that is less dominant than all uppercase text, and as a method of emphasis or distinctiveness for text alongside or instead of italics, or when boldface is inappropriate. For example, the text "Text in small caps" appears as in small caps. Small caps can be used to draw attention to the opening phrase or line of a new section of text, or to provide an additional style in a dictionary entry where many parts must be typographically differentiated. Well-designed small capitals are not simply scaled-down versions of normal capitals; they normally reta ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ligature (writing)
In writing and typography, a ligature occurs where two or more graphemes or letters are joined to form a single glyph. Examples are the characters æ and œ used in English and French, in which the letters 'a' and 'e' are joined for the first ligature and the letters 'o' and 'e' are joined for the second ligature. For stylistic and legibility reasons, 'f' and 'i' are often merged to create 'fi' (where the tittle on the 'i' merges with the hood of the 'f'); the same is true of 's' and 't' to create 'st'. The common ampersand (&) developed from a ligature in which the handwritten Latin letters 'E' and 't' (spelling , Latin for 'and') were combined. History The earliest known script Sumerian cuneiform and Egyptian hieratic both include many cases of character combinations that gradually evolve from ligatures into separately recognizable characters. Other notable ligatures, such as the Brahmic abugidas and the Germanic bind rune, figure prominently throughout ancient manuscript ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Punchcutting
Punchcutting is a craft used in traditional typography to cut letter punches in steel as the first stage of making metal type. Steel punches in the shape of the letter would be used to stamp matrices into copper, which were locked into a mould shape to cast type. Cutting punches and casting type was the first step of traditional typesetting. The cutting of letter punches was a highly skilled craft requiring much patience and practice. Often the designer of the type would not be personally involved in the cutting. The initial design for type would be two-dimensional, but a punch has depth, and the three-dimensional shape of the punch, as well as factors such as the angle and depth to which it was driven into the matrix, would affect the appearance of the type on the page. The angle of the side of the punch was particularly significant. Process The punchcutter begins by transferring the outline of a letter design to one end of a steel bar. The outer shape of the punch could b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frederic Goudy
Frederic William Goudy (, March 8, 1865 – May 11, 1947) was an American printer, artist and type designer whose typefaces include Copperplate Gothic, Goudy Old Style and Kennerley. He was one of the most prolific of American type designers and his self-named type continues to be one of the most popular in America. Biography Goudy was not always a type designer. "At 40, this short, plump, pinkish, and puckish gentleman kept books for a Chicago realtor, and considered himself a failure. During the next 36 years, starting almost from scratch at an age when most men are permanently set in their chosen vocations, he cut 113 fonts of type, thereby creating more usable faces than did the seven greatest inventors of type and books, from Gutenberg to Garamond." Asked how to say his name, he told ''The Literary Digest'' "When I was a boy my father spelled our name 'Gowdy' which didn't offer any particular reason for verbal gymnastics. Later learning that the old Scots spelling was 'G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Traditional Point-size Names
Fonts originally consisted of a set of moveable type letterpunches purchased from a type foundry. As early as 1600, the sizes of these types—their "bodies"—acquired traditional names in English, French, German, and Dutch, usually from their principal early uses. These names were used relative to the others and their exact length would vary over time, from country to country, and from foundry to foundry. For example, "agate" and "ruby" used to be a single size "agate ruby" of about 5 points; metal type known as "agate" later ranged from 5 to 5.8 points. The sizes were gradually standardized as described above.. Modern Chinese typography uses the following names in general preference to stating the number of points. In ambiguous contexts, the word ''hào'' ( t , s , "number") is added to the end of the size name to clarify the meaning. Note that the Chinese font sizes use American points; the Continental systems traditionally used the Fournier or Didot points. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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