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Serif Typefaces
This is a list of typefaces, which are separated into groups by distinct artistic differences. The list includes typefaces that have articles or that are referenced. Superfamilies that fall under more than one category have an asterisk (*) after their name. Serif * Adobe Jenson *Albertus * Aldus *Alexandria * Algerian * Amelia (Designed in 1963 by Stan Davis) * American Typewriter * Antiqua *Arno* * Aster *Aurora ** News 706 *Baskerville *Bell (Didone classification serif type designed by Richard Austin, 1788) * Belwe Roman *Bembo * Bernhard Modern *Bodoni **Bauer Bodoni * Bitstream Charter * Bookman * Bulmer * Caledonia * Calisto MT * Cambria * Capitals * Cartier *Caslon ** Wyld * Caslon Antique / Fifteenth Century * Centaur * Century type family * Charis SIL * Cheltenham * Clearface *Cochin *Computer Modern *Concrete Roman * Constantia * Copperplate Gothic * DejaVu Serif * Didot *Droid Serif * Emerson * Fairfield * Fat face *FF Scala * Fixedsys * Footlight * Friz Quadrata * Gar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Typeface
A typeface (or font family) is the design of lettering that can include variations in size, weight (e.g. bold), slope (e.g. italic), width (e.g. condensed), and so on. Each of these variations of the typeface is a font. There are list of typefaces, thousands of different typefaces in existence, with new ones being developed constantly. The art and craft of designing typefaces is called ''type design''. Designers of typefaces are called ''type designers'' and are often employed by ''type foundry, type foundries''. In desktop publishing, type designers are sometimes also called ''font developers'' or ''font designers''. Every typeface is a collection of glyphs, each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used for character (symbol), characters from different scripts, e.g. Roman uppercase A looks the same as Cyrillic uppercase А and Greek uppercase alpha. There are typefaces tailored for special applications, s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bernhard Modern
Bernhard Modern is a modern style classification serif typeface designed by Lucian Bernhard in 1937 for the American Type Founders (ATF). Lucian Bernhard's Bernhard Modern typeface was the ATF's response to the many popular old-style engraving faces of the early 20th century. A somewhat decorative text typeface, it is distinct for its low 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 le ..., elongated ascenders, and relatively short descenders giving it an appearance of height without requiring excessive leading. Serifs are wide and splayed. The lowercase roman g is unusual for having the upper bowl larger than the lower one. Fordham University, in New York City, currently uses Bernhard Modern as the central typeface of its design identity. Both the 1959 version of ''The T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Century Type Family
Century is a family of serif type faces particularly intended for body text. The family originates from a first design, Century Roman, cut by American Type Founders designer Linn Boyd Benton in 1894 for master printer Theodore Low De Vinne, for use in ''The Century Magazine''. ATF rapidly expanded it into a very large family, first by Linn Boyd, and later by his son Morris. Century is based on the "Scotch" genre, a style of type of British origin which had been popular in the United States from the early nineteenth century and is part of the "Didone" genre of type popular through the entire nineteenth century. Its design emphasizes crispness and elegance, with strokes ending in fine tapers, ball terminals, and crisp, finely pointed serifs. However, compared to many earlier typefaces in the genre, stroke contrast is quite low, creating a less sharp and highly readable structure. With ATF no longer operating, a wide variety of variants and revivals with varying features and quality ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Centaur (typeface)
Centaur is a serif typeface by book and typeface designer Bruce Rogers, based on the Renaissance-period printing of Nicolas Jenson around 1470. He used it for his design of the Oxford Lectern Bible. It was given widespread release by the British branch of Monotype, paired with an italic designed by calligrapher Frederic Warde and based on the slightly later work of calligrapher and printer Ludovico Vicentino degli Arrighi. The italic has sometimes been named separately as the "Arrighi" italic. Centaur is an elegant and quite slender design, lighter on the page than Jenson's work and most other revivals, an effect possibly amplified in the digital release compared to the metal type. It has been popular in fine book printing and is often used both for printing body text and especially titles and headings. One of its most notable uses has been in the designs of Penguin Books, who have regularly used it for titling. Historical background Rogers' primary influence was Nicholas Je ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Caslon Antique
{{Infobox font , name = Caslon Antique , image = Caslon Antique.png , style = Display , date = 1894 , creator = Berne Nadall , foundry = Barnhart Brothers & Spindler , sample = } Caslon Antique is a decorative American typeface that was designed in 1894 by Berne Nadall. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's foundry, Barnhart Bros. & Spindler, in the mid-1920s. The design of the typeface is meant to evoke the Colonial era. Early printers would reuse metal type over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look. Variants An italic variant of the font is also available. In addition to versions available under the traditional name, Corel produces its own version of the font under the name "Casablanca Antique." Notable uses Caslon Antique is popular today when an "old-fashioned" or "gothic" look is desired. It was used in the opening credits of the Jacque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Caslon
Caslon is the name given to serif typefaces designed by William Caslon I (c. 1692–1766) in London, or inspired by his work. Caslon worked as an engraver of punches, the masters used to stamp the moulds or matrices used to cast metal type. He worked in the tradition of what is now called old-style serif letter design, that produced letters with a relatively organic structure resembling handwriting with a pen. Caslon established a tradition of engraving type in London, which previously had not been common, and was influenced by the imported Dutch Baroque typefaces that were popular in England at the time. His typefaces established a strong reputation for their quality and their attractive appearance, suitable for extended passages of text. The letterforms of Caslon's roman, or upright type include an "A" with a concave hollow at top left and a "G" without a downwards-pointing spur at bottom right. The sides of the "M" are straight. The "W" has three terminals at the top ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cartier (typeface)
Cartier is a family of serif old style typefaces designed in 1967 by Carl Dair, who was commissioned by the Governor General of Canada- in-Council to create a new and distinctively Canadian typeface. The first proof of Cartier (in Roman and Italic faces) was published as "the first Canadian type for text composition" to mark the centenary of Canadian Confederation. In 1977 a revival of Cartier was produced under the name ''Raleigh'' by Robert Norton. This typeface was later redesigned by Canadian typographer Rod McDonald in a digital format Digital data, in information theory and information systems, is information represented as a string of discrete symbols each of which can take on one of only a finite number of values from some alphabet, such as letters or digits. An example is .... McDonald's Cartier family removed inconsistencies in the baseline weight, and streamlined the stroke angles to enforce a strong horizontal flow. His work was a form of homage to the validit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Capitals (typeface)
Capitals is a serif font composed entirely of capital letters. Uppercase keystrokes produced normal capitals, while lowercase produced a small caps variant. Capitals was one of the available operating system An operating system (OS) is system software that manages computer hardware, software resources, and provides common services for computer programs. Time-sharing operating systems schedule tasks for efficient use of the system and may also i ... fonts that could be applied to the Macintosh operating system using the Appearance Manager. Apple Inc. typefaces Serif typefaces {{typ-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cambria (typeface)
Cambria is a transitional serif typeface commissioned by Microsoft and distributed with Windows and Office. It was designed by Dutch typeface designer Jelle Bosma in 2004, with input from Steve Matteson and Robin Nicholas. It is intended as a serif font that is suitable for body text, that is very readable printed small or displayed on a low-resolution screen and has even spacing and proportions. It is part of the ClearType Font Collection, a suite of fonts from various designers released with Windows Vista. All start with the letter ''C'' to reflect that they were designed to work well with Microsoft's ClearType text rendering system, a text rendering engine designed to make text clearer to read on LCD monitors. The other fonts in the same group are Calibri, Candara, Consolas, Constantia and Corbel. Design Diagonal and vertical hairlines and serifs are relatively strong, while horizontal serifs are small and intend to emphasize stroke endings rather than stand out themselves ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Calisto MT
Calisto MT is an old style, serif typeface designed for the Monotype Corporation foundry in 1986 by Ron Carpenter, a British typographer. Calisto MT is intended to function as both a typeface for body text and display text. Its stroke contrast is minimal and it preserves an even color, especially in smaller point sizes, which contributes to its great legibility. Its Roman and italic glyphs are animated by serifs and terminals that are cut on an angle to the baseline, and are concavely indented on the terminals, reminiscent of the Belwe and Palatino typeface A typeface (or font family) is the design of lettering that can include variations in size, weight (e.g. bold), slope (e.g. italic), width (e.g. condensed), and so on. Each of these variations of the typeface is a font. There are thousands o ...s. Minuscule glyphs are of a somewhat large corpus size. References *Fiedl, Frederich, Nicholas Ott and Bernard Stein. ''Typography: An Encyclopedic Survey of Type Desi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Caledonia (typeface)
Caledonia is a serif typeface designed by William Addison Dwiggins in 1938 for the Mergenthaler Linotype Company and commonly used in book design. As a transitional serif design, one inspired by the Scotch Roman typefaces of the early nineteenth century, Caledonia has a contrasting design of alternating thick and thin strokes, a design that stresses the vertical axis and sharp, regular serifs on ascenders and descenders. Dwiggins chose the name ''Caledonia'', the Roman name for Scotland, to express the face's basis on Scotch Roman typefaces. However, though Dwiggins began with the thought of copying the classical Scotch Romans, eventually he drew more inspiration from the Bulmer design of William Martin. The G is open and the R has a curved tail. The t is unbracketed. Italic characters p and q have no foot serif. The character set, as drawn by Dwiggins was wide, including ranging (old style) figures, lining figures, and small capitals in the text and bold weights. A Greek versio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bulmer (typeface)
Bulmer is the name given to a serif typeface originally designed by punchcutter William Martin around 1790 for the Shakespeare Press, run by William Bulmer (1757–1830). The types were used for printing the Boydell Shakespeare folio edition. Design and history Bulmer is considered to be a late "transitional" face. Faces in this style, which became most common in the mid to late eighteenth century, were more crisply engraved than earlier faces. William Martin's typefaces show strong influence of the Baskerville typeface of John Baskerville which popularised this style in England, but with more contrast, bolder, narrower and with sharper serifs. His brother Robert Martin had worked as Baskerville's foreman and William Martin probably worked for him too. They also show influence of the crisp new "modern" faces, now called Didones, increasingly popular on the continent. The typeface used "modern" figures, a recent innovation, at nearly capital-height. Although Bulmer wrote in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
