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Swash (typography)
A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph. The use of swash characters dates back to at least the 16th century, as they can be seen in Ludovico Vicentino degli Arrighi's ''La Operina,'' which is dated 1522. As with italic type in general, they were inspired by the conventions of period handwriting. Arrighi's designs influenced designers in Italy and particularly in France. Typefaces with swashes Most typefaces with swashes are serif fonts, among which (if present) they are often found solely in italics. Advanced digital fonts often supply two italic designs: one with swashes and a more restrained standard italic. Among old-style typefaces, some releases of Caslon, such as Adobe Caslon, and Garamond, including Adobe Garamond Pro and EB Garamond, have swash designs. Old-style typefaces which include swashes but do not follow a specific historical model include Minion by Robert Slimbach and Nexus by Martin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swash
Swash, or forewash in geography, is a turbulent layer of water that washes up on the beach after an incoming wave has broken. The swash action can move beach materials up and down the beach, which results in the cross-shore sediment exchange. The time-scale of swash motion varies from seconds to minutes depending on the type of beach (see Figure 1 for beach types). Greater swash generally occurs on flatter beaches. The swash motion plays the primary role in the formation of morphological features and their changes in the swash zone. The swash action also plays an important role as one of the instantaneous processes in wider coastal morphodynamics. There are two approaches that describe swash motions: (1) swash resulting from the collapse of high-frequency bores (''f''>0.05 Hz) on the beachface; and (2) swash characterised by standing, low-frequency (''f''20 indicate dissipative conditions where swash is characterised by standing long-wave motion. Values εb<2.5 indicate r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
International Typeface Corporation
The International Typeface Corporation (ITC) was a type manufacturer founded in New York in 1970 by Aaron Burns, Herb Lubalin and Edward Rondthaler. The company was one of the world's first type foundries to have no history in the production of metal type. It is now a wholly owned brand or subsidiary of Monotype Imaging. History The company was founded to design, license and market typefaces for filmsetting and computer set types internationally. The company issued both new designs and revivals of older or classic faces, invariably re-cut to be suitable for digital typesetting use and produced in families of different weights. Although it is claimed that the designers took care to preserve the style and character of the original typefaces, several ITC revivals, such as ITC Bookman and ITC Garamond in particular, have received criticism that the end result was related in name only to the original faces. Among the company's notable type designers was Ed Benguiat, the creator of Tif ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
ITC Zapf Chancery
ITC Zapf Chancery is a family of script typeface Script typefaces are based upon the varied and often fluid stroke created by handwriting. They are generally used for display or trade printing, rather than for extended body text in the Latin alphabet. Some Greek alphabet typefaces, especially ...s designed by the type designer Hermann Zapf and marketed by the International Typeface Corporation. It is one of the three typefaces designed by Zapf that are shipped with computers running Apple's Mac OS. It is one of the core PostScript fonts. History Zapf Chancery was announced in 1979 in six styles from light to bold, the demibold and bold styles being released without italics. It was named after the Chancery hand, English name for a Renaissance handwriting style later adapted as an inspiration for early printing. Variants and similar typefaces Like many typefaces of the period, imitations of Zapf Chancery were created for specific uses and by competing companies. URW Chancery ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Script Typeface
Script typefaces are based upon the varied and often fluid stroke created by handwriting. They are generally used for display or trade printing, rather than for extended body text in the Latin alphabet. Some Greek alphabet typefaces, especially historically, have been a closer simulation of handwriting. Styles Script typefaces are organized into highly regular formal types similar to cursive writing and looser, more casual scripts. Formal scripts A majority of formal scripts are based upon the letterforms of seventeenth and eighteenth century writing-masters like George Bickham, George Shelley and George Snell. The letters in their original form are generated by a quill or metal nib of a pen. Both are able to create fine and thick strokes. Typefaces based upon their style of writing appear late in the eighteenth century and early nineteenth century. Contemporary revivals of formal script faces can be seen in Kuenstler Script and Matthew Carter's typeface Snell Roundhand. Thes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Simonson
Mark Simonson (born 1955) is an American independent type designer who works in St. Paul, Minnesota. Career Simonson has described his typefaces as often being inspired by lettering styles of the past, such as the graphic design of the 1970s, Art Deco graphics and wood type. Simonson’s most popular font family is Proxima Nova (1994, revised 2005), a geometric-grotesque sans-serif design used by companies such as Relativity, BuzzFeed, Mashable, NBC, ''The Onion'' and ''Wired''. As of October 2021, it is the fifth highest-selling family on font sales website MyFonts. His fonts also include Anonymous Pro, a monospaced font designed for programming released under the OFL. Simonson worked as a graphic designer before specialising in type design. His career as a type designer got a boost when his partner Pat won money on the game show ''Who Wants to Be a Millionaire ''Who Wants to Be a Millionaire?'' (often informally called ''Millionaire'') is an international television g ... [...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] |
Zuzana Licko
Zuzana Licko (born Zuzana Ličko, 1961) is a Slovak-born American type designer and visual artist known for co-founding Emigre Fonts, a digital type foundry in Berkeley, CA. She has designed and produced numerous digital typefaces including the popular Mrs Eaves, Modula, Filosofia, and Matrix. As a corresponding interest she also createceramic sculptures and jacquard weavings. Early life Licko was born in , and came to the with h ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mr Eaves
Mrs Eaves is a transitional serif typeface designed by Zuzana Licko in 1996. It is a variant of Baskerville, which was designed in Birmingham, England, in the 1750s. Mrs Eaves adapts Baskerville for use in display contexts, such as headings and book blurbs, through the use of a low x-height and a range of unusual combined characters or ligatures. Mrs Eaves was released by Emigre, a type foundry run by Licko and husband Rudy VanderLans, and has been joined by an 'XL' version for body text, as well as Mr Eaves, a sans-serif companion. Description Mrs Eaves is named after Sarah Eaves, the woman who became John Baskerville's wife. Like his typefaces, John Baskerville was, himself, a controversial character. As Baskerville was setting up his printing and type business, he hired Sarah Eaves as his live-in housekeeper; eventually, her husband Richard abandoned her and their five children, and Mrs Eaves became Baskerville's mistress and eventual helpmate with typesetting and printi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Goudy Sans
Goudy Sans is a sans-serif typeface designed by Frederic Goudy around 1929–1931 and published by Lanston Monotype. Unlike many sans-serifs, which often have an unadorned appearance with a geometric or industrial aesthetic, Goudy Sans has a more organic and decorative structure resembling painted lettering, with flared stroke ends and an avoidance of straight lines, typifying Goudy's taste towards designs with an organic feel. Goudy added several complementary decorative alternate characters. Goudy drew a complementary italic with letterforms inspired by handwriting, decorative features such as swashes and curls, again with a number of decorative alternates. Lewis Blackwell in ''20th-Century Type'' describes it as "something of a sport...with pronounced tendency to the inscriptional in its 'chiselled' junctions". The proportions of the lower-case are slightly condensed. Goudy described the design as not popular in his lifetime and did not give it a specific name; it was publi ... [...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] |
Semplicità
Semplicità is a sans-serif typeface of the geometric style. It was published by the Nebiolo type foundry of Turin, Italy from around 1928. Semplicità, named for the Italian for "simplicity", is an example of the new wave of "geometric" sans-serifs such as Erbar and Futura appearing in the late 1920s and early 1930s. These designs were based on the proportions of the circle and the square and the influence of Roman square capitals, breaking from traditional "grotesque" designs of the nineteenth century. Semplicità, however, has a number of unusual features, including a 'U' with an angle, following the classical model, and an 'f' which descends below the baseline. It is also a "spurless" design, similar to the contemporary Bernhard Gothic and more recently FF Dax, in which most strokes end without terminals. These features give Semplicità an appearance similar to some of the flamboyant, modernist Art Deco lettering of the period. The design of Semplicità has sometimes been ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo (typeface)
Tempo is a 1930 sans-serif typeface designed by R. Hunter Middleton for the Ludlow Typograph company. Tempo is a geometric sans-serif design, closely copying German typefaces in this style, above all Futura, which had attracted considerable attention in the United States. Unlike Futura, however, it has a "dynamic" true italic, with foot serifs suggesting handwriting and optional swash capitals. Tempo was expanded to a sprawling family released over the 1930s and 40s, that () has not been fully digitised. It included the shadow-form display typeface Umbra, which has often been released separately. Some styles had a double-storey 'a' in the usual print form, similar to Erbar, others the single-storey form in the manner of Futura, and numerous alternative characters were available. Digital-period type designer James Puckett describes it as "bonkers; really four typefaces that just got lumped together for the sake of marketing." Middleton also designed a slab-serif typeface in simi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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