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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] |
Tempo Medium Italic Type Specimen (24552250119)
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often indic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stylistic Alternate
In metal typesetting, a font is a particular size, weight and style of a typeface. Each font is a matched set of type, with a piece (a "sort") for each glyph. A typeface consists of a range of such fonts that shared an overall design. In modern usage, with the advent of computer fonts, the term "font" has come to be used as a synonym for "typeface", although a typical typeface (or "font family") consists of a number of fonts. For instance, the typeface "Bauer Bodoni" (sample shown here) includes fonts "Roman" (or "Regular"), "Bold" and ''" Italic"''; each of these exists in a variety of sizes. The term "font" is correctly applied to any one of these alone but may be seen used loosely to refer to the whole typeface. When used in computers, each style is in a separate digital "font file". In both traditional typesetting and modern usage, the word "font" refers to the delivery mechanism of the typeface. In traditional typesetting, the font would be made from metal or wood type: t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Letterpress Typefaces
Letterpress printing is a technique of relief printing. Using a printing press, the process allows many copies to be produced by repeated direct impression of an inked, raised surface against sheets or a continuous roll of paper. A worker composes and locks movable type into the "bed" or "chase" of a press, inks it, and presses paper against it to transfer the ink from the type, which creates an impression on the paper. In practice, letterpress also includes other forms of relief printing with printing presses, such as wood engravings, photo-etched zinc "cuts" (plates), and linoleum blocks, which can be used alongside metal type, or wood type in a single operation, as well as stereotypes and electrotypes of type and blocks. With certain letterpress units, it is also possible to join movable type with slugs cast using hot metal typesetting. In theory, anything that is "type high" and so forms a layer exactly 0.918 in. thick between the bed and the paper can be printed using l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
House Industries
House Industries is a type foundry and design studio based in Yorklyn, Delaware. The company was created in the 1990s in Wilmington, Delaware by co-founders Andy Cruz and Rich Roat. The company is best known for its typeface creations, which have appeared on television (e.g. TV Land, VH1's ''Best Week Ever''), in film (e.g. '' Mission: Impossible III'') and on commercial products (e.g. Ann Taylor garment tag, Lucky Charms logo and Green Day's ''Dookie'' album). History Founders Andy Cruz and Rich Roat met at Miller Mauro Group, Inc., a Wilmington, Del. marketing communications agency. They briefly worked for Swfte International, a Miller Mauro Group client, before leaving to form Brand Design Co., Inc in 1993. Cruz and Roat formed House Industries in late 1993. Popular typefaces sold by House Industries include Neutraface, a geometric sans-serif, Eames Century Modern, inspired by the design work of Ray and Charles Eames, and Chalet, a set of designs inspired by common sans-seri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christian Schwartz
Christian Schwartz (born December 30, 1977 in Concord, New Hampshire, United States) is an American type designer. He has been awarded the German Design Award and the Prix Charles Peignot. Life A graduate of the Communication Design program at Carnegie Mellon University, Schwartz first worked at MetaDesign Berlin, developing typefaces for Volkswagen and logos for various corporations. He then returned to the US and joined the design staff at Font Bureau. Schwartz has worked independently in 2001, first forming Orange Italic with product designer Dino Sanchez and recently Schwartzco Inc. He has released commercial fonts with Village, FontFont, Emigre, House Industries and Font Bureau. Many of Schwartz’s typefaces have been proprietary designs for corporations such as Bosch and Deutsche Bahn, both with noted designer Erik Spiekermann, and EMI, for the marketing of George Harrison’s posthumous final album. Schwartz has also designed typefaces for many publications includi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neutraface
Neutraface is a geometric sans-serif typeface designed by Christian Schwartz for House Industries, an American digital type foundry. It was influenced by the work of architect Richard Neutra and was developed with the assistance of Neutra's son and former partner, Dion Neutra. Design Neutraface was designed by Christian Schwartz over the period of a year with assistance in art direction from Ken Barber and Andy Cruz. It was the result of a project started by Schwartz to design "the most typographically complete geometric sans serif family ever", based on Richard Neutra's principles of architecture and design. The Neutraface alphabet was developed through consultation with Neutra's son and former partner, Dion Neutra, and with reference to the signs on the buildings designed by Neutra. Since there were limited samples of Neutra's signage and no lowercase, much of the design was Schwartz's invention. The lowercase was influenced by Avenir, Futura, Nobel and Tempo. Although ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karnak (typeface)
Karnak is a slab-serif typeface designed by R. Hunter Middleton for the Ludlow Typograph company and issued in the period 1931–1942. Karnak is a "geometric" slab serif, reflecting the style of German geometric sans-serifs (in particular Futura) which had attracted considerable attention in the United States and adapting the design to the slab serif structure. It copies the German geometric slab-serif Memphis. Middleton also designed a loose copy of Futura, the sans-serif Tempo, around the same time. It and other similar designs were popular in American printing during the hot metal typesetting period. Like Memphis, Karnak's name, after the Karnak Temple Complex in Egypt, references the fact that early slab serifs were often called "Egyptians" as an exoticism by nineteenth-century typefounders. Karnak was an influence on the design of the popular 2009 slab serif Neutraface Slab. It is an adaptation of the sans-serif Neutraface designed by Christian Schwartz, influenced by Midd ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Slab-serif
In typography, a slab serif (also called ''mechanistic'', ''square serif'', ''antique'' or ''Egyptian'') typeface is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular ( Rockwell), or rounded (Courier). Slab serifs were introduced in the early nineteenth century. Slab serifs form a large and varied genre. Some such as Memphis and Rockwell have a geometric design with minimal variation in stroke width: they are sometimes described as sans-serif fonts with added serifs. Others such as those of the Clarendon genre have a structure more like most other serif fonts, though with larger and more obvious serifs. These designs may have bracketed serifs which increase width along their length before merging with the main strokes of the letters, while on geometrics the serifs have a constant width. Display-oriented slab serifs are often extremely bold, intended to grab the reader's attention on a poster, while slab serifs or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dribbble
Dribbble is a self-promotion and social networking platform for digital designers and creatives. It serves as a design portfolio platform, jobs and recruiting site and is one of the largest platforms for designers to share their work online. The company is a distributed company with no headquarters; all employees are remote workers. History In 2009, Dan Cederholm and Rich Thornett beta-launched Dribbble as an invite-only site where designers shared what they were working on: “The name Dribbble came about from the dual metaphors of bouncing ideas and leaking your work.” The first "Shot" (a small screenshot screenshot (also known as screen capture or screen grab) is a digital image that shows the contents of a computer display. A screenshot is created by the operating system or software running on the device powering the display. Additionally, s ... of a designer's work in progress) was posted by Cederholm on July 9, 2009. In March 2010, it was made publicly availab ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erbar (typeface)
In typography, Erbar or Erbar-Grotesk is a sans-serif typeface in the geometric style, one of the first designs of this kind released as type. Designer Jakob Erbar's aim was to design a printing type which would be free of all individual characteristics, possess thoroughly legible letter forms, and be a purely typographic creation. His conclusion was that this could only work if the type form was developed from a fundamental element, the circle. Erbar-Grotesk was developed in stages; Erbar wrote that he had originally sketched out the design in 1914 but had been prevented from working on it due to the war. The original version of Erbar was released in 1926, following Erbar's "Phosphor" titling capitals of 1922 which are very similar in design. Font ''Erbar'' was originally cast by the Ludwig & Mayer foundry of Frankfurt, Germany, with machine composition matrices later being offered by German and then American Linotype.Jaspert, Pincus, Berry and Johnson.''The Encyclopedia of T ... [...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] |
Umbra (typeface)
Umbra is a sans-serif display typeface designed in 1935 by R. Hunter Middleton for the Ludlow Typograph company. It is an adaptation of the uppercase light weight of his earlier typeface Tempo. The name Umbra refers to its shadow effect, in which the actual letter shape consists of negative space and is defined solely by its black dimensional shadow. Several other typefaces were created in similar style around the same time, including shadowed weights of Gill Sans. Nebiolo's Ombra, part of their 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-s ... family, is very similar. Umbra has been digitised. References Display typefaces Typefaces and fonts introduced in 1935 Letterpress typefaces Typefaces designed by R. Hunter Middleton Geometric sans-serif typefaces {{ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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