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Titling Font
A display typeface is a typeface that is intended for use at large sizes for headings, rather than for extended passages of body text. Display typefaces will often have more eccentric and variable designs than the simple, relatively restrained typefaces generally used for body text. They may take inspiration from other genres of lettering, such as handpainted signs, calligraphy or an aesthetic appropriate to their use, perhaps ornamented, exotic, abstracted or drawn in the style of a different writing system. Several genres of font are particularly associated with display setting, such as slab serif, script font, reverse-contrast and to a lesser extent sans serif. Walter Tracy defines display typefaces in the metal type sense as "sizes of type over 14 point" and in design that "text types when enlarged can be used for headings, display types, if reduced, cannot be used for text setting." Titling fonts are a subset of display typefaces which are typically used for headlines ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Common Display Face Genres
Common may refer to: Places * Common, a townland in County Tyrone, Northern Ireland * Boston Common, a central public park in Boston, Massachusetts * Cambridge Common, common land area in Cambridge, Massachusetts * Clapham Common, originally common land, now a park in London, UK * Common Moss, a townland in County Tyrone, Northern Ireland * Lexington Common, a common land area in Lexington, Massachusetts * Salem Common Historic District, a common land area in Salem, Massachusetts People * Common (rapper) (born 1972), American hip hop artist, actor, and poet * Andrew Ainslie Common (born 1841), English amateur astronomer * Andrew Common (born 1889), British shipping director * John Common, American songwriter, musician and singer * Thomas Common (born 1850), Scottish translator and literary critic Arts, entertainment, and media * ''Common'' (film), a 2014 BBC One film, written by Jimmy McGovern, on the UK's Joint Enterprise Law * Dol Common, a character in ''The Alchemist'' b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
James Mosley
James Mosley (born 1935) is a retired librarian and historian whose work has specialised in the history of printing and letter design. The main part of Mosley's career has been 42 years as Librarian of the St Bride Printing Library in London, where he curated and worked to expand the museum's large collection of printing and lettering materials, books and examples. This collection greatly expanded with the close of the metal type era, which saw many companies and printing shops selling off their equipment and archives. Mosley also expanded the library's collection of lettering and signs. He has also been a lecturer and professor at the University of Reading since 1964, and founded the British Printing Historical Society in that year. Particular areas of focus of his career have been, in Britain, William Caslon, Vincent Figgins and Talbot Baines Reed, Eric Gill (with whose brother Evan he worked in the 1950s), and, in Europe, the Romain du Roi. Education Mosley grew up in Twickenh ... [...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] |
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] |
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] |
Koch-Antiqua
Koch-Antiqua is a serif typeface intended for decorative and display use, designed by Rudolf Koch and published by the Klingspor Type Foundry from 1922 onwards. It is a delicate face with a low x-height, intended for decorative printing rather than for extended body text. Koch-Antiqua was Koch's first roman or "Antiqua" type (the kind generally used in western Europe, as opposed to blackletter writing) and achieved considerable attention both in Germany and abroad. It was exported under the names ''Locarno'' and ''Eve''. Walter Tracy described it as "a highly individual design" that "reveals the working of a fastidious mind and a skilful hand . . . perfectly suited to express in print the idea of elegance." Family Koch-Antiqua was released in several weights: * Roman: the regular weight and the only style digitised by Linotype. * ''Kursiv'': a mixture of a true italic (in which the letters take handwriting forms) and oblique (simply slanted, as in the ''a''). The capitals have a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cochin (typeface)
Cochin is a serif typeface. It was originally produced in 1912 by Georges Peignot for the Paris foundry G. Peignot et Fils (future Deberny & Peignot) and was based on the copperplate engravings of 18th century French artist Charles-Nicolas Cochin, from which the typeface also takes its name. The font has a small x-height with long ascenders. Georges Peignot also created the design 'Nicolas-Cochin' as a looser variation in the same style. Characteristics With a very low x-height and delicate design, Cochin is described by Walter Tracy an example of a style of lettering and graphic design popular in the early twentieth century in several countries. Similar designs are Astrée and later Bernhard Modern and Koch-Antiqua, as well as several designs by Frederic Goudy such as Pabst and Goudy Modern. It had considerable success, for example becoming available on Monotype's hot metal typesetting system in the United States (Tracy describes this version as disappointing due to changes to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wood Type
In letterpress printing, wood type is movable type made out of wood. First used in China for printing body text, wood type became popular during the nineteenth century for making large display typefaces for printing posters, because it was lighter and cheaper than large sizes of metal type. Wood has been used since the earliest days of European printing for woodcut decorations and emblems, but it was not generally used for making typefaces due to the difficulty of reproducing the same shape many times for printing. In the 1820s, Darius Wells introduced mechanised wood type production using the powered router, and William Leavenworth in 1834 added a second major innovation of using a pantograph to cut a letter's shape from a pattern. This made it possible to mass-produce the same design in wood repeatedly. In the twentieth century lithography, phototypesetting and digital typesetting replaced it as a mass-market technology. It continues to be used by hobbyists and artistic p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pantograph
A pantograph (, from their original use for copying writing) is a mechanical linkage connected in a manner based on parallelograms so that the movement of one pen, in tracing an image, produces identical movements in a second pen. If a line drawing is traced by the first point, an identical, enlarged, or miniaturized copy will be drawn by a pen fixed to the other. Using the same principle, different kinds of pantographs are used for other forms of duplication in areas such as sculpting, minting, engraving, and milling. Because of the shape of the original device, a pantograph also refers to a kind of structure that can compress or extend like an accordion, forming a characteristic rhomboidal pattern. This can be found in extension arms for wall-mounted mirrors, temporary fences, pantographic knives, scissor lifts, and other scissor mechanisms such as the pantograph used on electric locomotives and trams. History The ancient Greek engineer Hero of Alexandria described pant ... [...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] |
Vincent Figgins
Vincent Figgins (1766 – 29 February 1844) was a British typefounder based in London, who cast and sold metal type for printing. After an apprenticeship with typefounder Joseph Jackson, he established his own type foundry in 1792. His company was extremely successful and, with its range of modern serif faces and display typefaces, had a strong influence on the styles of British printing in the nineteenth century. Figgins introduced or popularised both slab-serif and sans-serif typefaces, which have since become two of the main genres of typeface. He was also involved in local politics as a Councilman of the City of London. Family and early life Figgins was born in 1766 and started his career as an apprentice to the typefounder Joseph Jackson. He worked for Jackson from 1782 until Jackson's death in 1792. According to Reed, Figgins was largely the manager of Jackson's foundry from about 1790 onwards due to Jackson's poor health. His wife was Elizabeth and he had sons Vinc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fat Face Typefaces
In nutrition, biology, and chemistry, fat usually means any ester of fatty acids, or a mixture of such compounds, most commonly those that occur in living beings or in food. The term often refers specifically to triglycerides (triple esters of glycerol), that are the main components of vegetable oils and of fatty tissue in animals; or, even more narrowly, to triglycerides that are solid or semisolid at room temperature, thus excluding oils. The term may also be used more broadly as a synonym of lipid—any substance of biological relevance, composed of carbon, hydrogen, or oxygen, that is insoluble in water but soluble in non-polar solvents. In this sense, besides the triglycerides, the term would include several other types of compounds like mono- and diglycerides, phospholipids (such as lecithin), sterols (such as cholesterol), waxes (such as beeswax), and free fatty acids, which are usually present in human diet in smaller amounts. Fats are one of the three mai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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