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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 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 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 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, such as cartography, astrology or mathematics. Term ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Times New Roman
Times New Roman is a serif typeface. It was commissioned by the British newspaper ''The Times'' in 1931 and conceived by Stanley Morison, the artistic adviser to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, a lettering artist in ''The Times's'' advertising department. It has become one of the most popular typefaces of all time and is installed on most desktop computers. Asked to advise on a redesign, Morison recommended that ''The Times'' change their text typeface from a spindly nineteenth-century face to a more robust, solid design, returning to traditions of printing from the eighteenth century and before. This matched a common trend in printing tastes of the period. Morison proposed an older Monotype typeface named Plantin as a basis for the design, and Times New Roman mostly matches Plantin's dimensions. The main change was that the contrast between strokes was enhanced to give a crisper image. The new design made i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Futura (typeface)
Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was developed as a typeface by the Bauer Type Foundry (Bauersche Gießerei), in competition with Ludwig & Mayer's seminal Erbar typeface of 1926. Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner's design rejected the approach of most previous sans-serif designs (now often called grotesques), which were based on the models of signpainting, condensed lettering and nineteenth-century serif typefaces, in favour of simple geometric forms: near-perfect circles, triangles and squares. It is based on strokes of n ... [...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 Münchenste ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Font Weight
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 typ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Font
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 t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Font Width
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 typ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Font Style
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 ty ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cheltenham (typeface)
Cheltenham is a typeface for display use designed in 1896 by architect Bertram Goodhue and Ingalls Kimball, director of the Cheltenham Press. The original drawings were known as ''Boston Old Style'' and were made about 14" high. These drawings were then turned over to Morris Fuller Benton at American Type Founders (ATF) who developed it into a final design. Trial cuttings were made as early as 1899 but the face was not complete until 1902. The face was patented by Kimball in 1904. Later the basic face was spun out into an extensive type family by Morris Fuller Benton. Cheltenham is not based on a single historical model, and shows influences of the Arts and Crafts Movement. Originally intended as a text face, "Chelt" became hugely successful as the "king of the display faces." Part of the face's huge popularity is because, as it has elements of both an old style and transitional face, a Cheltenham headline complements virtually any body type. The overwhelming populari ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Morris Fuller Benton
Morris Fuller Benton (November 30, 1872 – June 30, 1948) was an American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer from 1900 to 1937. Many of Benton's designs, such as his large family of related sans-serif or "gothic" typefaces, including Alternate Gothic, Franklin Gothic, and News Gothic, are still in everyday use. Typefaces Benton is credited as America's most prolific designer of metal type, having (with his team) completed 221 typefaces, including revivals of historical models, like Bodoni and Cloister; original designs, such as Hobo, Bank Gothic, and Broadway; and adding new weights to existing faces, such as Century, Goudy Old Style and Cheltenham. Although he did not invent the concept, Benton working at ATF pioneered the concept of families of typeface designs, allowing consistency of appearance in different sizes, widths and weights. This allowed ATF to capitalise on a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Type Designer
Type design is the art and process of designing typefaces. This involves drawing each letterform using a consistent style. The basic concepts and design variables are described below. A typeface differs from other modes of graphic production such as handwriting and drawing in that it is a fixed set of alphanumeric characters with specific characteristics to be used repetitively. Historically, these were physical elements, called sorts, placed in a wooden frame; modern typefaces are stored and used electronically. It is the art of a type designer to develop a pleasing and functional typeface. In contrast, it is the task of the typographer (or typesetter) to lay out a page using a typeface that is appropriate to the work to be printed or displayed. History The technology of printing text using movable type was invented in China, but the vast number of Chinese characters, and the esteem with which calligraphy was held, meant that few distinctive, complete typefaces were created ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Type Design
Type design is the art and process of designing typefaces. This involves drawing each letterform using a consistent style. The basic concepts and design variables are described below. A typeface differs from other modes of graphic production such as handwriting and drawing in that it is a fixed set of alphanumeric characters with specific characteristics to be used repetitively. Historically, these were physical elements, called sorts, placed in a wooden frame; modern typefaces are stored and used electronically. It is the art of a type designer to develop a pleasing and functional typeface. In contrast, it is the task of the typographer (or typesetter) to lay out a page using a typeface that is appropriate to the work to be printed or displayed. History The technology of printing text using movable type was invented in China, but the vast number of Chinese characters, and the esteem with which calligraphy was held, meant that few distinctive, complete typefaces were create ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lucida
Lucida (pronunciation: ) is an extended family of related typefaces designed by Charles Bigelow and Kris Holmes and released from 1984 onwards. The family is intended to be extremely legible when printed at small size or displayed on a low-resolution display – hence the name, from 'lucid' (clear or easy to understand). There are many variants of Lucida, including serif (Fax, Bright), sans-serif (Sans, Sans Unicode, Grande, Sans Typewriter) and scripts (Blackletter, Calligraphy, Handwriting). Many are released with other software, most notably Microsoft Office. Bigelow and Holmes, together with the (now defunct) TeX vendor Y&Y, extended the Lucida family with a full set of TeX mathematical symbols, making it one of the few typefaces that provide full-featured text and mathematical typesetting within TeX. Lucida is still licensed commercially through the TUG store as well through their own web store. The fonts are occasionally updated. Key features The Lucida fonts have a l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
