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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] |
Ludlow Typograph
A Ludlow Typograph is a hot metal typesetting system used in letterpress printing. The device casts bars, or slugs of type, out of type metal primarily consisting of lead. These slugs are used for the actual printing, and then are melted down and recycled on the spot. It was used to print large-type material such as newspaper headlines or posters. The Ludlow system uses molds, known as matrices or mats, which are hand-set into a special composing stick. Thus the composing process resembles that used in cold lead type printing. Once a line has been completed, the composing stick is inserted into the Ludlow machine, which clamps it firmly in place above the mold. Hot linecasting metal (the same alloy used in Linotype and Intertype machines) is then injected through the mold into the matrices, allowed to cool, and then the bottom of the slug is trimmed just before it is ejected. The operator then replaces the matrices, or mats, back into the typecase by hand. Since the m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Umbra Sample
The umbra, penumbra and antumbra are three distinct parts of a shadow, created by any light source after impinging on an opaque object. Assuming no diffraction, for a collimated beam (such as a point source) of light, only the umbra is cast. These names are most often used for the shadows cast by celestial bodies, though they are sometimes used to describe levels, such as in sunspots. Umbra The umbra (Latin for "shadow") is the innermost and darkest part of a shadow, where the light source is completely blocked by the occluding body. An observer within the umbra experiences a total eclipse. The umbra of a round body occluding a round light source forms a right circular cone. When viewed from the cone's apex, the two bodies appear the same size. The distance from the Moon to the apex of its umbra is roughly equal to that between the Moon and Earth: . Since Earth's diameter is 3.7 times the Moon's, its umbra extends correspondingly farther: roughly . Penumbra The penu ... [...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] |
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] |
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] |
Umbra
The umbra, penumbra and antumbra are three distinct parts of a shadow, created by any light source after impinging on an opaque object. Assuming no diffraction, for a collimated beam (such as a point source) of light, only the umbra is cast. These names are most often used for the shadows cast by celestial bodies, though they are sometimes used to describe levels, such as in sunspots. Umbra The umbra (Latin for "shadow") is the innermost and darkest part of a shadow, where the light source is completely blocked by the occluding body. An observer within the umbra experiences a total eclipse. The umbra of a round body occluding a round light source forms a right circular cone. When viewed from the cone's apex, the two bodies appear the same size. The distance from the Moon to the apex of its umbra is roughly equal to that between the Moon and Earth: . Since Earth's diameter is 3.7 times the Moon's, its umbra extends correspondingly farther: roughly . Penumbra The pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Three-dimensional Space
Three-dimensional space (also: 3D space, 3-space or, rarely, tri-dimensional space) is a geometric setting in which three values (called ''parameters'') are required to determine the position (geometry), position of an element (i.e., Point (mathematics), point). This is the informal meaning of the term dimension. In mathematics, a tuple of Real number, numbers can be understood as the Cartesian coordinates of a location in a -dimensional Euclidean space. The set of these -tuples is commonly denoted \R^n, and can be identified to the -dimensional Euclidean space. When , this space is called three-dimensional Euclidean space (or simply Euclidean space when the context is clear). It serves as a model of the physical universe (when relativity theory is not considered), in which all known matter exists. While this space remains the most compelling and useful way to model the world as it is experienced, it is only one example of a large variety of spaces in three dimensions called ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gill Sans
Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards. Gill Sans is based on Edward Johnston's 1916 "Underground Alphabet", the corporate font of London Underground. As a young artist, Gill had assisted Johnston in its early development stages. In 1926, Douglas Cleverdon, a young printer-publisher, opened a bookshop in Bristol, and Gill painted a fascia for the shop for him in sans-serif capitals. In addition, Gill sketched an alphabet for Cleverdon as a guide for him to use for future notices and announcements. By this time Gill had become a prominent stonemason, artist and creator of lettering in his own right and had begun to work on creating typeface designs. Gill was commissioned to develop his alphabet into a full metal type family by his friend Stanley Morison, an influential Monotype executive and historian of printing. Morison hoped that it could be Monotype's competitor to a wave of German sa ... [...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] |
Display Typefaces
Display may refer to: Technology * Display device, output device for presenting information, including: ** Cathode ray tube, video display that provides a quality picture, but can be very heavy and deep ** Electronic visual display, output device to present information for visual or tactile reception *** Flat-panel display, video display that is much lighter and thinner than deeper, usually older types **** Liquid-crystal display (LCD), displays that use liquid crystals to form images ***** Liquid crystal display television (LCD TV), color TVs that use an LCD to form images **** Light-emitting diode (LED), emitting light when electrically charged, producing electroluminescence *** Stereo display, a display device able to convey image depth to a viewer **** Volumetric display, forms a visual representation of an object in three physical dimensions ** Refreshable braille display, electromechanical device to display braille characters ** Split-flap display, electromechanical alphanu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Typefaces And Fonts Introduced In 1935
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. Te ... [...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] |
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