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Oblique Type
Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called slanted or sloped roman styles. Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of counter (typography), counters and the thick-and-thin quality of strokes from the regular design. Type designers have described oblique type as less organic and calligraphic than italics, which in some situations may be preferred. Contemporary type designer Jeremy Tankard st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Garamond Roman Italic
Garamond is a group of many serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond, generally spelled as Garamont in his lifetime. Garamond-style typefaces are popular and particularly often used for book printing and body text. Garamond's types followed the model of an influential typeface cut for Venetian printer Aldus Manutius by his punchcutter Francesco Griffo in 1495, and are in what is now called the Serif#Old-style, old-style of serif letter design, letters with a relatively organic structure resembling handwriting with a Quill pen, pen, but with a slightly more structured, upright design. Following an eclipse in popularity in the eighteenth and nineteenth century, many modern revival faces in the Garamond style have been developed. It is common to pair these with italic type, italics based on those created by his contemporary Robert Granjon, who was well known for his proficiency in this genre. However, although Garamond himself remains consider ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Linn Boyd Benton
Linn Boyd Benton (1844 in Little Falls, New York – 1932 in Plainfield, New Jersey) was an American typeface designer and inventor of technology for producing metal type. The son of Congressman Charles S. Benton, he was named for his father's friend Linn Boyd. After starting a career as a book-keeper and working at two newspapers, he became joint owner of Benton, Waldo & Co. Type Foundry and rapidly developed a thorough understanding of typefounding methods that led him to develop new technologies. An 1886 profile described him as "an intelligent, entertaining, unostentatious gentleman, a mechanical genius". Benton's company was one of the original group of companies that merged to form the American Type Founders Company (ATF) in 1892, after which he was a director and chief consultant to ATF. Benton invented many of the most important type founding technologies of the day, including a mould (1882), self spacing type (1883), a punch cutter (1885), combination fractions (1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Electra (typeface)
Electra is a serif typeface designed by William Addison Dwiggins and published by the Mergenthaler Linotype Company from 1935 onwards. A book face intended for body text, Dwiggins described the design as intended to be a 'modern roman type letter' with 'personality', avoiding direct revival of any historical model. He therefore chose the name Electra to suggest electricity and crisp modernity, "like metal shavings coming off a lathe". After a slow development process, Electra became a popular book typeface in American printing during the late metal type period. After an eclipse in popularity, partly due to poor translation of the design to modern printing technologies, several revivals have been released. Background After establishing a career as a lettering artist and book designer, Dwiggins was hired as a consultant by the Mergenthaler Linotype Company in 1929 and established a partnership with its head of type design Chauncey H. Griffith, who would manage the production of all ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Addison Dwiggins
William Addison Dwiggins (June 19, 1880 – December 25, 1956), was an American type designer, calligrapher, and book designer. He attained prominence as an illustrator and commercial artist, and he brought to the designing of type and books some of the boldness that he displayed in his advertising work. His work can be described as ornamented and geometric, similar to the Art Moderne and Art Deco styles of the period, using Oriental influences and breaking from the more antiquarian styles of his colleagues and mentors Daniel Berkeley Updike, Updike, Thomas Maitland Cleland, Cleland and Frederic Goudy, Goudy. Career Dwiggins began his career in Chicago, working in advertising and lettering. With his colleague Frederic Goudy, he moved east to Hingham, Massachusetts, where he spent the rest of his life. He gained recognition as a lettering artist and wrote much on the graphic arts, notably essays collected in MSS by WAD (1949), and his ''Layout in Advertising'' (1928; rev. ed. 19 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jan Van Krimpen
Jan, JaN or JAN may refer to: Acronyms * Jackson, Mississippi (Amtrak station), US, Amtrak station code JAN * Jackson-Evers International Airport, Mississippi, US, IATA code * Jabhat al-Nusra (JaN), a Syrian militant group * Japanese Article Number, a barcode standard compatible with EAN * Japanese Accepted Name, a Japanese nonproprietary drug name * Job Accommodation Network, US, for people with disabilities * ''Joint Army-Navy'', US standards for electronic color codes, etc. * ''Journal of Advanced Nursing'' Personal name * Jan (name), male variant of ''John'', female shortened form of ''Janet'' and ''Janice'' * Jan (Persian name), Persian word meaning 'life', 'soul', 'dear'; also used as a name * Ran (surname), romanized from Mandarin as Jan in Wade–Giles * Ján, Slovak name Other uses * January, as an abbreviation for the first month of the year in the Gregorian calendar * Jan (cards), a term in some card games when a player loses without taking any tricks or scoring a mini ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eric Gill
Arthur Eric Rowton Gill, (22 February 1882 – 17 November 1940) was an English sculptor, letter cutter, typeface designer, and printmaker. Although the ''Oxford Dictionary of National Biography'' describes Gill as ″the greatest artist-craftsman of the twentieth century: a letter-cutter and type designer of genius″, he is also a figure of considerable controversy following revelations of his sexual abuse of two of his daughters. Gill was born in Brighton and grew up in Chichester, where he attended the local college before moving to London. There he became an apprentice with a firm of ecclesiastical architects and took evening classes in stone masonry and calligraphy. Gill abandoned his architectural training and set up a business cutting memorial inscriptions for buildings and headstones. He also began designing chapter headings and title pages for books. As a young man, Gill was a member of the Fabian Society, but later resigned. Initially identifying with the Arts an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perpetua (typeface)
Perpetua is a serif typeface that was designed by English sculptor and stonemason Eric Gill for the British Monotype Corporation. Perpetua was commissioned at the request of Stanley Morison, an influential historian of printing and adviser to Monotype around 1925, at a time when Gill's reputation as a leading artist-craftsman was high. Perpetua was intended as a crisp, contemporary design not following any specific historic model, with a structure influenced by Gill's experience of carving lettering for monuments and memorials. Perpetua is commonly used for covers and headings and also sometimes for body text; it has been particularly popular in fine book printing. Perpetua was released with characters for the Greek alphabet and a matching set of titling capitals for headings. Perpetua is named for the Christian martyr Vibia Perpetua, an account of whose life was used in one of its first showings; its companion italic is named "Felicity" for her companion of that name. The choice ... [...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] |
Stanley Morison
Stanley Arthur Morison (6 May 1889 – 11 October 1967) was a British typographer, printing executive and historian of printing. Largely self-educated, he promoted higher standards in printing and an awareness of the best printing and typefaces of the past. From the 1920s Morison became an influential adviser to the British Monotype Corporation, advising them on type design. His strong aesthetic sense was a force within the company, which starting shortly before his joining became increasingly known for commissioning popular, historically influenced designs that revived some of the best typefaces of the past, with particular attention to the middle period of printing from the Renaissance to the late eighteenth century, and creating and licensing several new type designs that would become popular. Original typefaces commissioned under Morison's involvement included Times New Roman, Gill Sans and Perpetua, while revivals of older designs included Bembo, Ehrhardt and Bell. Times N ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Blackletter
Blackletter (sometimes black letter), also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 until the 17th century. It continued to be commonly used for the Danish, Norwegian, and Swedish languages until the 1870s, and for the German language until the 1940s, when Hitler's distaste for the supposedly "Jewish-influenced" script saw it officially discontinued in 1941. Fraktur is a notable script of this type, and sometimes the entire group of blackletter faces is incorrectly referred to as Fraktur. Blackletter is sometimes referred to as Old English, but it is not to be confused with the Old English language, which predates blackletter by many centuries and was written in the insular script or in Futhorc. Along with Italic type and Roman type, blackletter served as one of the major typefaces in the history of Western typography. Origins Carolingian minuscule was the direct ancestor of blackletter. Blacklett ... [...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] |
American Type Founders
American Type Founders (ATF) Co. was a business trust created in 1892 by the merger of 23 type foundries, representing about 85% of all type manufactured in the United States. De Vinne, Theodore Low, ''The Practice of Typography,'' Century Company, N.Y.C., 1922, p. 105. The new company, consisting of a consolidation of firms from throughout the United States, was incorporated in New Jersey. The American Type Founders Co. should not be confused with the American Type Founders’ Association—also called the Type Founders' Association of the United States. Both institutions are identified by the same acronym, ATF. The ATF Association was formed in 1864 and was responsible for establishing the American point system in 1886 based on 35 picas exactly equal to 35 cm. The ATF Co. was not formed until 1892. All but 6 of the 23 foundries in the company were members of the ATF Association. The American Type Founders Co. was the dominant American manufacturer of metal type from its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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