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Scotch Roman
Scotch Roman is a class of typefaces popular in the early nineteenth century, particularly in the United States and to a lesser extent the United Kingdom. These typefaces were modeled on a design known as Pica No. 2 from the Edinburgh foundry of William Miller. Some accounts suggest that Miller's type, the oldest surviving specimen of which dates to 1813, was cut by Richard Austin, who had previously produced the Bell types for the British Letter Foundry. The name "Scotch Roman", which entered use in the United States late in the same century, was applied to a slightly modified recasting of Miller's type by the A.D. Farmer foundry of New York. It is believed to derive from "Scotch-face", a term which was originally used by a different type designed in 1839 by typefounder Samuel Nelson Dickinson of Boston, and cast for him by Alexander Wilson and Son in Glasgow. Versions of Scotch Roman were subsequently released by a number of other typefoundries, including both Linotype and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Serif
In typography, a serif () is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts. A typeface or "font family" making use of serifs is called a serif typeface (or serifed typeface), and a typeface that does not include them is sans-serif. Some typography sources refer to sans-serif typefaces as "grotesque" (in German language, German, ) or "Gothic" (although this often refers to blackletter type as well). In German usage, the term Antiqua (typeface class), Antiqua is used more broadly for serif types. Serif typefaces can be broadly classified into one of four subgroups: Serif#Old-style, Old-style, Serif#Transitional, Transitional, Serif#Didone, Didone, and Serif#Slab serif, Slab serif, in order of first emergence. Origins and etymology Serifs originated from the first official Greek writings on stone and in Latin alphabet with Roman square capitals, inscriptional lettering—words carved into s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modern (typeface)
Didone () is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. It is characterized by: * Narrow and unbracketed (hairline) serifs. (The serifs have a nearly constant width along their length.) * Vertical orientation of weight axes. (The vertical strokes of letters are thick.) * Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.) * Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.) * An unornamented, "modern" appearance. The term "Didone" is a 1954 coinage, part of the Vox-ATypI classification system. It amalgamates the surnames of the famous typefounders Firmin Didot and Giambattista Bodoni, whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as moder ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Digital Typefaces
Digital usually refers to something using discrete digits, often binary digits. Businesses *Digital bank, a form of financial institution *Digital Equipment Corporation (DEC) or Digital, a computer company *Digital Research (DR or DRI), a software company Computing and technology Hardware *Digital electronics, electronic circuits which operate using digital signals **Digital camera, which captures and stores digital images ***Digital versus film photography **Digital computer, a computer that handles information represented by discrete values **Digital recording, information recorded using a digital signal Socioeconomic phenomena *Digital culture, the anthropological dimension of the digital social changes *Digital divide, a form of economic and social inequality in access to or use of information and communication technologies *Digital economy, an economy based on computing and telecommunications resources *Digital rights, legal rights of access to computers or the Internet Oth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Letterpress Typefaces
Letterpress printing is a technique of relief printing for producing many copies by repeated direct impression of an inked, raised surface against individual sheets of paper 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 wood engravings; photo-etched zinc plates ("cuts"); linoleum blocks, which can be used alongside metal type; wood type in a single operation; 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" (i.e. it forms a layer exactly 0.918 inches thick between the bed and the paper) can be printed using letterpress. Letterpress printing was the normal form of printing text from its invention by Joha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Matthew Carter
Matthew Carter (born 1 October 1937) is an English type designer.A Man of Letters , U.S. News & World Report, 1 September 2003. A 2005 ''The New Yorker, New Yorker'' profile described him as 'the most widely read man in the world' by considering the amount of text set in his commonly used typefaces. Carter's career began in the early 1960s and has bridged all three major technologies used in type design: metal type, physical type, phototypesetting and digital type design, as well as the design of custom lettering. Carter's most used typefaces are the classic web typefaces Verdana and Georgia (typeface), Georgia and the Microsoft Windows, Windows interface typeface Tahoma (typeface), Tahoma, as well as other designs including Bell Centennial, Mille ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Miller (typeface)
Miller is a serif typeface, released in 1997 by the Font Bureau, a U.S.-based digital type foundry. It was designed by Matthew Carter and is of the 'transitional' style from around 1800, based on the "Scotch Roman" type which originates from types sold by Scottish type foundries that later became popular in the United States. It is named for William Miller, founder of the long-lasting Miller & Richard type foundry of Edinburgh. The general purpose versions of Miller are Miller Text and the Miller Display optical size for display printing, though since their release they have given rise to a number of variants, including Miller Daily, Miller Headline and Miller Banner, as well as some variants commissioned for use in specific publications. The Miller family is widely used, mostly in newspapers and magazines. Miller is closely related to Carter's previous Scotch Roman revival, the very popular Georgia family for Microsoft. Carter had been working on plans for what became Miller ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Georgia (typeface)
Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Thomas Rickner for Microsoft. It was intended as a serif typeface that would appear elegant but legible when printed small or on low-resolution screens. The typeface is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface on which Carter was working when contacted by Microsoft; this would be released under the name Miller the following year. The typeface's name referred to a tabloid headline, "Alien heads found in Georgia." Design As a transitional serif design, Georgia shows a number of traditional features of "rational" serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals and a vertical axis. Speaking in 2013 about the development of Georgia and Miller, Carter said: "I was familiar with Scotch Romans, puzzled by the fact that they were once so popular... and then they disappeared completely." Its fi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Caledonia (typeface)
Caledonia is a serif typeface designed by William Addison Dwiggins in 1938 for the Mergenthaler Linotype Company and commonly used in book design. As a transitional serif design, one inspired by the Scotch Roman typefaces of the early nineteenth century, Caledonia has a contrasting design of alternating thick and thin strokes, a design that stresses the vertical axis and sharp, regular serifs on ascenders and descenders. Dwiggins chose the name ''Caledonia'', the Roman name for Scotland, to express the face's basis on Scotch Roman typefaces. However, though Dwiggins began with the thought of copying the classical Scotch Romans, eventually he drew more inspiration from the Bulmer design of William Martin. The G is open and the R has a curved tail. The t is unbracketed. Italic characters p and q have no foot serif. The character set, as drawn by Dwiggins, was wide, including ranging (old style) figures, lining figures, and small capitals in the text and bold weights. A Greek ver ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Didot (typeface)
Didot is a group of typefaces. The word/name Didot came from the famous French printing and type-producing Didot family. The classification is known as modern, or Didone. The most famous Didot typefaces were developed in the period 1784–1811. Firmin Didot (1764–1836) cut the letters, and cast them as type in Paris. His brother, Pierre Didot (1760–1853) used the types in printing. His edition of '' La Henriade'' by Voltaire in 1818 is considered his masterwork. The typeface takes inspiration from John Baskerville's experimentation with increasing stroke contrast and a more condensed armature. The Didot family's development of a high contrast typeface with an increased stress is contemporary to similar faces developed by Giambattista Bodoni in Italy. Didot is described as neoclassical, and evocative of the Age of Enlightenment. The Didot family were among the first to set up a printing press in the newly independent Greece, and typefaces in the style of Didot have remai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bodoni
Bodoni (, ) is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni's typefaces are classified as Didone (typography), Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction. When first released, Bodoni and other didone fonts were called classical designs because of their rational structure. However, these fonts were not updated versions of Roman or Renaissance letter styles, but new designs. They came to be called 'modern' serif fonts; sinc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ascender (typography)
In typography and handwriting, an ascender is the portion of a Lower case, minuscule grapheme, letter in a Latin-derived alphabet that extends above the mean line of a typeface, font. That is, the part of a lower-case letter that is taller than the font's x-height. Ascenders, together with descenders, increase the recognizability of words. For this reason, many situations that require high legibility such as road signs avoid using solely capital letters (i.e. all-caps). Studies made at the start of the construction of the British motorway network concluded that words with mixed-case letters were much easier to read than "all-caps" and a special font was designed for motorway signs. These then became universal across the UK. See Road signs in the United Kingdom. In many fonts intended for body text, such as Bembo and Garamond, ascenders rise above the cap height of the capital letters. References {{Typography terms [Baidu] |
