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Swash (typography)
A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph. The use of swash characters dates back to at least the 16th century, as they can be seen in Ludovico Vicentino degli Arrighi's ''La Operina,'' which is dated 1522. As with italic type in general, they were inspired by the conventions of period handwriting. Arrighi's designs influenced designers in Italy and particularly in France. Typefaces with swashes Most typefaces with swashes are serif fonts, among which (if present) they are often found solely in italics. Advanced digital fonts often supply two italic designs: one with swashes and a more restrained standard italic. Among old-style typefaces, some releases of Caslon, such as Adobe Caslon, and Garamond, including Adobe Garamond Pro and EB Garamond, have swash designs. Old-style typefaces which include swashes but do not follow a specific historical model include Minion by Robert Slimbach and Nexus by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swash
Swash, or forewash in geography, is a turbulent layer of water that washes up on the beach after an incoming wave has broken. The swash action can move beach materials up and down the beach, which results in the cross-shore sediment exchange. The time-scale of swash motion varies from seconds to minutes depending on the type of beach (see Figure 1 for beach types). Greater swash generally occurs on flatter beaches. The swash motion plays the primary role in the formation of morphological features and their changes in the swash zone. The swash action also plays an important role as one of the instantaneous processes in wider coastal morphodynamics. There are two approaches that describe swash motions: (1) swash resulting from the collapse of high-frequency bores (f>0.05\,\mathrm) on the beachface; and (2) swash characterised by standing, low-frequency (f20 indicate dissipative conditions where swash is characterised by standing long-wave motion. Values \epsilon_<2.5 indi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Surveyor (typeface)
Surveyor is a Didone serif typeface that recalls type found on engraved maps and charts. It was designed by Tobias Frere-Jones in 2001 as a custom typeface for use in Martha Stewart Living magazine and released publicly in March 2013, in a wider range of styles, by the type foundry Hoefler & Frere-Jones (now known as Hoefler&Co.). Describing it, Jonathan Hoefler said: Surveyor has a vertical axis and a high contrast of stroke weight similar to Bodoni or Didot but a recalling early nineteenth century faces like Bell A bell /ˈbɛl/ () is a directly struck idiophone percussion instrument. Most bells have the shape of a hollow cup that when struck vibrates in a single strong strike tone, with its sides forming an efficient resonator. The strike may be m ..., Scotch Roman, and Thorowgood. The italics have a slightly more extreme forward slant than is common and curved strokes often terminate in a ball. Styles Surveyor's most notable feature is its extremely wide range ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Script Typeface
Script typefaces are based on 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 Charles 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. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Simonson
Mark Simonson (born 1955) is an American independent type designer who works in St. Paul, Minnesota. Career Simonson has described his typefaces as often being inspired by lettering styles of the past, such as the graphic design of the 1970s, Art Deco graphics and wood type. Simonson’s most popular font family is Proxima Nova (1994, revised 2005), a sans-serif design in the geometric and grotesque styles used by companies such as BuzzFeed, Mashable, NBC, ''The Onion'', TikTok and ''Wired''. As of October 2021, it is the fifth highest-selling family on font sales website MyFonts. His fonts also include Anonymous Pro, a monospaced font designed for programming released under the OFL. Simonson worked as a graphic designer before specializing in type design. His career as a type designer got a boost when his partner Pat won money on the game show ''Who Wants to Be a Millionaire ''Who Wants to Be a Millionaire?'' (WWTBAM) is an international television game show franchis ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Helvetica
Helvetica, also known by its original name 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 1960s, 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'' ( Haa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zuzana Licko
Zuzana Licko (born Zuzana Ličko, 1961) is a Slovak-born American Type design, type designer and visual artist known for co-founding Emigre (type foundry), Emigre Fonts, a digital type foundry in Berkeley, California, Berkeley, CA. She has designed and produced numerous digital Typeface, typefaces including the popular Mrs Eaves, Modula, Filosofia, and Matrix. As a corresponding interest she also creates ceramic sculptures and jacquard weavings. Early life Licko was born in Bratislava, Czechoslovakia and came to the United States with her family as a child. She studied architecture, photography, and computer programming before earning a degree in graphic communications at the University of California, Berkeley, University of California at Berkeley. Licko was introduced to Computer, computers by her father, a Mathematical and theoretical biology, biomathematician at the University of California, San Francisco. She would help him with data processing during her summer breaks.Vander ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mr Eaves
Mrs Eaves is a transitional serif typeface designed by Zuzana Licko in 1996. It is a variant of Baskerville, which was designed in Birmingham, England, in the 1750s. Mrs Eaves adapts Baskerville for use in display contexts, such as headings and book blurbs, through the use of a low x-height and a range of unusual combined characters or ligatures. Mrs Eaves was released by Emigre, a type foundry run by Licko and husband Rudy VanderLans, and has been joined by an 'XL' version for body text, as well as Mr Eaves, a sans-serif companion. Description Mrs Eaves is named after Sarah Eaves, the woman who became John Baskerville's wife. Like his typefaces, John Baskerville was, himself, a controversial character. As Baskerville was setting up his printing and type business, he hired Sarah Eaves as his live-in housekeeper; eventually, her husband Richard abandoned her and their five children, and Mrs Eaves became Baskerville's mistress and eventual helpmate with typesetting and print ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Goudy Sans
Goudy Sans is a sans-serif typeface designed by Frederic Goudy around 1929–1931 and published by Lanston Monotype. Unlike many sans-serifs, which often have an unadorned appearance with a geometric or industrial aesthetic, Goudy Sans has a more organic and decorative structure resembling painted lettering, with flared stroke ends and an avoidance of straight lines, typifying Goudy's taste towards designs with an organic feel. Goudy added several complementary decorative alternate characters. Goudy drew a complementary italic with letterforms inspired by handwriting, decorative features such as swashes and curls, again with a number of decorative alternates. Lewis Blackwell in ''20th-Century Type'' describes it as "something of a sport...with pronounced tendency to the inscriptional in its 'chiselled' junctions". The proportions of the lower-case are slightly condensed. Goudy described the design as not popular in his lifetime and did not give it a specific name; it was pu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frederic Goudy
Frederic William Goudy ( ; March 8, 1865 – May 11, 1947) was an American printer, artist and type designer whose typefaces include Copperplate Gothic, Goudy Old Style and Kennerley. He was one of the most prolific of American type designers and his self-named type continues to be one of the most popular in America. Biography Frederic William Goudy was born on March 8, 1865, in Bloomington, Illinois. Goudy was not always a type designer. "At 40, this short, plump, pinkish, and puckish gentleman kept books for a Chicago realtor, and considered himself a failure. During the next 36 years, starting almost from scratch at an age when most men are permanently set in their chosen vocations, he cut 113 fonts of type, thereby creating more usable faces than did the seven greatest inventors of type and books, from Gutenberg to Garamond." Asked how to say his name, he told ''The Literary Digest'' "When I was a boy my father spelled our name 'Gowdy' which didn't offer any particular ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semplicità
Semplicità is a sans-serif typeface of the Sans-serif#Geometric, geometric style. It was published by the Nebiolo Printech, 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 (typeface), Erbar and Futura (typeface), 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 Sans-serif#Grotesque, "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 flambo ... [...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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Streamline Moderne
Streamline Moderne is an international style of Art Deco architecture and design that emerged in the 1930s. Inspired by Aerodynamics, aerodynamic design, it emphasized curving forms, long horizontal lines, and sometimes nautical elements. In industrial design, it was used in railroad locomotives, telephones, buses, appliances, and other devices to give the impression of sleekness and modernity. In France, it was called the ''style paquebot'', or "ocean liner style", and was influenced by the design of the luxury ocean liner SS Normandie, SS ''Normandie'', launched in 1932. Influences and origins As the Great Depression of the 1930s progressed, Americans saw a new aspect of Art Deco, i.e., streamlining, a concept first conceived by industrial designers who stripped Art Deco design of its ornament in favor of the aerodynamic pure-line concept of motion and speed developed from scientific thinking. The cylindrical forms and long horizontal windowing in architecture may also have be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
