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Roman (typeface)
In Latin script typography, roman is one of the three main kinds of historical type, alongside blackletter and italic. Roman type was modelled from a European scribal manuscript style of the 15th century, based on the pairing of inscriptional capitals used in ancient Rome with Carolingian minuscules developed in the Holy Roman Empire.Bringhurst, p 124. During the early Renaissance, roman (in the form of Antiqua) and italic type were used separately. Today, roman and italic type are mixed, and most typefaces are composed of an upright roman style with an associated italic or oblique style. Early roman typefaces show a variety of designs, for instance resembling what would now be considered blackletter. Printers and typefounders such as Nicolas Jenson and Aldus Manutius in Venice and later Robert Estienne in France codified the modern characteristics of Roman type, for instance an 'h' with a nearly straight right leg, serifs on the outside of the capital 'M' and 'N', and 'e' wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Estienne
The name Robert is an ancient Germanic given name, from Proto-Germanic "fame" and "bright" (''Hrōþiberhtaz''). Compare Old Dutch ''Robrecht'' and Old High German ''Hrodebert'' (a compound of '' Hruod'' ( non, Hróðr) "fame, glory, honour, praise, renown" and ''berht'' "bright, light, shining"). It is the second most frequently used given name of ancient Germanic origin. It is also in use as a surname. Another commonly used form of the name is Rupert. After becoming widely used in Continental Europe it entered England in its Old French form ''Robert'', where an Old English cognate form (''Hrēodbēorht'', ''Hrodberht'', ''Hrēodbēorð'', ''Hrœdbœrð'', ''Hrœdberð'', ''Hrōðberχtŕ'') had existed before the Norman Conquest. The feminine version is Roberta. The Italian, Portuguese, and Spanish form is Roberto. Robert is also a common name in many Germanic languages, including English, German, Dutch, Norwegian, Swedish, Scots, Danish, and Icelandic. It can be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Elements Of Typographic Style
''The Elements of Typographic Style'' is a book on typography and style by Canadian typographer, poet and translator Robert Bringhurst. Originally published in 1992 by Hartley & Marks Publishers, it was revised in 1996, 2001 (v2.4), 2002 (v2.5), 2004 (v3.0), 2005 (v3.1), 2008 (v3.2), and 2012 (v4.0). A history and guide to typography, it has been praised by Hermann Zapf, who said “I wish to see this book become the Typographers’ Bible.” Jonathan Hoefler and Tobias Frere-Jones consider it "the finest book ever written about typography," according to the FAQ section of their type foundry's website. Because of its status as a respected and frequently cited resource, typographers and designers often refer to it simply as ''Bringhurst''. The title alludes to ''The Elements of Style'', the classic guide to writing by Strunk and White.Foreword to version 3.1, p. 9, Editions * First edition: Hartley & Marks Publishers, 1992, 254pp, (hardcover) * Second edition: Hartley & ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bringhurst, Robert
Robert Bringhurst Appointments to the Order of Canada (2013). (born 16 October 1946) is a Canadian poet, typographer and author. He has translated substantial works from Haida and Navajo and from classical Greek and Arabic. He wrote '' The Elements of Typographic Style'', a reference book of typefaces, glyphs and the visual and geometric arrangement of type. He was named an Officer of the Order of Canada in June 2013. He lives on Quadra Island, near Campbell River, British Columbia (approximately 170 km northwest of Vancouver) with his wife, Jan Zwicky, a poet and philosopher. Life Bringhurst was born in Los Angeles, California, and raised in Utah, Montana, Wyoming, Alberta, and British Columbia. He studied architecture, linguistics, and physics at the Massachusetts Institute of Technology, and comparative literature and philosophy at the University of Utah. He holds a BA from Indiana University (1973) and an MFA in creative writing from the University of Brit ... [...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, ) or "Gothic", and serif typefaces as "roman". Origins and etymology Serifs originated from the first official Greek writings on stone and in Latin alphabet with inscriptional lettering—words carved into stone in Roman antiquity. The explanation proposed by Father Edward Catich in his 1968 book ''The Origin of the Serif'' is now broadly but not universally accepted: the Roman letter outlines were first painted onto stone, and the stone carvers followed the brush marks, which flared at stroke ends and corners, creating serifs. Another theory is that serifs were devised to neaten ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
History Of Western Typography
Modern typographers view typography as a craft with a very long history tracing its origins back to the first punches and dies used to make seals and coinage currency in ancient times. The basic elements of typography are at least as old as civilization and the earliest writing systems—a series of key developments that were eventually drawn together into one systematic craft. While woodblock printing and movable type had precedents in East Asia, typography in the Western world developed after the invention of the printing press by Johannes Gutenberg in the mid-15th century. The initial spread of printing throughout Germany and Italy led to the enduring legacy and continued use of blackletter, roman, and italic types. Medieval design roots Typography, type-founding, and typeface design began as closely related crafts in mid-15th-century Europe with the introduction of movable type printing at the junction of the medieval era and the Renaissance. Handwritten ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gaelic Type
Gaelic type (sometimes called Irish character, Irish type, or Gaelic script) is a family of Insular script typefaces devised for printing Classical Gaelic. It was widely used from the 16th until the mid-18th century (Scotland) or the mid-20th century (Ireland) but is now rarely used. Sometimes, all Gaelic typefaces are called ''Celtic'' or '' uncial'' although most Gaelic types are not uncials. The "Anglo-Saxon" types of the 17th century are included in this category because both the Anglo-Saxon types and the Gaelic/Irish types derive from the insular manuscript hand. The terms ''Gaelic type'', ''Gaelic script'' and ''Irish character'' translate the Irish phrase (). In Ireland, the term is used in opposition to the term , Roman type. The Scottish Gaelic term is (). (–1770) was one of the last Scottish writers with the ability to write in this script, but his main work, , was published in the Roman script. Characteristics Besides the 26 letters of the Latin alphabet, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Garamond
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 old-style of serif letter design, letters with a relatively organic structure resembling handwriting with a 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 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 considered a major figure in French printing of ... [...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] |
Adobe Jenson
Adobe Jenson is an old-style serif typeface drawn for Adobe Systems by its chief type designer Robert Slimbach. Its Roman styles are based on a text face cut by Nicolas Jenson in Venice around 1470, and its italics are based on those created by Ludovico Vicentino degli Arrighi fifty years later. Jenson is an organic design, with a low x-height. It is considered a highly readable typeface and is accordingly often used in book design for body text. Development Adobe Jenson was first released in 1996 as a multiple master font. It was created using sophisticated interpolation or multiple-master technology, to create a range of weights and optical sizes suitable for different text sizes. This partial automation of font creation was intended to allow a gradual trend in styles from solid, chunky designs for caption-size small print to more graceful and slender designs for headings. It is now sold in the standard OpenType font format under the name Adobe Jenson Pro. Jenson's typ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Caslon
Caslon is the name given to serif typefaces designed by William Caslon I (c. 1692–1766) in London, or inspired by his work. Caslon worked as an engraver of punches, the masters used to stamp the moulds or matrices used to cast metal type. He worked in the tradition of what is now called old-style serif letter design, that produced letters with a relatively organic structure resembling handwriting with a pen. Caslon established a tradition of engraving type in London, which previously had not been common, and was influenced by the imported Dutch Baroque typefaces that were popular in England at the time. His typefaces established a strong reputation for their quality and their attractive appearance, suitable for extended passages of text. The letterforms of Caslon's roman, or upright type include an "A" with a concave hollow at top left and a "G" without a downwards-pointing spur at bottom right. The sides of the "M" are straight. The "W" has three terminals at the to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baskerville
Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. Compared to earlier designs popular in Britain, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville's typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskervill ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
