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Finial (typography)
In typography (specifically typeface anatomy), a stroke can end in a number of ways. Examples include: * The serif, including: ** The regular serif ** The bracketed serif ** The half-serif * The terminal, which is any stroke that does ''not'' end in a serif ** The , a tapered or curved end ** The , an extended or decorative flourish that replaces a serif or terminal on a letter ** The (or teardrop), as found in Caslon, Galliard, and Baskerville ** The , as found in Bodoni and Clarendon ** The , a sharp spur, as found in Perpetua Perpetua and Felicity (; – ) were Christian martyrs of the third century. Vibia Perpetua was a recently married, well-educated noblewoman, said to have been 22 years old at the time of her death, and mother of an infant son she was nu ..., Pontifex, and Ignatius. Also defined as the triangular ''serifs'' on the straight lines of capitals like E, F and Z. ** Hooked ** Pear-shaped References {{typography-stub Typography ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Typography
Typography is the art and technique of Typesetting, arranging type to make written language legibility, legible, readability, readable and beauty, appealing when displayed. The arrangement of type involves selecting typefaces, Point (typography), point sizes, line lengths, line spacing, letter spacing, and Kerning, spaces between pairs of letters. The term ''typography'' is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as an ornamental and decorative device, unrelated to the communication of information. Typography is also the work of graphic designers, art directors, manga artists, comic book artists, and, now, anyone who arranges words, letters, numbers, and symbols for publication, display, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Typeface Anatomy
Typeface anatomy describes the graphic elements that make up letters in a typeface. Strokes The ''strokes'' are the components of a letterform. Strokes may be ''straight'', as in , or ''curved'', as in . If straight, they may be ''horizontal, vertical,'' or ''diagonal''; if curved, ''open'' or ''closed''. Typographers also speak of an ''instroke,'' where one starts writing the letter, as at the top of , and an ''outstroke,'' where the pen leaves off, as at the bottom of . A main vertical stroke is a ''stem''. The letter has three, the left, middle, and right stems. The central stroke of an is known as the ''spine''. When the stroke is part of a Letter case, lowercase and rises above the height of an (the x height), it is known as an ''Ascender (typography), ascender''. Letters with ascenders are . A stroke which drops below the baseline (typography), baseline is a ''descender''. Letters with descenders are . An arching stroke is a ''shoulder'' as in the top of an or s ... [...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] |
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] |
Caslon
Caslon is the name given to serif typefaces designed by William Caslon, William Caslon I in London, or inspired by his work. Caslon worked as an Engraving, engraver of Punchcutting, punches, the masters used to stamp the moulds or Matrix (printing), matrices used to cast metal type. He worked in the tradition of what is now called Serif#Old-style, old-style serif letter design, that produced letters with a relatively organic structure resembling handwriting with a Quill pen, pen. Caslon established a tradition of engraving type in London, which previously had not been common, and was influenced by the imported Dutch Golden Age, 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 type, roman, or upright type include an "A" with a concave hollow at top left and a "G" without a downwards-pointing spur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Galliard (typeface)
ITC Galliard is a serif typeface designed by Matthew Carter and issued in 1978 by the Mergenthaler Linotype Company. Galliard is based on the sixteenth-century type of Robert Granjon. According to Alexander Lawson, "The name Galliard stems from Granjon's own term for an 8-point font he cut about 1570. It undoubtedly refers to the style of the face, for the galliard was a lively dance of the period."Lawson, Alexander, ''Anatomy of a Typeface'', Godine, 1990. Explaining what drew him to Granjon's work, Carter wrote on some of his more characteristic letterforms: "looking at them, adjectives like 'spirited, 'tense' and 'vigorous' come to mind...it is easy to admire Granjon's work." Mike Parker (typographer), Mike Parker, Director of Typographic Development at Mergenthaler Linotype, had been inspired by seeing the types of Granjon at the Plantin-Moretus Museum in Antwerp. Matthew Carter, who joined Mergenthaler Linotype as a typeface designer in 1965, was also an admirer. His father, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baskerville
Baskerville is a serif typeface designed in 1757 by John Baskerville 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 Baskerville's time. As Ba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ball Terminal
A ball terminal is a design feature of a typeface or glyph where the end of a stroke takes a roughly circular shape, as opposed to a 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 a square end. External links "Ball terminal" at ParaType {{typography-stub Typography ... [...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] |
Clarendon (typeface)
Clarendon is a slab serif typeface that was released in 1845 by Thorowgood and Co. (or Thorowgood and Besley) of London, a letter foundry often known as the Fann Street Foundry. The original Clarendon design is credited to Robert Besley, a partner in the foundry, and was originally engraved by Punchcutting, punchcutter Benjamin Fox, who may also have contributed to its design. Many copies, adaptations and revivals have been released, becoming almost an entire genre of type design. Clarendon has a bold, solid structure, similar in letter structure to the Didone (typography), "modern" serif typefaces popular in the nineteenth century for body text (for instance showing an 'R' with a curled leg, and ball terminals on the 'a' and 'c'), but bolder and with less contrast in stroke weight. Clarendon designs generally have a structure with bracketed serifs, which become larger as they reach the main stroke of the letter. Mitja Miklavčič describes the basic features of Clarendon designs ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perpetua (typeface)
Perpetua is a serif typeface that was designed by the 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, when Gill's reputation as a leading artist-craftsman was high. Perpetua was intended as a crisp, contemporary design that did not follow 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 and 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 choi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
