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Anatomy Of A Typeface
''Anatomy of a Typeface'' is a 1990 book on typefaces written by Alexander Lawson.''Anatomy of a Typeface'', Alexander Lawson, David R. Godine, 1990. Background The book is notable for devoting entire chapters to the development and uses of individual or small groupings of typefaces. The book is also set in Gaillard, which happens to have its own Chapter in the book. The first 30 chapters specifically are devoted to an individual typeface per chapter. Beyond ''Anatomy of a Typeface'' Lawson has considered and discussed the classification of types. Within ''Anatomy'', Lawson arranges the typefaces by classification. In his preface, Lawson qualifies his classification: "After using this system in the teaching of typography over a thirty-year period, I know that it is reasonably effective in the initial study of printing types. I am not disposed to consider it faultless by any means. A classification system, after all, is simply a tool ... Its primary purpose is to help people beco ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alexander Lawson
Alexander () is a male name of Greek origin. The most prominent bearer of the name is Alexander the Great, the king of the Ancient Greek kingdom of Macedonia who created one of the largest empires in ancient history. Variants listed here are Aleksandar, Aleksander, Oleksandr, Oleksander, Aleksandr, and Alekzandr. Related names and diminutives include Iskandar, Alec, Alek, Alex, Alexsander, Alexandre, Aleks, Aleksa, Aleksandre, Alejandro, Alessandro, Alasdair, Sasha, Sandy, Sandro, Sikandar, Skander, Sander and Xander; feminine forms include Alexandra, Alexandria, and Sasha. Etymology The name ''Alexander'' originates from the (; 'defending men' or 'protector of men'). It is a compound of the verb (; 'to ward off, avert, defend') and the noun (, genitive: , ; meaning 'man'). The earliest attested form of the name, is the Mycenaean Greek feminine anthroponym , , (/Alexandra/), written in the Linear B syllabic script. Alaksandu, alternatively called ''Alakasandu'' or ... [...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] |
Design Books
A design is the concept or proposal for an object, process, or system. The word ''design'' refers to something that is or has been intentionally created by a thinking agent, and is sometimes used to refer to the inherent nature of something – its design. The verb ''to design'' expresses the process of developing a design. In some cases, the direct construction of an object without an explicit prior plan may also be considered to be a design (such as in arts and crafts). A design is expected to have a purpose within a specific context, typically aiming to satisfy certain goals and constraints while taking into account aesthetic, functional and experiential considerations. Traditional examples of designs are architectural and engineering drawings, circuit diagrams, sewing patterns, and less tangible artefacts such as business process models.Dictionary meanings in the /dictionary.cambridge.org/dictionary/english/design Cambridge Dictionary of American English at /www.diction ... [...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 & Mark ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Futura (typeface)
Futura is a Sans-serif#Classification, geometric sans-serif typeface designed by Paul Renner and released in 1927. Designed as a contribution on the New Frankfurt-project, it is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was developed as a typeface by Bauersche Gießerei, in competition with Ludwig & Mayer's seminal Erbar typeface. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner's design rejected the approach of most previous sans-serif designs (now often called Sans-serif#Grotesque, grotesques), which were based on the models of signpainting, condensed lettering and nineteenth-century serif typefaces, in favour of simple geometric forms: near-perfect circles, triangles and squares. It is based on strokes of near-even weight, which are low in contrast. The low ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Geometric Sans Serif
In typography and lettering, a sans-serif, sans serif (), gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. For the purposes of type classification, sans-serif designs are usually divided into these major groups: , , , , and . Sans-serif typefaces have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word , meaning "without" and "serif" of uncertain origin, possibly from the Dutch word meaning "line" or pen-stroke. In printed media, they are more commonly used for display use and less for body text. Before the term "sans-serif" became standard in English typography, a number of other terms had been used. One of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Optima
Optima is a Humanist sans-serif, humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, West Germany in 1958. Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima was inspired by Roman square capitals, classical Roman capitals and the stonecarving on Renaissance-period tombstones Zapf saw in Florence on a 1950 holiday to Italy. Zapf intended Optima to be a typeface that could serve for both body text and titling. To prove its versatility, Zapf set his entire book ''About Alphabets'' in the regular weight. Zapf retained an interest in the design, collaborating on variants and expansions into his eighties. History Interested in calligraphy and the history of Italian printing and lettering, Zapf first visited Italy in 1950. While in Florence, Zapf was particularly interested in the design of the lettering in tombstones of the cemetery of the Basilica of Santa Croce ... [...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] |
Franklin Gothic
Franklin Gothic and its related faces are a large family of sans-serif typefaces in the industrial or grotesque style developed in the early years of the 20th century by the type foundry American Type Founders (ATF) and credited to its head designer Morris Fuller Benton. "Gothic" was a contemporary term (now little-used except to describe period designs) meaning sans-serif. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards. Despite a period of eclipse in the 1930s, after the introduction of European faces like Kabel and Futura, they were re-discovered by American designers in the 1940s and have remained popular ever since. Benton's Franklin Gothic family is a set of solid designs, particularly suitable for display and trade use such as headlines rather than for extended text. Many versions and adaptations have been made since. Probably th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Times Roman
Times New Roman is a serif typeface commissioned for use by the British newspaper ''The Times'' in 1931. It has become one of the most popular typefaces of all time and is installed on most personal computers. The typeface was 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. Asked to advise on a redesign, Morison recommended that ''The Times'' change their body 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. Th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bookman (typeface)
Bookman is a serif typeface. A wide, legible design that is slightly bolder than most body text faces, Bookman has been used for both display typography, for trade printing such as advertising, and less commonly for body text. In advertising use it is particularly associated with the graphic design of the 1960s and 1970s, when revivals of it were very popular. Bookman evolved from fonts known as Old Style Antique, released around 1869. These were created as a bold version of the "Old Style" typeface, which had been cut by Alexander Phemister around the 1850s for the Miller & Richard foundry and become a standard, popular book typeface. Old Style Antique has letterforms similar to those of the eighteenth-century typeface Caslon, with a more even and regular structure, a wide and tall lower-case, and little contrast in line width. Bookman is much bolder than the original Old Style, to which it was intended to be a bold complement, almost to the point of being a slab serif, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cheltenham (typeface)
Cheltenham is a typeface for display use designed in 1896 by architect Bertram Goodhue and Ingalls Kimball, director of the Cheltenham Press. The original drawings were known as ''Boston Old Style'' and were made about 14" high. These drawings were then turned over to Morris Fuller Benton at American Type Founders (ATF) who developed it into a final design. Trial cuttings were made as early as 1899 but the face was not complete until 1902. The face was patented by Kimball in 1904. Later the basic face was spun out into an extensive type family by Morris Fuller Benton. Cheltenham is not based on a single historical model, and shows influences of the Arts and Crafts Movement. Originally intended as a text face, "Chelt" became hugely successful as the "king of the display faces." Part of the face's huge popularity is because, as it has elements of both an old style and transitional face, a Cheltenham headline complements virtually any body type. The overwhelming popularit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
