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Palatino is the name of an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company.
Optima is a humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, West Germany in 1958.
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.
Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. It was 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 the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926.
In typography, italic type is a cursive font based on a stylised form of calligraphic handwriting. Owing to the influence from calligraphy, italics normally slant slightly to the right. Italics are a way to emphasise key points in a printed text, to identify many types of creative works, to cite foreign words or phrases, or, when quoting a speaker, a way to show which words they stressed. One manual of English usage described italics as "the print equivalent of underlining"; in other words, underscore in a manuscript directs a typesetter to use italic.
Johnston is a sans-serif typeface designed by and named after Edward Johnston. The typeface was commissioned in 1913 by Frank Pick, commercial manager of the Underground Electric Railways Company of London, as part of his plan to strengthen the company's corporate identity. Johnston was originally created for printing, but it rapidly became used for the enamel station signs of the Underground system as well.
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.
Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called slanted or sloped roman styles. Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of counters and the thick-and-thin quality of strokes from the regular design.
Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text. It is a member of the "old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman". Bembo is named for Manutius's first publication with it, a small 1496 book by the poet and cleric Pietro Bembo. The italic is based on work by Giovanni Antonio Tagliente, a calligrapher who worked as a printer in the 1520s, after the time of Manutius and Griffo.
Kabel is a geometric sans-serif typeface designed by German designer Rudolf Koch, and released by the Klingspor foundry from 1927 onwards.
Rudolf Koch was a German type designer, professor, and a master of lettering, calligraphy, typography and illustration. Commonly known for his typefaces created for the Klingspor Type Foundry, his most widely used typefaces include Neuland and Kabel.
Goudy Old Style is an old-style serif typeface originally created by Frederic W. Goudy for American Type Founders (ATF) in 1915.
Joanna is a serif typeface designed by Eric Gill (1882–1940) in the period 1930–31, and named for one of his daughters. Gill chose Joanna for setting An Essay on Typography, a book by Gill on his thoughts on typography, typesetting, and page design. He described it as "a book face free from all fancy business".
In typography, Erbar or Erbar-Grotesk is a sans-serif typeface in the geometric style, one of the first designs of this kind released as type. Designer Jakob Erbar's aim was to design a printing type which would be free of all individual characteristics, possess thoroughly legible letter forms, and be a purely typographic creation. His conclusion was that this could only work if the type form was developed from a fundamental element, the circle. Erbar-Grotesk was developed in stages; Erbar wrote that he had originally sketched out the design in 1914 but had been prevented from working on it due to the war. The original version of Erbar was released in 1926, following Erbar's "Phosphor" titling capitals of 1922 which are very similar in design.
Diotima is a serif typeface designed by Gudrun Zapf-von Hesse and published by Stempel.
Deepdene is a serif typeface designed by Frederic Goudy from 1927–1933. It belongs to the "old-style" of serif font design, with low contrast between strokes and an oblique axis. However, Deepdene has crisp serifs and a nearly upright italic, with much less of a slant than is normal for this style.
Cloister is a serif typeface that was designed by Morris Fuller Benton and published by American Type Founders from around 1913. It is loosely based on the printing of Nicolas Jenson in Venice in the 1470s, in what is now called the "old style" of serif fonts. American Type Founders presented it as an attractive but highly usable serif typeface, suitable both for body text and display use.
Cochin is a serif typeface. It was originally produced in 1912 by Georges Peignot for the Paris foundry G. Peignot et Fils and was based on the copperplate engravings of 18th century French artist Charles-Nicolas Cochin, from which the typeface also takes its name. The font has a small x-height with long ascenders. Georges Peignot also created the design 'Nicolas-Cochin' as a looser variation in the same style.
Hendrik van den Keere was a sixteenth-century punchcutter, or cutter of punches to make metal type, who lived in Ghent in modern Belgium.
References
- 1 2 3 4 Tracy, Walter. Letters of Credit. pp. 153–173. Retrieved 19 December 2016.
- ↑ Vervliet, Hendrik D. L. (19 December 2013). Post-Incunabula en Hun Uitgevers in de Lage Landen / Post-Incunabula and Their Publishers in the Low Countries: Een bloemlezing gebaseerd op Wouter Nijhoff's L'Art typographique uitgegeven ter gelegenheid van het 125-jarig bestaan van Martinus Nijhoff op 1 januari 1978 / A selection based on Wouter Nijhoff's L'Art typographique published in commemoration of the 125th anniversary of Martinus Nijhoff on January 1, 1978. Springer. pp. 142–4. ISBN 978-94-017-4814-8.
- ↑ Vervliet, H. D. L. (1968). "Lambrecht's Bourgeois Italic". Sixteenth-Century printing types of the Low Countries. Houten: Hes & De Graaf. ISBN 9789061948599.
- ↑ Lambrecht, Joos (1539). Refereynen int vroede... Ghent: Joos Lambrecht. Retrieved 25 March 2017.
- 1 2 Shaw, Paul. "Overlooked Typefaces". Print magazine. Retrieved 2 July 2015.
- ↑ Loxley, Simon. "Font Wars: A Story On Rivalry Between Type Foundries". Smashing Magazine. Retrieved 20 March 2016.
- ↑ Allan Haley (15 September 1992). Typographic Milestones. John Wiley & Sons. pp. 69–76. ISBN 978-0-471-28894-7.
- ↑ "Eva Antiqua". MyFonts . Speice Graphics. Retrieved 26 December 2016.
- ↑ Steffman, Dieter (2005). "Koch-Antiqua Zier". DaFont.com. Retrieved March 5, 2018.
- ↑ Although presumably an independent invention, Koch was not the first to think of combining italic with blackletter inline capitals: the idea was used somewhat chaotically by Ghent printer Joos Lambrecht in the introduction to a book of 1539, which also introduced roman type to the Low Countries. [2] [3] [4]