FontFont Typeface Library by FSI FontShop International History of Western Typography Etymology[edit] Typography (from the Greek roots τύπος typos = "impression" and -γραφία -graphia = "writing"). Medieval design roots[edit] 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. Johannes Gutenberg employed the scribe Peter Schöffer to help design and cut the letterpunches for the first typeface—the D-K type of 202 characters used to print the first books in Europe. Classical revival[edit] In their enthusiastic revival of classical culture, Italian scribes and humanist scholars of the early 15th century searched for ancient minuscules[disambiguation needed] to match the Roman inscriptional capitals. Transition from humanistic minuscule to roman type[edit] Some time before 1472 in Venice, Johann and Wendelin issued material printed with a half-Gothic-half-roman type known as "Gotico-antiqua". Development of roman type[edit]
Against Monopoly Time for a ‘user-friendly’ upgrade of global health information products Wednesday, 30 October 2013 00:00 Inis Communication The range of options being used to publish global health-related information has expanded dramatically in the past year or two. The move away from conventional documents and reports has been driven in part by organizations facing funding squeezes, which has imposed smaller print runs and distribution budgets for printed materials. User-friendly used to mean a publication or report that was well-structured, designed to make the content as accessible as possible, and in which figures and tables illustrated major points highlighted in the main text. The demand for new options is being driven from both sides: Overwhelmed readers are increasingly seeking information in pre-digested, bite-sized pieces, while organizations are urgently looking for new ways to communicate content effectively and save money. Infographics Short animations Responsive (HTML5) web sites
How To Choose The Right Face For A Beautiful Body Advertisement What is it that makes a typeface into a text font, instead of a font for larger sizes? The answer differs slightly, depending on whether one aims for print or Web-based environments. Nevertheless, there are certain features that most good text faces have in common. Some of today’s most successful typefaces were designed to excel in very specific areas of use: Frutiger grew out of airport signage, Georgia and Verdana were among the first mass-market fonts created for on screen reading, FF Meta was conceived as a telephone book face, and even the Stalwart Times New Roman was tailored for the pages of the London Newspaper The Times. It should be noted that in this article, when “text” is mentioned, it is in discussion of body text, or running text (in other words, text at a similar size to what you are probably reading right now, rather than much larger sized words). Features Of A Good Text Typeface 1. 2. In her book Thinking with Type, Ellen Lupton writes: 3. x-Height 4. Counters
Work: Hellbox The American Heritage Dictionary of the English Language, Fourth Edition, 2000. Houghton Mifflin Company. [1]Fleischman, J (1977). "A Linotypist's Notes: Being an Account of a Brief Apprenticeship in an Obsolete Trade". [2] Law and the Multiverse | Superheroes, supervillains, and the law Visual Law: What Lawyers Need to Learn from Information Designers For decades, words have been lawyers’ tools of trade. Today, we should no longer let tradition force us to think inside the text-only box. Apart from words, there are other means available. It is no longer enough (if it ever was) to offer more information or to enhance access alone: the real challenge is the understandability of the content. Last year, in Sean McGrath’s post on Digital Law, we were alerted to what lawyers need to learn from accountants. Focus on users and good communication Lawyers are communication professionals, even though we do not tend to think about ourselves in these terms. Law school does not teach us how to enhance the effectiveness of our message. These questions are deeply rooted in the discipline of information design. Want to see examples? Figure 1: Excerpt from Vendor Power! A convincing example of visualizing legal rules is “Vendor Power!” Legal visualization may deal with data, information, or knowledge. Figure 2. Figure 3. Want to learn more and explore?
Type classifications are useful, but the common ones are not This is an article I wrote for the publication about the conference Research in Graphic Design at the Academy of Fine Arts Kattowice where I gave a talk on the subject in January 2012. Please excuse the lack of illustrations. I will try to add some later, but usually those are empty promises as you can see in other posts on this site. It is a recurring phenomenon that we tend to sort what comes in large amounts to be able to grasp it, for quicker reference, and to find it back more easily. Any categorization covers three aspects: 1. sorting in (this is what scholars and historians do, also type manufacturers), 2. reference (educating) and 3. taking out or finding back (this is what the user usually does). What happened? Assigning names to typefaces and classifying them is a rather new occurrence in our 560 years of type. Then the industrial revolution happened. So type foundries all invented their own, more or less arbitrary designations for their new styles, e.g. 1. Click to enlarge 2.
manystuff.org — Graphic Design daily selection Typographer's Glossary Serif: Serif's are semi-structural details on the ends of some of the strokes that make up letters and symbols. A typeface that has serifs is called a serif typeface (or seriffed typeface). Some of the main classifications of Serif type are: Blackletter, Venetian, Garalde, Modern, Slab Serif, Transitional, and Informal. Fonts in each classfication share certain similiar characteristics including the shape or appearance of their serifs. Concurring Opinions Promoting Social Justice One Poster at a Time To understand what the Center for Urban Pedagogy, or CUP, does, executive director Christine Gaspar takes you to the bathroom to ponder the porcelain. "It's like when you flush a toilet, " Gaspar explains. "When you think of how it works, you could probably answer the water goes through a series of pipes, that there's some infrastructure involved. But do you really know where that water goes?" Her point: even something as mundane and at-first logical as household plumbing may actually be confusing when considered as part of a larger system. The more we think about something the less understandable it may become. CUP began informally in 1997, when founder Damon Rich and a few collaborators, fresh from college, began exploring how the city works. Over time, CUP has stayed focused. Each year, CUP puts out four posters to address four specific educational needs by community groups. "We've really gotten a positive response," Colin Lentz, a program associate with the center, says.