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La Fundacin Wikimedia est celebrando un referndum para reunir ms informacin acerca del desarrollo y utilizacin de una caracterstica optativa y personal de ocultamiento de imgenes. Aprende ms y comparte tu punto de vista.
Portada Portal de la comunidad Actualidad Cambios recientes Pginas nuevas Pgina aleatoria Ayuda Donaciones Notificar un error Imprimir/exportar Crear un libro Descargar como PDF Versin para imprimir Herramientas En otros idiomas Catal Deutsch English Euskara Magyar Italiano Nederlands Norsk (bokml) Polski Portugus Svenska Contenido [ocultar] 1 El nacimiento de un carcter tipogrfico de sealizacin 2 Anlisis de la tipografa Frutiger 3 Tipos de Frutiger y familias 3.1 Frutiger (1976) 3.2 Frutiger Stones (1998) 3.3 Frutiger Symbols (1998) 3.4 Frutiger Next (2000) 3.5 ASTRA Frutiger (2003) 3.6 Frutiger Capitalis Font Family (2005) 3.7 Frutiger Arabic (2007) 3.8 Frutiger Serif (2008) 3.9 Neue Frutiger (2009) 4 Anexos 5 Aplicacin de la tipografa Frutiger a marcas corporativas 6 Bibliografa 7 Vase tambin 8 Enlaces externos
* Ejemplo

[Aydanos traduciendo.]

Frutiger (tipo de letra)


Frutiger es una familia tipogrfica. Su creador fue el diseador Adrian Frutiger, suizo nacido en 1928, es uno de los tipgrafos ms prestigiosos del siglo XX. El nombre de Frutiger comprende una serie de tipos de letra ideados por el tipgrafo suizo Adrian Frutiger. La primera Frutiger fue creada a partir del encargo que recibi el tipgrafo, en 1968. Se trataba de disear el proyecto de sealizacin de un aeropuerto que se estaba construyendo, el aeropuerto Charles de Gaulle en Pars. Aunque se trataba de una tipografa de palo seco, ms tarde se fue ampliando y actualmente consta tambin de una Frutiger serif y modelos ornamentales de Frutiger.
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* Diseador: Adrian Frutiger * Categora:Palo seco(Thibaudeau, Lineal (Novarese-DIN 16518) Humanista (VoxATypt) * Ao: 1976

El nacimiento de un carcter tipogrfico de sealizacin

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La letra tipogrfica Frutiger fue creada por el tipgrafo suizo Adrian Frutiger, contemporneo y reconocido por una de su tipografa ms famosa, la Univers. La Frutiger naci a raz de un encargo que recibi el diseador en 1968. Se trataba de crear una tipografa para el sistema de sealizacin del nuevo aeropuerto de Pars-Charles de Gaulle (Francia). La idea era crear una letra tipogrfica moderna que combinara perfectamente con la arquitectura vanguardista del nuevo aeropuerto. El punto central era que el carcter tipogrfico se tena que poder visualizar desde lejos. El viajero tena que poder leer, mientras corra, la informacin de los rtulos de sealizacin. Se especulaba con la idea de que Adrian Frutiger utilizara la letra tipogrfica Univers para este encargo, pero prefiri disear una nueva. Una de las razones era porque los remates de la Univers son demasiado redondeados y cerrados, perfectos para la decoracin, pero no facilitan la lectura rpida a largas distancias. Para esta funcin se necesitaban formas ms depuradas. Las sealizaciones del aeropuerto se disearon con un fondo amarillo oscuro. Sobre l contrastaban los textos en francs en negro, y los textos en ingls en blanco. Se estudiaron y se establecieron todas las reglas tipogrficas teniendo en consideracin todos los casos posibles de sealizacin. Originalmente, la Frutiger se llamaba Roissy, como el aeropuerto para el cual haba sido diseada y que estuvo acabado en 1975. La Fundicin Stempel dio a conocer la Frutiger en 1976. En 1978 Linotype compr los derechos de reproduccin y pas a llamarse Frutiger, como su creador. No fue la nica vez que se utilizaba la Frutiger para la sealizacin. En el ao 2003 la tipografa ASTRA Frutiger, una variante de la Frutiger original. Sustituy la VSS de las seales de trfico de Suiza. Para conseguir legibilidad ptima, Adrian Frutiger aument los blancos internos, sobre todo de las letras "a" y "e".
La tipografa ASTR Frutiger en las seales de trfico de Suiza * Ejemplo completo

Anlisis de la tipografa Frutiger

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La Frutiger original es una letra de palo seco, simple, clara, robusta y sin serif. No es estrictamente geomtrica pero tampoco es estrictamente humanista. La mayora de los palos secos que existan en la poca en que la Frutiger fue diseada, posean terminaciones redondeadas y cerradas, perfectas para la funcin decorativa, pero poco adecuadas para una lectura a distancia.

Comparacin de la Univers (en rojo) y la Frutiger (en negro)

Se tom como base la H y la n para establecer las medidas esenciales de todo el alfabeto. Todas las letras redondas (o, O, la u por debajo) sobresalen de la alineacin horizontal de las letras rectas.

La curva sobresale de la horizontal

Refirindose a la proporcin, existe poca diferencia entre las maysculas y las minsculas. En el caso de las minsculas, el trazo es ms fino que el de las maysculas. Las astas ascendentes sobresalen respecto de las maysculas y las astas descendentes son ms cortas.

Las astas ascendentes sobresalen con respecto a las maysculas y las descendentes son ms cortas

Un detalle que tiene la Frutiger y que no tienen la mayora de letras de palo seca, est en los arcos superiores de la n o inferiores de las b, d, p, etc. Estos se presentan ms finos y menos anguloso. Este detalle es muy importante para facilitar su legibilidad. Partiendo de la letra o como base, los anchos de las minsculas son armnicos entre ellos. Se diferencian bien los gruesos entre las verticales y las horizontales de las letras A, E, F o H.

Tipos de Frutiger y familias


Frutiger (1976)
(Linotype Originals) Diseada por Adrian Frutiger en 1976 a raz del encargo de crear un sistema de sealizacin para el aeropuerto Charles de Gaulle (Pars). Es una familia de gama extensa y fue realizada entre los aos 1975 / 1980 por Adrian Frutiger y su ayudante Hansjrg Hunziker. La peculiaridad de Adrian Frutiger es utilizar un sistema numrico para diferenciar sus familia. Se trata de una numeracin de dos cifras. La primera, (en posicin de decenas) corresponde al grueso de las astas, la segunda (en posicin de unidades) corresponde a la forma de la letra. La cifra base o referencia es el cinco, de forma que 55 seala una serie con el grueso del trazo normal y redonda; 56 si es de trazo normal y cursiva; 57 indica una letra condensada. Si lo que se varan son los gruesos: 45 indica una serie fina, 55 estndar, 65 negrita y 75 una serie extra negrita. Esta combinatoria para describir series fue utilizada por primera vez en la tipografa Univers del mismo autor y se adopt, en la poca de la fotocomposicin, como un estndar. Actualmente, algunas tipografas que incluyen muchas series, utilizan este sistema para describir las variedades formales. Familias tipogrficas Frutiger 45 Light, 46 Light Italic, 55 Roman, 56 Italic, 65 Bold, 66 Bold Italic,75 Black, 76 Black Italic, 95 Ultra Black Frutiger Condensed: Frutiger 47 Light Condensed, 48 Light Condensed Italic, 57 Condensed, 58 Condensed Italic, 67 Bold Condensed, 68 Bold Condensed Italic, 77 Black Condensed, 78 Black condensed Italic, 87 Extra Black Condensed, 88 Extra Black condensed Italic

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* Diseador: Adrian Frutiger * Categora: Humanista - Palo seco * Ao: 1976

Frutiger Central European: Frutiger Central European 45 Light, Central European 46 Light Italic, Central European 55 Roman, Central European 56 Italic, Central European 65 Bold, Central European 66 Bold Italic, Central European 75 Black, Central European 76 Black Italic, Central European 95 Ultra Black, Central European 47 Light Condensed, Central European 57 Condensed, Central European 67 Bold Condensed, Central European 77 Black Condensed, Central European 87 Extra Black Condensed Frutiger Cyrillic: Frutiger Cyrillic 45 Light, Cyrillic 46 Light Italic, Cyrillic 55 Roman, Cyrillic 56 Italic, Cyrillic 65 Bold, Cyrillic 66 Bold Italic, Cyrillic 75 Black, Cyrillic 6 Black Italic, Cyrillic 95 Ultra Black, Cyrillic 47 Light Condensed, Cyrillic 57 Condensed, Cyrillic 67 Bold Condensed, Cyrillic 77 Black Condensed, Cyrillic 87 Extra Black Condensed

Frutiger Stones (1998)


(Linotype Originals) Diseada por Adrian Frutiger en 1998. Con esta tipografa, el diseador explota su creatividad inspirndose en las formas redondas de las piedras de los ros. Es original y posee un cierto aire rupestre. Se podra incluir, por tanto, dentro de la categora de tipografas de fantasa. Se presenta en versin positiva y negativa y se complementa con la Frutiger Symbols. Familias tipogrficas: Frutiger Stones Regular Frutiger Stones Positiv Frutiger Stones Negativ

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Frutiger Symbols (1998)


(Linotype Originals) Diseada por Adrian Frutiger en 1998.

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* Diseador: Adrian Frutiger * Categora: Ornamental * Ao: 1998

Signos simblicos encajados en formas redondeados que complementan la Frutiger Stones. Representan entes de la naturaleza (animales y plantas), smbolos religiosos y mitolgicos. Familias tipogrficas: Frutiger Symbols Regular Frutiger Symbols Positiv Frutiger Symbols Negativ

Frutiger Next (2000)


(Linotype Platinum Collection) Diseada por Adrian y Linotype Design Studio en el ao 2000.

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* Diseador: Adrian Frutiger * Categora: Ornamental * Ao: 1998

Es una versin revisada y aumentada de la Frutiger original, con la altura de la x ligeramente mayor, y, en general, con ms contraste. Hasta el ao 2000 ha sido la versin ms rica en caractersticas tipogrficas, ya que soporta 48 idiomas derivados del latn de Europa Occidental, Central y Europa del Este, incluso las lenguas blticas y el turco. Pertenece a la coleccin Linotype Platinum Collection. Las tipografas de esta coleccin han sido cuidadosamente digitalizadas y poseen la alta calidad exigida por la tipografa profesional. Otras tipografas de esta coleccin son: Avenir Next, Compatil, Eurostile Next, Optima Nova, Palatino Nova, Univers Next , Sabon Next o Syntax Next. La familia est disponible en dos versiones: OpenType, o en los formatos tradicionales de tipos de letra (PostScript y True Type). La familia OpenType tiene siete pesos. La versin original comporta un sistema de 18 pesos. Familias tipogrficas: Frutiger Next: Frutiger Next Ultra Light, Next Ultra Light Italic, Next Light, Next Light Italic, Next Regular, Next Italic, Next Medium, Next Medium Italic, Next Bold, Next Bold Italic, Next Heavy, Next Heavy Italic, Next Black, Next Black Italic
Diseadores: Adrian Frutiger y Linotype Design Studio Categora: Palo seco - Ao: 2000

Frutiger Next Condensed: Frutiger Next Condensed Ultra Light, Next Condensed Light, Next Condensed Regular, Next Condensed Medium, Next Condensed Bold, Next Condensed Heavy, Next Condensed Black Frutiger Next Central European: Next Central European Light, Next Central European Light Italic, Next Central European Italic, Next Central European Regular, Next Central European Medium, Next Central European Medium Italic, Next Central European Bold, Next Central European Bold Italic, Next Central European Heavy, Next Central European Heavy Italic, Next Central European Black, Next Central European Black Italic, Next Central European Light Condensed, Next Central European Condensed, Next Central European Medium Condensed, Next Central European Bold condensed, Next Central European Heavy Condensed, Next Central European Black Condensed Frutiger Next W1G: Frutiger Next W1G Ultra Light, Next W1G Ultra Light Italic, Next W1G Light, Next W1G Light Italic, Next W1G Regular, Next W1G Italic, Next W1G Medium, Next W1G Medium Italic, Next W1G Bold, Next W1G Bold Italic, Next W1G Heavy, Next W1G Heavy Italic, Next W1G Black, Next W1G Black Italic Frutiger Next W1G Condensed: Frutiger Next W1G Condensed Ultra Light, Next W1G Condensed Light, Next W1G Condensed, Next W1G Condensed Medium, Next W1G Condensed Bold, Next W1G Condensed Heavy, Next W1G Condensed Black

ASTRA Frutiger (2003)


Diseada por Adrin Frutiger en 2003

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La VSS - Schweizerischer Verband der Strassen und Verkehrsfachleute (Asociacin Suiza de Profesionales de las carreteras) era, desde 1860, la encargada de redactar las normas relativas a las sealizaciones de las carreteras suizas. A principios de 1990 la VSS decidi revisar estas normas y cambiar la anticuada tipografa por una ms legible y ms fcil de aplicar. Despus de varios aos de trabajo intenso, Adrian Frutiger cre la tipografa ASTRA Frutiger. Se basa en una Frutiger 57 condensada, con ligeros cambios. Por ejemplo, ms espacio entre sus caracteres para facilitar la lectura desde largas distancias. Se presenta en dos estilos: El estndar para las carreteras comarcales y el Autobahn para las autopistas. En este ltimo caso, los espacios entre caracteres son mucho ms amplios. Familias tipogrficas ASTRA-Frutiger Standard/Standard ASTRA-Frutiger Autobahn/Autoroute

Frutiger Capitalis Font Family (2005)


(Lynotipe Originals) Diseada por Adrin Frutiger en 2005. Despus de trabajar en tipos de letras sofisticadas y meticulosas, Frutiger Capitales ha sido una liberacin, ya que es una tipografa alegre que revela vitalidad. Se presenta en forma positiva, perfilada y de signos. La Frutiger Capitalis Signs es un cosmos de los smbolos dibujados con trazos suaves, algunos poco legibles para dejar margen para la interpretacin. familias tipogrficas: Frutiger Capitalis Regular Frutiger Capitalis Outline Frutiger Capitalis Signs

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Frutiger Arabic (2007)


(Linotype Originals)

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* Diseador: Adrian Frutiger * Categora: Ornamental * Ao: 2005

Diseada en 2007 por Nadine Chahine (diseadora libanesa, que tambin se ha encargado de crear la versin rabe de la Helvtica) y asesorada por Adrian Frutiger durante el proceso de creacin. Frutiger Arabic se basa en el estilo Kufi, pero su diseo incorpora aspectos de Ruqaa y formas Naji. Se puede catalogar como una Humanista Kufi, muy estructural y geomtrica. Al igual que la Frutiger original, el diseo est dirigido a aplicaciones de sealizacin, pero tambin es muy adecuado para dispositivos de baja resolucin en pantalla, identidad corporativa y aplicaciones de marca. Es compatible con el rabe, persa y el urd. Familias tipogrficas: Frutiger Arabic 45 light, 55 Roman, 65 bold, 75 black, 47 Condensed Light, 57 Condensed, 67 Condensed Bold, 77 Condensed Black

Frutiger Serif (2008)


(Linotype Originals)

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* Diseador: Adrian Frutiger * Categora: Humanista - Palo seco * Ao: 2005

Diseada por Adrian Frutiger y Akira Kobayashi (director tipogrfico de Linotype) en 2008. Fue presentada el 24 de mayo de 2008, coincidiendo con el aniversario de Frutiger. Es una versin actualizada y ampliada de la tipografa Meridien (creada por Adrian Frutiger en la dcada de los 50 y publicada en 1957 por Deberny & Beignot), pero la Frutiger Serif es ms condensada que la Meridien. El porqu de esta versin fue la necesidad de un tipo que funcionara con cuerpos ms pequeos que 10 o 12 puntos. Es perfecta para grandes cantidades de texto y medidas ms pequeas que las habituales. Combina muy bien con los diseos de palo seco de Adrian Frutiger, como la Frutiger, Next Frutiger o la Univers. Familias tipogrficas: Frutiger Serif: Frutiger Serif Light, Serif Light Italic, Serif Regular, Serif Italic, Serif Medium, Serif Medium Italic, Serif Bold, Serif Bold Italic, Serif Heavy, Serif Heavy Italic Frutiger Serif Condensed: Frutiger Serif Condensed Light, Serif Condensed Light Italic, Serif Condensed, Serif Condensed Italic, Serif Condensed Medium, Serif Condensed Medium Italic, Serif Condensed Bold, Serif Condensed Bold Italic, Serif Condensed Heavy, Serif Condensed Heay Italic

* Diseadores: Adrian Frutiger i Akira Kovayashi * Categora: Serif * Ao: 2008

Neue Frutiger (2009)


(Linotype Platinum Collection) Diseada por Adrian Frutiger i Akira Kobayashi (director tipogrfico de Linotype) en 2009. Es su creacin ms reciente. Esta tipografa es una mejora de la Frutiger original. Se han perfeccionado, por ejemplo, los acentos, que encajan mucho mejor. Los blancos internos de la R y de la d son ms redondos y los brazos de la C ms abiertos. Se ha reducido el grueso de los smbolos de copyright y la marca registrada para mejorar su adaptabilidad a las medidas ms pequeas. El smbolo de la arroba tambin se ha modernizado. Las alturas de las tipografas Frutiger y Neue Frutiger son iguales. Es por eso que se pueden mezclar entre ellas o con la Frutiger Serif. Familias tipogrficas: Neue Frutiger: Neue Frutiger Ultra Light, Ultra Light Italic,Thin, Thin Italic, Light, Light Italic, Book, Book Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic, Black, Black Italic, Extra Black, Extra Black Italic Neue Frutiger Condensed: Neue Frutiger Condensed Ultra Light, Ultra Light Italic,Thin, Thin Italic, Light, Light Italic, Book, Book Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic, Black, Black Italic, Extra Black, Extra Black Italic

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* Diseadores: Adrian Frutiger i Akira Kovayashi * Categora: Palo seco * Ao: 2009

Neue Frutiger Cyrillic: Neue Frutiger Cyrillic Ultra Light, Ultra Light Italic,Thin, Thin Italic, Light, Light Italic, Book, Book Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic, Black, Black Italic, Extra Black, Extra Black Italic Neue Frutiger W1G: Neue Frutiger W1G Ultra Light, Ultra Light Italic,Thin, Thin Italic, Light, Light Italic, Book, Book Italic, Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Heavy, Heavy Italic, Black, Black Italic, Extra Black, Extra Black Italic

Anexos
Lista de tipografas de Adrian Frutiger

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Aplicacin de la tipografa Frutiger a marcas corporativas


La versatilidad de la letra tipogrfica Frutiger, con sus formas sencillas y siempre actuales, ha permitido su utilizacin para la sealizacin y tambin su aplicacin al diseo grfico y a las marcas corporativas. Ejemplos:

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Telefnica O2 - Es una marca comercial que ofrece servicios de telefona en el Reino Unido, Irlanda, Alemania, Repblica Checa y Eslovaquia. - Telefnica O2 London School of Economis & Political Science - Es una universidad especializada en una amplia gama de ciencias sociales (economa, poltica, derecho, sociologa, antropologa, contabilidad y financias) - LSE NHS - Servicio nacional de salud de Inglaterra - HNS Conservative - Partido conservador de Canad - Conservative Banco Bradesco - Banco de Brasil - Banco Bradesco Fuerzas de defensa de Finlandia - Fuerzas de defensa de Finlandia CBC Radio Canada - Canadian Broadcasting Corporation - CBC Radio Canada

Bibliografa
1. GORDON, Bob 1000 fuentes tipogrficas Barcelona, Espaa: Ed. Gustavo Gili, S.L, 2009 ISBN 978-84-252-1329-7 2. FRUTIGER, Adrian En torno a la tipografa Barcelona, Espaa: Ed. Gustavo Gili, S.L, 2002 ISBN 84-252-1916-7 3. FRUTIGER, Adrian El libro de la tipografa Barcelona, Espaa: Ed. Gustavo Gili, S.L, 2007 ISBN 978-84-252-2162-0 MEGGS,
PHILIP, ROB

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CARTER . Typographic Specimens: The Great Typefaces. Van Nostrand Reinhold: 1993, p. 163. ISBN 0-442-00758-2

GIBSON, JENNIFER . "Univers and Frutiger." Revival of the Fittest: Digital Versions of Classical Typefaces, Ed. Philip Meggs and Roy McKelvey. RC Publications: 2000, pp. 176177. ISBN 1-883915-08-2

Vase tambin
Adrian Frutiger Univers (tipo de letra) Tipografa Tipo de letra Altura de la x Palo seco Gracia (tipografa) Minscula carolingia

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Enlaces externos
Typophile Typowiki: Frutiger Typophile: Help on finding a Greek frutiger font linotype.com: Frutiger typeface family overview & related information Linotype Frutiger Next linotype.com: Frutiger Next font family Frutiger Symbols Font Family - by Adrian Frutiger Frutiger Stones Font Family - by Adrian Frutiger ASTRA Frutiger Schrift Frutiger Capitalis Font Family - by Adrian Frutiger Frutiger Arabic Frutiger Arabic Font Family - by Nadine Chahine, Adrian Frutiger Adrian Frutigers newest typeface: Frutiger Serif Linotype releases Frutiger Serif font family - May 19, 2008

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New Frutiger Serif Typeface Family Debuts in the Linotype Library of Typefaces: Adrian Frutiger and Akira Kobayashi Collaborate to Expand One of the World's Most Renowned Type Families Frutiger Serif Font Family - by Adrian Frutiger, Akira Kobayashi Font Collections - Neue Frutiger Neue Frutiger Font Family - by Adrian Frutiger, Akira Kobayashi Humanist 777 Categora: Familias tipogrficas

Esta pgina fue modificada por ltima vez el 21 abr 2011, a las 17:10. El texto est disponible bajo la Licencia Creative Commons Atribucin Compartir Igual 3.0; podran ser aplicables clusulas adicionales. Lee los trminos de uso para ms informacin.

Iniciar sesin / crear cuenta

Artculo Discusin

Leer Editar Ver historial

Buscar

La Fundacin Wikimedia est celebrando un referndum para reunir ms informacin acerca del desarrollo y utilizacin de una caracterstica optativa y personal de ocultamiento de imgenes. Aprende ms y comparte tu punto de vista.
Portada Portal de la comunidad Actualidad Cambios recientes Pginas nuevas Pgina aleatoria Ayuda Donaciones Notificar un error Imprimir/exportar Crear un libro Descargar como PDF Versin para imprimir Herramientas En otros idiomas Catal Deutsch English Franais Magyar Italiano Nederlands Portugus Svenska Contenido [ocultar] 1 La revalorizacin del palo seco 2 Sistema de numeracin Univers 3 Sistema de numeracion Linotype 4 Tipos de Univers y familias 4.1 Univers Font Family (1957) 4.2 Linotype Univers Font Family (1999) 4.3 Univers Next Font Family (2010) 4.4 Anexos 4.5 Vase tambin 4.6 Referencias

[Aydanos traduciendo.]

Univers (tipo de letra)


Univers es un tipo de letra de palo seco ideada por el tipgrafo suizo Adrian Frutiger en 1957. Es uno de los mayores xitos tipogrficos de la segunda mitad del siglo XX.

La revalorizacin del palo seco


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* Diseador: Adrian Frutiger * Categora:Palo seco(Thibaudeau, Lineal (Novarese-DIN 16518) Humanista (VoxATypt) * Ao: 1976

Los tipos de letra denominados grotescos tenan grandes virtudes: Objetividad, ausencia de demostraciones personales y formas slidas de aspecto neutro. Pero tambin tenan un gran defecto: La falta de sensibilidad. En 1952, Charles Peignot adquiri los derechos de la Photon-Lumytipe en Europa. Adrian Frutiger fue el encargado de redibujar las tipografas ya existentes a partir de las piezas de plomo. El problema que encontro con la fotocomposicin es que muchas de las tipografas se desenfocaban, las esquinas se redondeaban y las terminaciones ms finas desaparecian por causa de iluminaciones inadecuadas. Adrian Frutiger se vio con la necesidad de crear una letra tipogrfica que se adaptase a los tiempos modernos de la fotocomposicin. Pero su idea era disear una familia tipogrfica muy extensa, que fuera ligera, elegante y multifuncional. La aparicin de la Univers supuso la revalorizacin de las grotescas que existan hasta el momento. Adrian Frutiger la cre sobre la idea de que la escritura es un bien cultural que se transmite a travs de nuestros antepasados. Sus formas se han creado con mucho respeto hacia las formas del pasado. La Univers escapa tambin de las formas geomtricas y constructivistas. Los blancos internos de la letra son ms grandes que los blancos que existen entre las letras. Las astas verticales son ms gruesas que las horizontales y las diagonales tienen un grosor intermedio. El ojo no se desva hacia ningn ornamento ostentoso ya que Univers ha sido creada bajo un riguroso y harmonioso principio de construccin.

* Ejemplo

Sistema de numeracin Univers


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Dentro de una familia tipogrfica se pueden encontrar una gran variedad de grosores y de pesos. Adrian Frutiger cre un sistema de clasificacin que engloba todas las variaciones que puede llegar a tener un tipo de letra. Univers inaugur esta tabla ya que tiene una familia muy extensa. Al principio contaba con veintiuna variaciones en cinco pesos y cuatro grosores. Actualmente incluye ms de cincuenta tipos de letra.
* Ejemplo completo

Este sistema consiste en definir la letra con nmeros de dos cifras. Las decenas corresponden al grosor de las astas y las unidades a la forma de la letra. Los nmeros pares corresponden a las letras romanas y los impares a las cursivas. El nmero 55 es la serie de grosor normal y redonda, 56 define el grosor normar y el trazo cursivo y el 57 indica una letra condensada. La tabla va del 30 (la letra ms estrecha) a ms de 80 (las letras ms anchas). Por ejemplo, 45 indica un serie fina y romana, 46 una serie fina y cursiva, 75 una serie negrita y romana y 76 una serie negrita y cursiva.
Sufijo Nombre 1 2 3 4 5 Normal, Peso Ultra Thin (muy fina) Thin(Fina) Light (ligera) Roman, o Regular Ancho y forma Ultra Extended Ultra Extended Oblique (ultra extendida) (ultra extendida oblcua) Extended (extendida) Extended Oblique (extendida oblcua) Normal 6 Bold (negrita) 7 8 Extra Black (pesada) 9 Extra Black (Negra) 10 Ultra o Extra Negra

Black (fuerte)

Oblique Condensed (oblcua) (Condensada)

Condensed Oblique Ultra Condensed (condensada Obliqua) (ultra condensada) -

Sistema de numeracion Linotype

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La familia de tipos "Linotype Univers" utiliza un sistema de tres caracteres. El primero describe el peso, els segundo describe el ancho y el tercero describe la posicin del tipo.
Sufijo Nmero Peso 0 1 2 3 4 5 6 7 8 9

Ultra ligera Delgada

Ligera Regular

Mediana Fuerte Pesada Negra Extra Negra -

Ancho -

Comprimida Condensada Bsica Extendida -

Forma Roman Oblicua

Tipos de Univers y familias


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Univers Font Family (1957)

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(Linotype Originals) La familia Univers es ideal para cubrir cualquier necesidad tipogrfica, ya que tiene la ventaja de poder combinar gran variedad de pesos y estilos. Combina tambin con otros tipos de diferentes orgenes: Letras de estilo antiguo (Jason Text, Meridien, Sbon, Wilke), d'estilo moderno (Linotype Centennial, Walbaum), Slab serif (Egyptienne, Serifa), o manuscrites (Brush Script, Mistral) Fuentes tipogrfica Univers 39 Thin Ultra Condensed Univers 45 Light, Univers 45 Oblique Univers 47 Light Condensed, Univers 47 Light Condensed Oblique Univers 49 Light Ultra Condensed No2 Univers 53 Extended, Univers 53 Extended Oblique Univers 55 Roman, Univers 55 Roman Oblique Univers 57 Condensed, Univers 57 Condensed Oblique Univers 59 Ultra Condensed Univers 63 Bold Extended, Univers 63 Bold Extended:Oblique Univers 65 Bold, Univers 65 Bold Oblique Univers 66 Bold Italic, Univers 67 Bold Condensed, Univers 67 Bold Condensed Oblique Univers 73 Black Extended, Univers 73 Black Extended Oblique Univers 75 Black, Univers 75 Black Oblique Univers 85 Extra Black, Univers 85 Extra Black Oblique Univers 93 Extra Black Extended, Univers 93 Black Extended Oblique Univers Central Europeu: Univers CE 45 Light, Univers CE 45 Light Oblique Univers CE 55 Roman, Univers CE 55 Roman Oblique Univers CE 65 Bold, Univers CE 65 Bold Oblique Univers CE 75 Black, Univers CE 75 Black Oblique Univers Cyrillic: Univers Cyrillic 39 Ultra Condensed Thin Univers Cyrillic 45 Light, Univers Cyrillic 45 Light Oblique Univers Cyrillic 47 Condensed Light, Univers Cyrillic 47 Condensed Light Oblique Univers Cyrillic 49 Ultra Condensed Light Univers Cyrillic 55 Roman, Univers Cyrillic 55 Oblique Univers Cyrillic 55 Roman Oblique Univers Cyrillic 57 Condensed Roman, Univers 57 Condensed Oblique Univers Cyrillic 59 Ultra Condensed Roman Univers Cyrillic 65 Bold, Univers Cyrillic 65 Bold Oblique Univers Cyrillic 67 Condensed Bold, Univers Cyrillic 67 Condensed Bold Oblique Univers Cyrillic 75 Black,Univers Cyrillic 75 Black Oblique Univers Cyrillic 85 Extra Black, Univers Cyrillic 85 Extra Black Oblique

Linotype Univers Font Family (1999)


(Platinum Collection)

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Univers Next Font Family (2010)


(Platinum Collection)

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Diseada por Adrian Frutiger y Linotype Design Studio en 2010. Es una versin totalmente modificada de la familia tipogrfica original Univers de 1957. Se redibujaron todas las letras, mejorando los trazos finos de las astas y concluyendo en unas proporciones ms coherentes. Se redise el tipo de negrita condensada para facilitar su legibilidad en pantalla. Tambin se actualiz el sistema de numeracin sistematizada. Fuentes tipogrficas Univers Next 130 Basic Ultra Light, Univers Next 131 Basic Ultra Light Italic Univers Next 230 Basic thin, Univers Next 231 Basic thin Italic Univers Next 330 Basic Light, Univers Next 331 Basic Light Italic Univers Next 430 Basic Regular, Univers Next 431 Basic Italic Univers Next 530 Basic Medium, Univers Next 531 Basic Medium Italic Univers Next 630 Basic Bold, Univers Next 631 Basic Bold Italic Univers Next 730 Basic Heavy, Univers Next 731 Basic Heavy Italic Univers Next 830 Basic Black, Univers Next 831 Basic Black Italic Univers Next 930 Basic Extra Black, Univers Next 931 Basic Extra Black Italic Condensadas Univers Next 120 Condensed Ultra Light, Univers Next 121 Condensed Ultra Light Italic Univers Next 220 Condensed thin, Univers Next 221 Condensed thin Italic Univers Next 320 Condensed Light, Univers Next 321 Condensed Light Italic Univers Next 420 Condensed Regular, Univers Next 421 Condensed Italic Univers Next 520 Condensed Medium, Univers Next 521 Condensed Medium Italic Univers Next 620 Condensed Bold, Univers Next 621 Condensed Bold Italic Univers Next 720 Condensed Heavy, Univers Next 721 Condensed Heavy Italic Univers Next 820 Condensed Black, Univers Next 821 Condensed Black Italic Univers Next 920 Condensed Extra Black, Univers Next 921 Condensed Extra Black Italic Comprimidas Univers Next 110 Compressed Ultra Light Univers Next 210 Compressed thin Univers Next 310 Compressed Light Univers Next 410 Compressed Regular Univers Next 510 Compressed Medium Extendidas Univers Next 140 Extended Ultra Light, Univers Next 141 Extended Ultra Light Italic Univers Next 240 Extended thin, Univers Next 241 Extended thin Italic Univers Next 340 Extended Light, Univers Next 341 Extended Light Italic Univers Next 440 Extended Regular, Univers Next 441 Extended Italic Univers Next 540 Extended Medium, Univers Next 541 Extended Medium Italic Univers Next 640 Extended Bold, Univers Next 641 Extended Bold Italic Univers Next 740 Extended Heavy, Univers Next 741 Extended Heavy Italic Univers Next 840 Extended Black, Univers Next 841 Extended Black Italic Univers Next 940 Extended Extra Black, Univers Next 941 Extended Extra Black Italic Typewriter: Univers Next 430 Typewriter Regular, Univers Next 431 Typewriter Italic Univers Next 630 Typewriter Bold, Univers Next 631 Typewriter Bold Italic Univers Next Cirlicas: Univers Next Cyrillic Light, Univers Next Cyrillic Light Italic Univers Next Cyrillic Regular, Univers Next Cyrillic Italic Univers Next Cyrillic Bold, Univers Next Cyrillic Bold Italic Univers Next Cyrillic Heavy, Univers Next Cyrillic Heavy Italic

Anexos
Anexo:Tipografas de Adrian Frutiger

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Vase tambin
Adrian Frutiger Frutiger (tipo de letra) Tipografa Tipo de letra Altura de la x Palo seco Gracia (tipografa) Minscula carolingia

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Referencias
1. FRUTIGER, Adrian El libro de la tipografa Barcelona, Espaa: Ed. Gustavo Gili, S.L, 2007 ISBN 978-84-252-2162-0 2. ELLISON, Andy Tipografa Digital Barcelona, Espaa: Parramn Ediciones, 2008 ISBN 978-84-3422-3414-7 3. Linotype (pgina oficial) Categora: Familias tipogrficas

[editar]

Esta pgina fue modificada por ltima vez el 13 ago 2011, a las 20:11. El texto est disponible bajo la Licencia Creative Commons Atribucin Compartir Igual 3.0; podran ser aplicables clusulas adicionales. Lee los trminos de uso para ms informacin. Poltica de privacidad Acerca de Wikipedia Limitacin de responsabilidad Versin para mviles

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[Aydanos traduciendo.]

Caslon (Tipo de Letra)


Este artculo o seccin necesita referencias que aparezcan en una publicacin acreditada, como revistas especializadas, monografas, prensa diaria o pginas de Internet fidedignas.
Puedes aadirlas as o avisar al autor principal del artculo en su pgina de discusin pegando: {{subst:Aviso referencias|Caslon (Tipo de Letra)}} ~~~~

Caslon se refiere a una extensa familia de tipos de letra que se originan en los tipos dibujados y fundidos por el tipgrafo ingls William Caslon. La familia tipogrfica Caslon sali a la luz por primera vez en 1734 en un catlogo publicado por Caslon; esta tipografa es considerada como la primera tipografa inglesa, pues en ese tiempo, los impresores ingleses solan importar todos los tipos de Holanda

Caslon
[[Archivo: |220px]] Categora Diseador(es) Empresa Fecha de creacin Serif William Caslon varios 1734 Muestra

Caractersticas

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Caslon es una tipografa romana o con serifas, que se caracteriza por tener terminaciones en ngulos rectos, modulacin moderada y un cierto parecido con las letras cancillerescas venecianas.

Uso a travs del tiempo

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La tipografa Caslon, fue producida inicialmente de forma exclusiva por H.W. Caslon & Company; Caslon fue ampliamente usada durante el siglo XVIII, particularmente en Inglaterra y sus colonias; era el tipo que se importaba en mayor grado a las 13 colonias norteamericanas, caso curioso es que la apariencia spera que tenan los primeros impresos en Norteamrica, se pueden atribuir en parte a la oxidacin que sufran los tipos Caslon y otros durante el largo viaje desde las islas britnicas. La tipografa Caslon fue la que se us para imprimir la declaracin de independencia de los Estados Unidos. sin embargo, con el advenimiento de nuevas tecnologas de impresin a finales de ese siglo, la tipografa Caslon cay en desuso, dando paso al uso de otras tipografas como la Bodoni. Durante el siglo XIX, la Caslon desapareci del mbito editorial, cuando la sucesora de H.W. Caslon & Company, la Stephenson, Blake & Company, releg la tipografa publicndola en un catlogo lleno de fuentes que para la poca eran consideradas "diseos modernos".
Serifa de Caslon.

No fue hasta finales del siglo XIX con el surgimiento del movimiento Arts and Craft que la tipografa Caslon volvi a reaparecer, pues este movimiento vea en los siglos anteriores al boom de la industrializacin una historia tipogrfica llena de tipografas maravillosas y olvidadas por causa de las nuevas tecnologas. Pronto las principales fundidoras como American Type Founders, Monotype, y Linotype comenzaron a realizar numerosas versiones de la Caslon para suplir la demanda creada; era muy popular por la poca, dentro del gremio de impresores escuchar de boca de ellos: "Ante la duda, usa Caslon", este dicho fue utilizado ms tarde con otra tipografa que revolucion el diseo grfico contemporneo: "ante la duda, usa Helvtica". Actualmente la popularidad de la Caslon ha mermado un poco, sin embargo sigue siendo muy utilizada en la composicin de libros. Existen versiones digitales realizadas por la casa Adobe y la nueva H.W. Caslon & Company, en donde, los "fundidores digitales" tratan de apegarse al mximo a los diseos originales de William Caslon.

Enlaces externos
Caslon en letrag

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Tipografa Caslon, 1734.

Categora: Familias tipogrficas

Esta pgina fue modificada por ltima vez el 2 jun 2011, a las 22:56. El texto est disponible bajo la Licencia Creative Commons Atribucin Compartir Igual 3.0; podran ser aplicables clusulas adicionales. Lee los trminos de uso para ms informacin. Poltica de privacidad Acerca de Wikipedia Limitacin de responsabilidad Versin para mviles

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La Fundacin Wikimedia est celebrando un referndum para reunir ms informacin acerca del desarrollo y utilizacin de una caracterstica optativa y personal de ocultamiento de imgenes. Aprende ms y comparte tu punto de vista.
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[Aydanos traduciendo.]

Akzidenz Grotesk
La Akzidenz Grotesk tambin conocida como Berthold Akzidenz Grotesk u Odd-job Sansserif, es una tipografa paloseco o sans serif diseada por la fundidora de tipos H. Berthold de la ciudad de Berln en el ao de 1896; esta tipografa sirvi de inspiracin para que Max Miedinger creara en el ao de 1957 la fuente Helvtica, una de las ms importantes muestras del grafismo racionalista de la Escuela Suiza de mediados del siglo XX.

Helvtica o Akzidenz?

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La Akzidenz es constantemente confundida con la Helvtica incluso por importantes diseadores, pues estas dos fuentes tipogrficas tienen grandes similitudes. Sin embargo, pequeas sutilezas las diferencian: La forma de la "C" mayscula y minscula y la G, J, R y Q mayscula. Aparte de estas sutiles diferencias, el principal cambio que realiz Max Miedinger en su tipografa Helvtica fue la Altura x (alto que tiene una letra x minscula y que establece la altura del ojo medio de todas las letras) mayor que en la Akzidenz, lo cual la hace ver un poco ms oblonga mientras que la akzidenz mantiene su forma sutilmente aplastada.

Enlaces externos
Fundidora Berthold: Akzidenz Grotesk Akzidenz Grotesk en letrag

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Akzidenz-Grotesk.

Muestra de la Berthold Akzidenz Grotesk.

Diferencias entre la Helvtica y la Akzidenz.

Un ejemplo de la Altura x de la Akzidenz y la Helvtica.

Categora: Familias tipogrficas

Esta pgina fue modificada por ltima vez el 20 jul 2011, a las 10:37. El texto est disponible bajo la Licencia Creative Commons Atribucin Compartir Igual 3.0; podran ser aplicables clusulas adicionales. Lee los trminos de uso para ms informacin. Poltica de privacidad Acerca de Wikipedia Limitacin de responsabilidad Versin para mviles

Iniciar sesin / crear cuenta

Artculo Discusin

Leer Editar Ver historial

Buscar

La Fundacin Wikimedia est celebrando un referndum para reunir ms informacin acerca del desarrollo y utilizacin de una caracterstica optativa y personal de ocultamiento de imgenes. Aprende ms y comparte tu punto de vista.
Portada Portal de la comunidad Actualidad Cambios recientes Pginas nuevas Pgina aleatoria Ayuda Donaciones Notificar un error Imprimir/exportar Crear un libro Descargar como PDF Versin para imprimir Herramientas En otros idiomas Catal esky Dansk Deutsch English Esperanto Euskara Suomi Franais Magyar slenska Italiano Nederlands Norsk (bokml) Polski Portugus Svenska Trke 1 Marco histrico 1.1 Helvtica 2 Caractersticas 2.1 Kerning/Interletrado 2.2 Justificacin 2.3 Legibilidad 2.4 Espacio 2.5 Combinacin tipogrfica con tipos con remates 3 Helvtica y Arial 4 Bonus 5 Enlaces externos

[Aydanos traduciendo.]

Helvtica
Helvtica (tambin conocida como Neue Haas Grotesk, Helvetica y ltimamente expandida a Neue Helvetica) es una familia tipogrfica desarrollada por Max Miedinger en 1957 para la fundicin de tipografas Haas'sche Schriftgieerei (tambin conocida como "Haas") de Basilea, Suiza. Su diseo est basado en una anterior tipografa llamada Berthold Akzidenz Grotesk que data de 1896. La tipografa, originalmente titulada Neue Haas Grotesk, es de estilo sencillo y del tipo sans serif o sin remates (Clasif. Vox: Lineale B Neo-Grotesque). Se volvi inmensamente popular a fines de los aos 1960 y durante los aos 1970, debido a su enorme influencia dentro del llamado "Estilo Tipogrfico Internacional" (particularmente en identidades corporativas), una de las ms importantes corrientes modernistas del siglo XX.
Contenido [ocultar] Fecha de creacin Variaciones

Helvetica

Categora Diseador(es) Empresa

Sans-serif Max Miedinger Haassche Schriftgieerei Linotype 1957 Helvetica Neue Helvetica Next Nimbus Sans Swiss 721 BT

Tambin conocida como

Muestra

Marco histrico
Helvtica

[editar] [editar]

En 1956 Max Miedinger recibe un encargo de Edouard Hoffmann (Fundicin Haas) de modernizar el estilo del tipo sans-serif de esta casa tipogrfica. El tipo era Haas Grotesk y se basaba en el Akzidenz Grotesk de la Fundicin Berthold de finales del siglo XIX. Miedinger redise la tipografa, convirtindola en el "Neue Haas Grotesk". De 1957 a 1961 el tipo conserva el nombre del diseo de Miedinger, pero en el momento que la Fundicin Stempel adquiere la Fundicin Haas (junto con los derechos de los diseos originales), los nuevos dueos (particularmente Walter Cunz) deciden desarrollar una serie completa con diferentes pesos, y de renombrarla como "helvetica" (en latn, "suiza", adjetivo). La Fundicin Stempel lo lanza comercialmente para las mquinas Linotype, y en poco tiempo, ayudada de su nuevo nombre y de un boom de la exportacin del diseo objetivo (inicialmente suizo, luego conocido como Estilo Tipogrfico Internacional), Helvtica se posiciona entre las tipografas ms usadas de la historia. Helvtica es un tipo eficaz para uso cotidiano, especialmente para titulares (poco menos para cuerpo de texto); su xito se debe a su estupenda escalabilidad en todo tipo de situaciones as como a la profusin con que fue usada durante el perodo en que la corriente del estilo internacional marc la pauta del grafsmo (durante los aos 1950 y aos 1960). La adaptacin de las tipografas que no eran latinas a la esttica de Helvtica y el amplio rango de lenguaje especfico para cartas y acentos convirtieron a Helvtica en la tipografa corporativa ms famosa de los 60s y 70s. El gran salto que el desarrollo tecnolgico ha tenido y la introduccin por parte de Apple Inc. de la primera computadora personal con interfaz grfica en 1984 revolucion el mundo del diseo: se democratiza la accesibilidad a las herramientas del diseo y para el ao 1986 Adobe haba lanzado una coleccin de tipografas que contena ms de mil tipos, incluyendo la Helvtica Neue.

Caractersticas
Kerning/Interletrado

[editar] [editar]

Helvtica es una tipografa que, an despus de ms de 40 aos de uso y desarrollo, sigue presentando serios problemas en su tabla de kerning (o interletrado). Es recomendable que su uso a tamaos apreciables (titulares, logotipos etc.) se haga usando no un interletrado automtico, sino uno manual (acomodando letra por letra la secuencia de caracteres, preservando la fluidez ptica).

Justificacin

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Helvtica (y casi todas las familias neolineales, particularmente las "Grotesk" y las geomtricas) no se comportan bien en alineamiento justificado, generando los conocidos "ros" (la acumulacin de espacios en el movimiento vertical, de lnea a lnea) que fragmentan el color tipogrfico del texto. [cita requerida]

Legibilidad

[editar]

Aunque varios expertos mantienen una posicin neutra sobre la cuestin de legibilidad de Helvtica, ubicndola a la mitad de la escala entre los tipos humanistas y los tipos ultra-geomtricos, no podemos dejar de criticar el aspecto de su legibilidad. A tamaos pequeos, la tipografa se comporta de manera defectuosa, fragmentando pticamente los ejes de lectura. Varios grandes diseadores han defendido la Helvtica slo para el uso en titulares y a gran tamao (entre ellos Wolfgang Weingart y Paul Rand). [cita requerida]

Espacio

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Helvtica (como muchos de los neolineales) necesita cantidades suplementales de leading (interlineado) y amplios mrgenes en su uso. Los pesos 25 a 45 se comportan relativamente mejor que los pesos de 55 en adelante.

Combinacin tipogrfica con tipos con remates

[editar]

Emparejar Helvtica con una tipografa con remates puede volverse problemtico estructuralmente, Helvtica se acerca de los tipos Clarendon del siglo XIX, sin embargo, casi nadie usa esta combinacin. Las dems combinaciones presentes en el mercado, no toman generalmente en cuenta ni los aspectos pticos, ni las similitudes arquitectnicas de las letras, ni mucho menos aspectos histricos. Esto hace que Helvtica sea una fuente mucho ms solitaria de lo que parece.

Helvtica y Arial

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Comparacin entre Helvtica y Arial (sobrepuestos)

Uno de los temas ms activos en el mundo tipogrfico es la tensin existente entre Helvtica, como tipografa-manifiesto del movimiento modernista, y Arial, una tipografa omnipresente hoy en da en las computadoras personales de todo el mundo. Arial es un clon de Helvtica hecho en 1990 por Robin Nicholas y Patricia Saunders de la Fundicin Monotype (al parecer el diseo fue basado en un predecesor llamado Monotype Grotesque 215). Microsoft en la primera mitad de los aos 1990 empez a incluir Arial en un paquete bsico de tipografas True Type para internet y en el paquete Microsoft Office, y de ah su actual penetracin.

Arial y Helvetica

Bonus
Hay una pelcula, de 2007, llamada "Helvtica". En ella hay reportajes de diseadores grficos y tipogrficos que la atacan y otros que la defienden.

[editar]

Enlaces externos
Artculo informativo sobre Helvetica Debate sobre la vigencia de Helvetica Lars Mller - Helvetica: Homage To A Typeface MyFonts.Com: Helvetica Linotype: Helvetica Linotype: Helvetica Neue Helvetica vs. Arial Quiz Helvetica vs. Arial Helvetica en letrag Helvtica : pelcula documental realizada por Gary Hustwit, con motivo del 50 aniversario de esta tipografa Conferencia de Experimental Jetset sobre 'Helvetica' (MACBA) Categora: Familias tipogrficas

[editar]

con motivo de la exposicin "El mal de escritura..." en el Museu d'Art Contemporani de Barcelona

Esta pgina fue modificada por ltima vez el 28 jun 2011, a las 20:09. El texto est disponible bajo la Licencia Creative Commons Atribucin Compartir Igual 3.0; podran ser aplicables clusulas adicionales. Lee los trminos de uso para ms informacin. Poltica de privacidad Acerca de Wikipedia Limitacin de responsabilidad Versin para mviles

Iniciar sesin / crear cuenta

Artculo Discusin

Leer Editar Ver historial

Buscar

La Fundacin Wikimedia est celebrando un referndum para reunir ms informacin acerca del desarrollo y utilizacin de una caracterstica optativa y personal de ocultamiento de imgenes. Aprende ms y comparte tu punto de vista.
Portada Portal de la comunidad Actualidad Cambios recientes Pginas nuevas Pgina aleatoria Ayuda Donaciones Notificar un error Imprimir/exportar Crear un libro Descargar como PDF Versin para imprimir Herramientas En otros idiomas Catal esky Dansk Deutsch English Esperanto Euskara Suomi Franais Magyar slenska Italiano Nederlands Norsk (bokml) Polski Portugus Svenska Trke 1 Marco histrico 1.1 Helvtica 2 Caractersticas 2.1 Kerning/Interletrado 2.2 Justificacin 2.3 Legibilidad 2.4 Espacio 2.5 Combinacin tipogrfica con tipos con remates 3 Helvtica y Arial 4 Bonus 5 Enlaces externos

[Aydanos traduciendo.]

Helvtica
Helvtica (tambin conocida como Neue Haas Grotesk, Helvetica y ltimamente expandida a Neue Helvetica) es una familia tipogrfica desarrollada por Max Miedinger en 1957 para la fundicin de tipografas Haas'sche Schriftgieerei (tambin conocida como "Haas") de Basilea, Suiza. Su diseo est basado en una anterior tipografa llamada Berthold Akzidenz Grotesk que data de 1896. La tipografa, originalmente titulada Neue Haas Grotesk, es de estilo sencillo y del tipo sans serif o sin remates (Clasif. Vox: Lineale B Neo-Grotesque). Se volvi inmensamente popular a fines de los aos 1960 y durante los aos 1970, debido a su enorme influencia dentro del llamado "Estilo Tipogrfico Internacional" (particularmente en identidades corporativas), una de las ms importantes corrientes modernistas del siglo XX.
Contenido [ocultar] Fecha de creacin Variaciones

Helvetica

Categora Diseador(es) Empresa

Sans-serif Max Miedinger Haassche Schriftgieerei Linotype 1957 Helvetica Neue Helvetica Next Nimbus Sans Swiss 721 BT

Tambin conocida como

Muestra

Marco histrico
Helvtica

[editar] [editar]

En 1956 Max Miedinger recibe un encargo de Edouard Hoffmann (Fundicin Haas) de modernizar el estilo del tipo sans-serif de esta casa tipogrfica. El tipo era Haas Grotesk y se basaba en el Akzidenz Grotesk de la Fundicin Berthold de finales del siglo XIX. Miedinger redise la tipografa, convirtindola en el "Neue Haas Grotesk". De 1957 a 1961 el tipo conserva el nombre del diseo de Miedinger, pero en el momento que la Fundicin Stempel adquiere la Fundicin Haas (junto con los derechos de los diseos originales), los nuevos dueos (particularmente Walter Cunz) deciden desarrollar una serie completa con diferentes pesos, y de renombrarla como "helvetica" (en latn, "suiza", adjetivo). La Fundicin Stempel lo lanza comercialmente para las mquinas Linotype, y en poco tiempo, ayudada de su nuevo nombre y de un boom de la exportacin del diseo objetivo (inicialmente suizo, luego conocido como Estilo Tipogrfico Internacional), Helvtica se posiciona entre las tipografas ms usadas de la historia. Helvtica es un tipo eficaz para uso cotidiano, especialmente para titulares (poco menos para cuerpo de texto); su xito se debe a su estupenda escalabilidad en todo tipo de situaciones as como a la profusin con que fue usada durante el perodo en que la corriente del estilo internacional marc la pauta del grafsmo (durante los aos 1950 y aos 1960). La adaptacin de las tipografas que no eran latinas a la esttica de Helvtica y el amplio rango de lenguaje especfico para cartas y acentos convirtieron a Helvtica en la tipografa corporativa ms famosa de los 60s y 70s. El gran salto que el desarrollo tecnolgico ha tenido y la introduccin por parte de Apple Inc. de la primera computadora personal con interfaz grfica en 1984 revolucion el mundo del diseo: se democratiza la accesibilidad a las herramientas del diseo y para el ao 1986 Adobe haba lanzado una coleccin de tipografas que contena ms de mil tipos, incluyendo la Helvtica Neue.

Caractersticas
Kerning/Interletrado

[editar] [editar]

Helvtica es una tipografa que, an despus de ms de 40 aos de uso y desarrollo, sigue presentando serios problemas en su tabla de kerning (o interletrado). Es recomendable que su uso a tamaos apreciables (titulares, logotipos etc.) se haga usando no un interletrado automtico, sino uno manual (acomodando letra por letra la secuencia de caracteres, preservando la fluidez ptica).

Justificacin

[editar]

Helvtica (y casi todas las familias neolineales, particularmente las "Grotesk" y las geomtricas) no se comportan bien en alineamiento justificado, generando los conocidos "ros" (la acumulacin de espacios en el movimiento vertical, de lnea a lnea) que fragmentan el color tipogrfico del texto. [cita requerida]

Legibilidad

[editar]

Aunque varios expertos mantienen una posicin neutra sobre la cuestin de legibilidad de Helvtica, ubicndola a la mitad de la escala entre los tipos humanistas y los tipos ultra-geomtricos, no podemos dejar de criticar el aspecto de su legibilidad. A tamaos pequeos, la tipografa se comporta de manera defectuosa, fragmentando pticamente los ejes de lectura. Varios grandes diseadores han defendido la Helvtica slo para el uso en titulares y a gran tamao (entre ellos Wolfgang Weingart y Paul Rand). [cita requerida]

Espacio

[editar]

Helvtica (como muchos de los neolineales) necesita cantidades suplementales de leading (interlineado) y amplios mrgenes en su uso. Los pesos 25 a 45 se comportan relativamente mejor que los pesos de 55 en adelante.

Combinacin tipogrfica con tipos con remates

[editar]

Emparejar Helvtica con una tipografa con remates puede volverse problemtico estructuralmente, Helvtica se acerca de los tipos Clarendon del siglo XIX, sin embargo, casi nadie usa esta combinacin. Las dems combinaciones presentes en el mercado, no toman generalmente en cuenta ni los aspectos pticos, ni las similitudes arquitectnicas de las letras, ni mucho menos aspectos histricos. Esto hace que Helvtica sea una fuente mucho ms solitaria de lo que parece.

Helvtica y Arial

[editar]

Comparacin entre Helvtica y Arial (sobrepuestos)

Uno de los temas ms activos en el mundo tipogrfico es la tensin existente entre Helvtica, como tipografa-manifiesto del movimiento modernista, y Arial, una tipografa omnipresente hoy en da en las computadoras personales de todo el mundo. Arial es un clon de Helvtica hecho en 1990 por Robin Nicholas y Patricia Saunders de la Fundicin Monotype (al parecer el diseo fue basado en un predecesor llamado Monotype Grotesque 215). Microsoft en la primera mitad de los aos 1990 empez a incluir Arial en un paquete bsico de tipografas True Type para internet y en el paquete Microsoft Office, y de ah su actual penetracin.

Arial y Helvetica

Bonus
Hay una pelcula, de 2007, llamada "Helvtica". En ella hay reportajes de diseadores grficos y tipogrficos que la atacan y otros que la defienden.

[editar]

Enlaces externos
Artculo informativo sobre Helvetica Debate sobre la vigencia de Helvetica Lars Mller - Helvetica: Homage To A Typeface MyFonts.Com: Helvetica Linotype: Helvetica Linotype: Helvetica Neue Helvetica vs. Arial Quiz Helvetica vs. Arial Helvetica en letrag Helvtica : pelcula documental realizada por Gary Hustwit, con motivo del 50 aniversario de esta tipografa Conferencia de Experimental Jetset sobre 'Helvetica' (MACBA) Categora: Familias tipogrficas

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con motivo de la exposicin "El mal de escritura..." en el Museu d'Art Contemporani de Barcelona

Esta pgina fue modificada por ltima vez el 28 jun 2011, a las 20:09. El texto est disponible bajo la Licencia Creative Commons Atribucin Compartir Igual 3.0; podran ser aplicables clusulas adicionales. Lee los trminos de uso para ms informacin. Poltica de privacidad Acerca de Wikipedia Limitacin de responsabilidad Versin para mviles

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FF DIN
From Wikipedia, the free encyclopedia

FF DIN is a realist sans-serif typeface designed in 1995 by Albert-Jan Pool, based on DIN-Mittelschrift.[1] DIN is an acronym for Deutsches Institut fr Normung (German Institute for Standardisation). Pool encountered Erik Spiekermann at a 1994 meeting of the ATypI (Association Typographique Internationale) in San Francisco, who encouraged him to design a revival of DIN 1451 for release by Spiekermanns foundry FSI FontShop International. Sharing structural similarities with DIN 1451, FF DIN differs in its weight distribution, naming conventions, and has a far wider character set, including ranging (old style) figures, and several refinements allowing it to perform better as a print and screen text face. The family includes 5 font weights in 2 widths (Normal and Condensed), each with italics. The entire family includes extended characters such as arrows, fractions, Euro sign, lozenge, mathematic symbols, extra accented Latin letters, superscript numeral figures. Alternate glyphs are also included, such as rounded dots, old style figures, and alternate cedilla for instance.
Contents [hide] 1 FF DIN Round 2 Usages 3 References 4 External links
Category Designer(s) Foundry Sans-serif Albert-Jan Pool FSI FontShop International

FF DIN Round
In summer 2010 FSI FontShop International introduced a completely new drawn round version called FF DIN Round, including 5 weights (Light, Regular, Medium, Bold, Black).

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Usages

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FF DINs usage is currently growing. FF DIN is the central typeface of JetBlue Airways and the Los Angeles County Metropolitan Transportation Authoritys corporate identity. FF DIN is also Adidass main typeface, adopted after switching from "Adihaus". This font is used in many areas, especially in prints, ads and webpages. American Eagle Outfitters uses FF DIN as its main sans-serif typeface, for both marketing and branding. ABCs World News with Charles Gibson uses the font for its lower third graphics. The University of Canberra uses it for all official publications. The Canadian Broadcasting Corporation also makes heavy usage for its corporate identity needs. This typeface was the official video credit font from 2005 to September 2007 on MTV Latin America. It is also used in the Australian Office of Film and Literature Classification for their rating system. The ACLU identity includes the use of FF DIN Regular and, secondarily, FF DIN Bold. Valve Corporation use FF DIN as the standard typeface on their websites, as well as on the video game Portal 2.

References
1. ^ Can the typefaces we see around us on highway signs be turned into usable fonts for general use? Sometimes.

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Blackwell, Lewis. 20th Century Type. Yale University Press: 2004. ISBN 0-300-10073-6. Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998. ISBN 1-57912-023-7. Macmillan, Neil. An AZ of Type Designers. Yale University Press: 2006. ISBN 0-300-11151-7. Spiekermann, Erik; Middendorp, Jan: Made with FontFont, Book Industry Services (BIS): 2006, ISBN 978-9063691295 DIN 1451-2: SchriftenSerifenlose Linear-AntiquaVerkehrsschrift. Deutsches Institut fr Normung, 1986-2002. ACLU Identity Guidelines [1]

External links
FSI FontShop Internationals FF DIN typeface FF DIN Microsite by FontShop FF DIN weights overview and in use examples FontFeed: Introduction of FF DIN Round

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Main page Contents Featured content Current events Random article Donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes Contact Wikipedia Toolbox Print/export Languages Deutsch Nederlands Slovenina 1 Overview 2 Linotype version 2.1 DIN 1451 Pro W1G MittelSchrift 3 DIN Next 3.1 DIN Next Rounded 4 Usage examples 4.1 Corporate branding 5 See also 6 References 7 Further reading 8 External links
Category Sans-serif Foundry

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DIN 1451
From Wikipedia, the free encyclopedia

It has been suggested that DIN (typeface) be merged into this article or section. (Discuss) Proposed since January
2009.

DIN 1451 is a realist sans-serif typeface that is widely used for traffic, administration and business applications. It has been defined by the German standards body Deutsches Institut fr Normung since 1936.
Contents [hide]

Overview

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Linotype GmbH, FSI FontShop International

The DIN 1451 typeface is very legible and easy to reproduce. Both a medium and a narrow version are defined today; an older broad version is no longer used, but may still be encountered on some very old road signs in Germany. The typeface has gained popularity due to its wide exposure and has been also used by non-governmental organisations and businesses. For graphic design and desktop publishing, FSI FontShop International offers an extended version of this typeface called FF DIN. The origins of this typeface go back to the "IV 44" type sheet defined by the Prussian rail network in 1906 for use on its trains. A number of glyphs have changed since then, in particular "t", "6" and "9". The article series "The history of the design of a contemporary typeface" provides more information about the origins of the typeface. It is a widely used standard typeface for traffic, administration and business applications. In particular, DIN 1451 is the typeface commonly used on road and railway signage in Germany and a number of other countries. It was also used for many years on German car number plates, until it was replaced there in November 2000 by FE-Schrift, a font especially designed for number plates that is optimized for better tamper resistance and easier automatic character recognition.

Linotype version
It consists of DIN 1451 MittelSchrift and the condensed DIN 1451 EngSchrift fonts. OpenType version supports ISO Adobe 2, Adobe CE, Latin Extended character sets. OpenType features include alternates.

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DIN 1451 Pro W1G MittelSchrift


It is a version of DIN 1451 MittelSchrift supporting ISO Adobe 2, Adobe CE, Latin Extended, Greek, Cyrillic character sets.

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DIN Next

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It is a variant based on DIN 1451 Engschrift and Mittelschrift, designed by Akira Kobayashi of Linotype. Changes include fixing inconsistencies in the old fonts, rounded corners at terminals to emulate the machine cuts of the original fonts, altered terminal angles to reproduce the machine cuts of DIN 1451. The family includes 21 fonts in 7 weights and 2 widths, with complementary italics for the widest width fonts. It supports ISO-Adobe, Adobe CE, Latin Extended character sets. OpenType features include small caps (lightest 4 weights roman fonts only), old style figures, subscript/superscript, alternates. Alternates include: Uppercase C and G with flat stroke or diagonal endings. Serif and sans-serif forms of uppercase I. Single-storey lowercase a. Lowercase q with an upstroke at the descender end. ligature composed by long-s and long-z. 1 with base serif. Rounded 6 and 9. Slashed 0. 7 and capital Z with horizontal strokes through their diagonals.

DIN Next Rounded


It is a rounded variant of the font family. The family includes 4 fonts in 4 weights and 1 width, with no italics. OpenType features include old style figures, subscript/superscript, alternates.

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Usage examples
Corporate branding
Logotype and corporate typeface of Sapient corporation Logotype of JetBlue Airways Logo of the video game Half-Life, with the "A" supplanted by the lower case lambda symbol. Its sequel, "Half-Life 2", uses this font in various places as well, including HUD. Logo of the video game "Portal" and its sequel, "Portal 2", with the uppercase "O" replaced with a blue portal. Early 2000s on-screen branding of Channel 4 (British television station) An adapted version, Habitat DIN, is used by Habitat (retailer) Corporate branding of The New West End Company (the Business Improvement District company for London's West End) Belgian VRT news service (De Redactie) for logo and news broadcasts. Plone logo Dutch website DigitaalMedia.nl for logo and the news broadcasts. Primary font used in Simon Fraser University documents Font for Nine News for their title Used on Test The Nation's question graphics Primary font used in York Region Transit On-air newscasts of most NBC Owned-and-Operated stations (i.e. KNBC, WCAU, WRC-TV, etc.) Corporate font used by Birmingham City University Opening titles of Dexter (TV series) Font for many license plates throughout Europe, including Poland,older German plates, Lithuania, Latvia, Sweden, and Romania. Used as one of the interface and HUD fonts for the video game Grand Theft Auto IV and its expansion packs.
Road sign with DIN 1451 Mittelschrift and Engschrift typefaces

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The pre-1994 German number plate format (DIN-style), no longer issued but sometimes still in use.

See also
Typography Public signage typefaces

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References

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The series of articles "The history of the design of a contemporary typeface" in which Albert-Jan Pool published many of his findings on the history of the typefaces of DIN 1451 is a vault of references on this subject. The series was published in the e-magazine 'Encore', issues 13-15, 17-18. These are direct links to the articles. Industrial Archeology DIN, the first German Corporate Typeface? The Constructivist Connection DIN, Bauhaus and the New Typography Siemens sets a Standard DIN 1451 on its way up DIN for All: From the Economic Miracle to Art and Vernacular Typography FF DIN: New at the Start How German is the DIN typeface? Fahren, fahren, fahren at the Autobahn

Further reading
DIN 1451-2: Schriften Serifenlose Linear-Antiqua Verkehrsschrift. Deutsches Institut fr Normung, 1986-02.

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Made with FontFont: FF DIN The history of a contemporary typeface, article by Albert-Jan Pool in collaboration with Jan Middendorp, BIS Publishers, 2006. This is an updated version of the series of articles in Encore Magazine that were published in 20042005.

External links
Download of public domain fonts used on roadsigns A free implementation of Fette Engschrift, an early version of the DIN 1451 typeface A minisite from Fontshop regarding FF DIN, includes history and specs as well as an interview with FF DIN's author.
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Wikimedia Commons has media related to: DIN 1451

Traffic signs
Signs Mandatory sign Special regulation sign Information sign Direction, position, or indication sign Variable-message sign Bilingual sign Comparison of European traffic signs Driver location signs Crossbuck

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Warning sign Regulatory sign Priority to the right Yield sign Stop sign Prohibitory traffic sign One-way traffic Speed limit (by country) Advisory speed limit

By country Lights Typefaces

Austria Brazil Czech Republic Finland Germany Greece Iceland India Iran Ireland Israel Italy Japan Malaysia Netherlands Norway Pakistan Poland Singapore South Korea Sweden Thailand United Kingdom (Scotland Wales) United States Traffic light Allerta Austria (typeface) Clearview DIN 1451 Drogowskaz FHWA Standard Alphabets for Traffic Control Devices Frutiger Caractres NPS Rawlinson Roadway Trafikkalfabetet Transport Tratex Geneva Convention on Road Traffic Vienna Convention on Road Traffic Vienna Convention on Road Signs and Signals Manual on Uniform Traffic Control Devices (USA) Traffic Signs Regulations and General Directions 2002 (UK)

Conventions

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Categories: Government typefaces | Grotesque sans-serif typefaces | DIN standards

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Main page Contents Featured content Current events Random article Donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes Contact Wikipedia Toolbox Print/export Languages Deutsch Italiano Contents [hide] 1 Characteristics 2 URW version 2.1 Eurostile DisCaps 2.2 Eurostile Relief 2.3 Eurostile Stencil 3 Linotype version 3.1 Eurostile LT 4 Square 721 5 Europe 6 Availability 7 Applications 7.1 Music Industry 7.2 Television 7.3 Fashion 7.4 Automobiles 7.5 Logos 7.6 Currency 7.7 Video games 8 References 9 External links 10 Sources
Foundry Date released Re-issuing foundries

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Eurostile
From Wikipedia, the free encyclopedia

The Eurostile type font style is a geometric sans-serif typeface designed by Aldo Novarese in 1962. Novarese originally made Eurostile for one of the best-known Italian foundries, Nebiolo, in Turin. Novarese developed Eurostile because although the similar Microgramma, which he had also designed, came with a variety of weights, it had only upper-case letters. A decade after he had designed Microgramma, Novarese remedied this flaw with his design of Eurostile, which added lower-case letters, a bold condensed variant, and an ultra narrow design he called Eurostile Compact, for a total of seven fonts.

Category Designer(s)

Sans-serif Aldo Novarese, Akira Kobayashi Nebiolo 1962 Linotype, URW

Design based on Microgramma Variations Microgramma Microstyle

Characteristics

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Eurostile is a popular display font. Its linear nature suggests modern architecture, with an appeal both technical and functional. The squarish shapes with their rounded corners evoke the appearance of television screens of the 1950s and 1960s. As such, it has found some popularity in contemporary graphic design, as well as in science fiction novel and film artwork.

URW version

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In the URW version, there are also Greek, Cyrillic, subscript and superscript, box drawing characters. The family has 16 fonts in five weights and three widths, with condensed fonts on regular and heavy weights; extended fonts on regular and black weights; complementary oblique fonts on black, bold, heavy, heavy condensed, medium, regular, regular condensed.

Eurostile DisCaps
Eurostile DisCaps is a small caps version of the font. The family comes with one width in regular and bold weights, without obliques.

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Eurostile Relief
Eurostile Relief is a shadowed version of the font designed by URW Studio.

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Eurostile Stencil
Eurostile Stencil is a stencil font based on URW's Eurostile black extended (D), designed by Achaz Reuss.

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Linotype version

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Linotype began distributing Eurostile decades ago, and during the early 1980s, it worked together with Adobe to digitize the fonts in PostScript format. During the digitization process, the super curves were flattened. Although the font family is based on the Microgramma font, some of the characters do not follow the styling of the family. These characters include non-letter characters like integral, infinity, pilcrow; letterlike symbols like @, copyright mark, registration mark; and accents such as cedilla and the tilde. The family includes ten fonts in three weights and three widths. Condensed and Extended fonts do not have oblique or demi weight counterparts. It supports ISO Adobe 2 character sets.

Eurostile LT

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Eurostile LT is a variant of Eurostile by Linotype. It uses squarer designs for non-letter characters like integral, infinity, pilcrow; letterlike symbols like @, the copyright mark, the registration mark; and accents such as cedilla and the tilde. However, the circle in circled letters (@, ) remained circular, which was not fixed until Eurostile Next. The asterisk was redesigned to use six points instead of five. In all, the family includes 11 fonts, adding an Outline Bold font to the original Eurostile family by Linotype. It supports ISO Adobe 2,Adobe CE, Latin extended character sets.

Square 721

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The Square 721 font from Bitstream is very similar to Eurostile although its proportions are slightly different. Square 721 is available in 2 weights and 3 widths each.

Europe
Europe is a variant of Eurostile with designed at TypeMarket in 19921993 by Alexey Kustov. The family includes 16 fonts, adding Shadow Demi, Shadow Oblique, and the missing oblique counterparts to the original Linotype family. It supports Cyrillic characters.

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Availability

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Eurostile and Eurostile Bold (URW versions) were distributed with Microsoft Office 97, Microsoft Works 2002, Microsoft Home Publishing 99, Microsoft TrueType Font Pack 2. Electronic versions of these and all other Eurostile typefaces can also be purchased on-line directly from Linotype GmbH and URW in several systems, including OpenType, TrueType and PostScript.

Applications
Music Industry

[edit] [edit]

Eurostile Extended has been used extensively in the music industry, where it has featured in album cover artwork from U2, Ash, The Supernaturals, Eminem, Pendulum, and several dance compilations from Warner. Eurostile Extended 2 can also be seen in the cover artwork for Marilyn Manson's 1998 album Mechanical Animals. It was used by Westlife on their first two albums, Westlife and Coast to Coast, and is currently used by Argentine Pop band Bandana & electrotango band Tanghetto as complementary typography to the band's logo.

Television

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Variations of Eurostile are popular in television. Doctor Who used the font for the credits during the Patrick Troughton era. The BBC One holding slides from 1976-83 were in Eurostile, and it is also used by Speed Channel programmes since 2007 in credits, news ticker, subtitles. Eurostile Bold Condensed was used in the later logo of the TVS news programme Coast to Coast. It was also used for Tyne Tees Television's idents from 1969 to 1989. Eurostileand the Microgramma Extended Bold font on which it is basedwas the primary font used in the science fiction series UFO, created by Gerry Anderson in 1969. All of the vehicles and clothing bearing the logo of the series' secret organisation SHADO used the font, in addition to the main titles. Eurostile was also used in the title of television shows such as Ironside, Adam-12, Star Trek Enterprise and can be found in several video games such as Homeworld, Tom Clancy's Ghost Recon, Tekken, Splinter Cell, and Driv3r. Sports television, in particular, has made significant use of Eurostile; Fox Sports, NFL Network and Versus all use or have used the font for its on-screen information. Doctor Who also used the font on the titles and closing credits from 1966 to 1969, and again in cast and crew titles from 1987 to 1989. Beginning in the fourth quarter of 2010, majority of Comcast Sportsnet networks began using Eurostile for its in-game graphics.

Fashion
Eurostile can also be seen in the fashion world, as it is the font type for the widely known (and commonly misinterpreted) clothing company fcuk, or French Connection United Kingdom. It is also the corporate branding for French Printemps department store chain.

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Automobiles

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Eurostile is also used on most FIA GT cars for the car numbers. It is also often used on the sides of British police vehicles for signwriting. Eurostile Bold was the typeface of choice for the instruments in the majority of Volkswagen's passenger cars from the introduction of the mk2 Golf to approximately halfway through the production run of the mk3.

This image consists of the text "fcuk" in the Eurostile typeface, with a registered trademark symbol at the upper right. French Connection has used this image as a logo

Logos

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Eurostile is a corporate branding font for Toshiba and Diadora. The retail version was authorized by Toshiba Europe GmbH to URW, where Eurostile Black OT was sold. [1] Eurostile Extended Bold is used in the CASIO and Roland Corporation JUNO logos. Eurostile is also used for the logo of Colgan Air, Roadcycling.com, Roadcycling.mobi, and the Eurovision Song Contest. The NBA's San Antonio Spurs use Eurostile in their logos.

Currency
Eurostile is used in Canadian Journey series of Canadian dollar bank notes. [2]

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Video games

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Eurostile Extended 2 is used as the cutscene subtitles in the Star Wars videogames, The Force Unleashed and The Force Unleashed 2. Eurostile is also used in the title of the game Homeworld and Homeworld 2. The StarCraft series also use Eurostile. Eurostile was used in Deus Ex: Human Revolution as the main font style of the game, including the Picus Network tablet papers.

References
1. ^ Fonts - IdentiType 2. ^ It's All About the Money

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External links
I Love Eurostile

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Sources
URW's Eurostile page Linotype's Eurostile page Microsoft Typography: Eurostile FontHaus's Eurostile page

[edit]

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Futura (typeface)
From Wikipedia, the free encyclopedia

In typography, Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative visual elements of the Bauhaus design style of 19191933. [1] Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer's seminal Erbar of 1922, Futura was commercially released in 1927. The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson. Matrices for machine composition were made by Intertype. 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 initial design included several geometrically constructed alternative characters and ranging (old-style) figures, which can be found in the typeface Architype Renner. Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (nearperfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals. Original Futura design also included small capitals and the old-style figures, which were dropped from the original metal issue of the type. The digital versions of these glyphs were first produced by Neufville Digital under the Futura ND family. [citation needed]
Foundry Category Sans-serif

Classification geometric sans-serif Designer(s) Paul Renner Edwin W. Shaar (Extra Bold, Extra Bold Italic) Tommy Thompson (Extra Bold Italic) Bauer Type Foundry

Contents [hide] 1 Futura Black 2 Futura Display (Futura Schlagzeile) 3 Futura Condensed 4 Steile Futura 5 Futura ND 6 ParaType version 6.1 Futura Futuris 6.2 Futura PT 6.3 Futura Eugenia 7 Bukra 8 Influence on other typefaces 9 Usage 10 References 11 Further reading 12 External links

Date released 1927 Re-issuing foundries Intertype

Futura Black
Released in 1929, Futura Black is an alternate design that uses stencil letter forms.

[edit]

Futura Display (Futura Schlagzeile)


Released in 1932, Futura Display uses more angular strokes, resulting in rectangular letter forms.

[edit]

Futura Condensed

[edit]

Futura Condensed is a condensed version of the original Futura font family. Bold and bold oblique fonts were released in 1930. Medium, medium oblique, extra bold, and extra bold oblique fonts were released in 1936. Light and light oblique fonts were released in 1950.

Steile Futura

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Steile Futura was Paul Renner's attempt to create a typeface that would be closer to the nineteenth century sans serifs than to the geometric model. During the course of development, Renner developed several intermediate versions. Some of the early design could be found in the experimental font called RennerGrotesk, which appeared as a trial type casting from the Stempel type foundry in 1936. Renner kursiv, a true italic companion to the regular version, was made after Stempel had been taken over by Bauer in 1938. The work on the type family continued in the 1940s, but Renner's poor health had slowed down the development. Renner started to work again on this project in 1951 under the name of Steile Futura (steil in German means "upright" or "steep"). The font family released by Bauer consist of mager (light), halbfett (medium), fett (bold), kursiv halbfett (medium italic), and kursiv fett (bold italic). The font family was released in 19521953. It was sold in German, English, Spanish, and French markets as Steile Futura, Bauer Topic, Vox, Znith respectively. [2] The font family has rounder letters than Futura Display. For the first time, italic type features are incorporated in the italic fonts. The fonts incorporate handwriting features, especially in italic version.

Futura ND

[edit]

This version is based on the original sources of the Bauersche Giesserei, which had passed its typefaces to its Barcelona branch, Fundicin Tipogrfica Bauer SL. Released in 1999 by Neufville Digital a joint venture of Fundicin Tipogrfica Bauer SL and Visualogik Technology & Design b.v it includes small capitals and the old-style figures that had not been made in metal types. Neufville Digital issued Futura, Futura Black, Futura Condensed, and Futura Display (Futura Schlagzeile) under the Futura ND family.

ParaType version
The ParaType fonts added Cyrillic characters. They were developed at ParaType (ParaGraph) in 1995 by Vladimir Yefimov. They came in only Light, Book, Medium, Demi weights.

[edit]

Futura Futuris

[edit]

Futuris is a redesign at ParaType (ParaGraph) in 1991 by Vladimir Yefimov that includes Cyrillic characters. Condensed styles were added by in 1993 by Vladimir Yefimov and Alexander Tarbeev. It is available in Light, Medium, Bold, Black (without oblique) weights, while condensed fonts were made in Bold, Extra Bold, all without obliques. Also available are Cameo Extra Bold (black in reverse), Shadow Light, Shadow Extra Bold (black with shadow), Volume Light.

Futura PT

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This version is based on the previous ParaType design by Vladimir Yefimov, but expanded to include 7 weights, with Book, Medium, Bold, Extra Bold weights for condensed fonts. Additional Cyrillic styles were developed in 2007 by Isabella Chaeva.

Futura Eugenia
This version is based on the Futura Black, but designed at the Polygraphmash type design bureau in 1987 by Elvira Slysh.

[edit]

Bukra
Bukra is an Arabic variant designed by Pascal Zoghbi. It consists of Bukra Extra Bold, which was used as an Arabic display typeface for Ibn Battuta Mall in Dubai as a complement for Futura Extra Bold. The design was based on Kufi script, but using shortened descenders.

[edit]

Influence on other typefaces

[edit]

Though Erbar was the first of the new geometric sans-serif faces, the enormous success of Futura fostered the creation of many new geometric sans-serif faces by competing foundries including Kabel, Metro, Vogue, Spartan, Twentieth Century, and Century Gothic among others. Some were near identical copies as in Spartan and Vogue, but others, were uniquely different including Nobel and Kabel. Typeface designer Adrian Frutiger acknowledges Futura as one of his inspirations for his 1988 typeface Avenir. More recently Futura has been the basis of Ikea Sans and Opel Sans, fonts designed (for Ikea and Opel, respectively) by Robin Nicholas. [3][unreliable source?] Tasse is a revival of Steile Futura. Beteckna is inspired by Futura. Braggadocio is based on Futura Black. Fujiyama is a clone of Futura. The 2000 typeface Gotham is similarly geometric and based on 1920s signage. Passata is a modernised version of Futura specifically designed to replace Futura as the corporate branding font of Aarhus University.

Usage
Futura's success spawned a range of new geometric sans-serif typefaces from competing foundries, and remains one of the most used sans-serif types into the twenty-first century. Futura remains an important typeface family and is used on a daily basis for print and digital purposes as both a headline and body font. The font is also used extensively in advertisements and logos, notably by IKEA (until 2010), Volkswagen, Shell Petrol and HP in their print ads. [citation needed] For example, the font is used for the title logo of the 1999 film American Beauty. It was also used in other TV shows like Doug, Lost, Warehouse 13, the American version of Sesame Street, etc. Futura also features ubiquitously throughout the film adaptation of V for Vendetta, used for everything from the title logo and ending credits, The commemorative plaque left on the to signs, newspapers, computer screens and other props. Wes Anderson is also fond of the font and has used it for all Moon in July 1969 features text set in of his films. Futura was also Stanley Kubrick's favorite font[4] . In 1997, the Pittsburgh Steelers (an American Football Futura. team) switched to rounded numbers on the jersey to match the number font (Futura Condensed) on their helmets. It is also used on the Bell Canada and the current TV5 (Philippines) logo. Futura is also Animax Asia's main typeface. The Boston Celtics' championship banners are also in Futura Condensed. 2008 science fiction-fantasy film City of Ember features Futura Medium in many prints through the story.

[edit]

References
1. 2. 3. 4. ^ ^ ^ ^ The Bauhaus Designer Paul Renner . Creativepro.com. About Steile Futura . Mitja-m.com. Hausschriften-Liste . Typografie.info. Jon Ronson (27 March 2004). "Citizen Kubrick" . The Guardian.

[edit]

Further reading
(French) Alexandre Dumas de Rauly, Michel Wlassikoff, Futura Une gloire typographique, Paris, ditions NORMA, 2011, ISBN 978-2-9155-4239-4.

[edit]

Burke, Christopher, Paul Renner: the art of typography. London: Hyphen Press, 1998. ISBN 0-907259-12-X. Haley, Allen. Type: Hot Designers Make Cool Fonts. Rockport Publishers Inc, Gloucester; 1998. ISBN 1-56496-317-9 Jaspert, Berry and Johnson. Encyclopaedia of Type Faces. Cassell Paperback, London; 2001. ISBN 1-84188-139-2 Lawson, Alexander S., Anatomy of a Typeface. Godine: 1990. ISBN 978-0879233334. Meggs, Philip. B and McKelvey, Roy. Revival of the Fittest: Digital Versions of Classic Typefaces. RC Publications; 2002. ISBN 1-883915-08-2 Ronson, Jon. "Citizen Kubrick" , The Guardian, London, March 27, 2004. [edit]

External links
Typowiki: Futura Book in french about the history of the Futura typeface Identifont: Futura Black Identifont: Futura Display Berthold Fonts: Steile Futura - Berthold BQ version URW Topic ParaType Futura: Futura Bauertypes Futura ND Neufville Digital Futura: Futura MyFonts: Futura ND , Futura Black , Futura Condensed , Futura Display , Futura No. 2 , Futura PT , Futura Eugenia , Futura Futuris .

The Guardian's visual review of Futura

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Categories: 1928 introductions | Geometric sans-serif typefaces | Graphic design

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Main page Contents Featured content Current events Random article Donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes Contact Wikipedia Toolbox Print/export Languages Catal Deutsch Franais Italiano Portugus Contents [hide] 1 Variations 1.1 Myriad (Type 1) 1.2 Myriad Web 1.3 Myriad Pro 1.4 Myriad Wild 1.4.1 Myriad Wild Std 1.5 MyriadCAD 1.6 Kozuka Gothic 1.7 Adobe Heiti 2 Usage 3 Awards 4 References 5 External links 6 Further reading
Foundry Category Classification Designer(s)

[Help with translations!]

Myriad (typeface)
From Wikipedia, the free encyclopedia

Myriad is a humanist sans-serif typeface designed by Robert Slimbach and Carol Twombly for Adobe Systems. The typeface is best-known for its usage by Apple Inc., replacing Apple Garamond as Apple's corporate font since 2002. Myriad is easily distinguished from other sans-serif fonts due to its special "y" descender (tail) and slanting "e" cut. Myriad is similar to Frutiger.

Adobe Myriad

Sans-serif Humanist Robert Slimbach Carol Twombly Adobe Type

Variations
Myriad (Type 1)

[edit] [edit]
"Word" set in roman, italic, and bold

This PostScript Type 1 font family was released after the original Myriad MM. It initially included four fonts in two weights, with complementary italics. All these Type 1 versions supported the ISO-Adobe character set; all were discontinued in the early 2000s. Myriad Condensed It was a condensed version, released around 1998. The condensed fonts comprise three weights, with complementary italics. Myriad Headline A "Headline" version was also released, which has the weight of Myriad Bold, but slightly narrower.

Myriad Web

[edit]

Myriad Web is a version of Myriad in TrueType font format, optimized for onscreen use. It supports Adobe CE and Adobe Western 2 character sets. Myriad Web comprises only five fonts: Myriad Web Pro Bold, Myriad Web Pro Regular, Myriad Web Pro Condensed Italic, Myriad Web Pro Condensed, Myriad Web Pro Italic. Myriad Web Pro is slightly wider than Myriad Pro, while the width of Myriad Web Pro Condensed is between Myriad Pro Condensed and Myriad Pro SemiCondensed. The family is bundled as part of the Adobe Web Type Pro font pack.

Myriad Pro
Myriad Pro is the OpenType version of the original Myriad font family. It first shipped in 2000, as Adobe moved towards the OpenType standard. Additional designers were Christopher Slye and Fred Brady. Compared to Myriad MM, it added support for Latin Extended, Greek, and Cyrillic characters, as well as oldstyle figures.

[edit]

Myriad Pro originally included thirty fonts in three widths and five weights each, with complementary italics. A "semi-condensed" width was added several years later, expanding the family to forty fonts in four widths and five weights each, with complementary italics. Myriad Pro Regular, Bold, Italic, and Bold Italic are bundled with Adobe Reader 7 and 8. In Adobe Reader 9 and onwards, the fonts are included, but not installed in the system fonts directory.

Myriad Wild

[edit]

Myriad Wild is an Adobe font package comprising the Myriad Sketch and Myriad Tilt fonts in Type 1 format. Myriad Sketch is a slightly irregular outline version of Myriad, while Myriad Tilt incorporates irregular stroke weight and paths. The family supports ISO-Adobe character set.

Myriad Wild Std


Myriad Wild Std is the OpenType version of Myriad Wild. It supports Adobe Western 2 character set.

[edit]

MyriadCAD
MyriadCAD is included in Adobe Reader 9 and is thought to be an implementation of the ANSI CAD lettering.[1]

[edit]

Kozuka Gothic

[edit]

Kozuka Gothic is a Japanese typeface, designed as a sans-serif companion to Kozuka Mincho family. The Japanese letters were designed by Masahiko Kozuka and Adobes Japanese type design team. The Latin letters in Kozuka Gothic were adapted from Myriad.

Adobe Heiti

[edit]

Adobe Heiti is a simplified Chinese typeface that borrows its Latin glyphs from Myriad. It is included with Adobe Illustrator CS3,[2] Adobe Reader 8 Simplified Chinese font pack, Adobe Creative Suite 4.0.[3]

Usage
Since the launch of the eMac in 2002, Myriad has replaced Apple Garamond as Apple Inc.'s corporate font. It is now used in all of Apple's marketing and on its products (See Apple typography). More recent iterations of the iPod (from the iPod photo onward) used Podium Sans, which has similarities with Myriad (as opposed to Chicago), for its user interface. However, the iPod Touch and iPhone 3G replaced Podium Sans with Helvetica. A different humanist sans-serif typeface, Lucida Grande, is used as the system font for Apple's Mac OS X operating system. Myriad was included with the third generation of iPod.[4] Myriad is also used in the corporate identities of Wells Fargo, Wal-Mart, and Modern Telegraph, as the primary headline typefaces of those companies. The Linkedin text based logo uses Myriad font. Myriad MM is the official font for the Tata group of companies. The metro company of Hong Kong, MTR, uses Myriad as its corporate identity font. KCRC (a former rail transport company in Hong Kong) developed Casey in 1996, which uses Myriad Condensed for English and Formata Condensed for numbers. Today the KCRC is part of the MTR and Myriad is used on much of the MTR. The font was adopted in 2005 by the London Borough of Redbridge as its primary font for use in publications, as part of the overall rebrand of the council. Myriad Black is one of two official standard fonts of the University of Virginia [5] and Loyola University Chicago.[6] Myriad is also one of the two official standard fonts of Cambridge University.[7] Myriad Pro is the primary typeface for University of Nevada, Reno [8] and the University of Ottawa [9] and FoxTranslate. Two variants of Myriad MM are used as the primary typefaces for the Carl von Ossietzky University of Oldenburg (Germany) [10] . CBS affiliate KPHO uses Myriad for their third-lower graphics. A variety of fonts from the Myriad family are used on most CT Transit schedules. All Nippon Airways, an airline out of Japan, also uses the Myriad font for their new international cabin class logos as well as promotional materials of its new "Inspiration of Japan" in-flight service concept. [11]

[edit]

Adobe's Myriad is the typeface used in Apple's modern marketing.

All Nippon Airways' promotional logos for its new business class service, in which Adobe's Myriad is extensively used, such as the one above.

The Order of St John adopted the new St John logo in 2005, choosing Myriad Regular (Roman) and Myriad Bold as the approved organization's typeface for all external artwork, communications and publications. They have been using the new logo since 2005, and the organization's typeface since 2008 in their external publications. [12] Establishments are following the order to change their organization's logo to the new St John logo and using the new typeface, like St John New Zealand,[13] St John Ambulance in Wales,[14] Hong Kong St. John Ambulance [15] and The Order of St John USA.[16] Sauber's number seat also use Myriad Pro Bold in the nosecones. Woolworths (Australia) has used Myriad in its branding and logo since 2008.

Awards
Myriad Pro won bukva:raz! 2001 under the Greek and Cyrillic categories.[17] Myriad Pro Greek won TDC2 2000 (Type Directors Club Type Design Competition 2000) in the Text/display type systems category. [18]

[edit]

References
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ "Adobe Myriad CAD inside Acrobat Reader 9..." . Typophile. Retrieved 2011-03-10. "Adobe Illustrator CS3 Read Me" (PDF). Retrieved 2011-03-10. "Fonts supplied with Adobe Creative Suite 4.0" . Microsoft.com. Retrieved 2011-03-10. "Modifying Apple's Myriad Pro" . Retrieved 2008-10-03. "Usage Guidelines, U.Va. Logo" . University of Virginia. Retrieved 2008-10-03. "Loyola University Chicago Brand & Graphic Standards" . Loyola University Chicago. Retrieved 2009-07-19. "Guidlines: Typography" . Retrieved 2009-09-25. "UNR Fonts & Colors" . Retrieved 2010-08-29. "uOttawa Fonts" . Retrieved 2010-10-23. "Hausschrift Myriad" . Retrieved 2011-06-23. "Ana Sky Web" . Ana.co.jp. Retrieved 2011-03-10. "2008 Annual Review of the work of the Order Secretariat" . The Order of St John. Retrieved 2010-04-28. "St John St John New Zealand" . Stjohn.org.nz. Retrieved 2011-03-10. "St John : St John Cymru Wales" . Stjohnwales.co.uk. Retrieved 2011-03-10. "Hong Kong St. John Ambulance Brigade Cadet Command" . Stjohn.org.hk. Retrieved 2011-03-10. "The Order of St. John" . Saintjohn.org. Retrieved 2011-03-10. "News: bukva:raz! Results" . Type Directors Club. 2001-12-02. Retrieved 2008-10-03. "TDC2 2000: The Competition" . Type Directors Club. Retrieved 2008-10-03.

[edit]

External links
Typowiki: Myriad Adobe Systems information on Myriad multiple masters A side by side comparison of the Frutiger and Myriad typefaces Styles of the Myriad font family at Linotype.com Adobe - Fonts: Myriad Condensed Adobe - Fonts: Myriad Pro Adobe - Fonts: Myriad Wild Adobe - Fonts: Myriad Wild Std Adobe - Fonts: Kozuka Gothic Pro

[edit]

Further reading
Blackwell, Lewis (2004). 20th Century Type. Yale University Press. ISBN 0-300-10073-6.

[edit]

Fiedl, Frederich, Nicholas Ott and Bernard Stein (1998). Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal. ISBN 1-57912-023-7. Macmillan, Neil (2006). An AZ of Type Designers. Yale University Press. ISBN 0-300-11151-7.

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This page was last modified on 7 August 2011 at 06:12. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details. Wikipedia is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. Contact us Privacy policy About Wikipedia Disclaimers Mobile view

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Main page Contents Featured content Current events Random article Donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes Contact Wikipedia Toolbox Print/export Languages Catal Deutsch Franais Italiano Portugus Contents [hide] 1 Variations 1.1 Myriad (Type 1) 1.2 Myriad Web 1.3 Myriad Pro 1.4 Myriad Wild 1.4.1 Myriad Wild Std 1.5 MyriadCAD 1.6 Kozuka Gothic 1.7 Adobe Heiti 2 Usage 3 Awards 4 References 5 External links 6 Further reading
Foundry Category Classification Designer(s)

[Help with translations!]

Myriad (typeface)
From Wikipedia, the free encyclopedia

Myriad is a humanist sans-serif typeface designed by Robert Slimbach and Carol Twombly for Adobe Systems. The typeface is best-known for its usage by Apple Inc., replacing Apple Garamond as Apple's corporate font since 2002. Myriad is easily distinguished from other sans-serif fonts due to its special "y" descender (tail) and slanting "e" cut. Myriad is similar to Frutiger.

Adobe Myriad

Sans-serif Humanist Robert Slimbach Carol Twombly Adobe Type

Variations
Myriad (Type 1)

[edit] [edit]
"Word" set in roman, italic, and bold

This PostScript Type 1 font family was released after the original Myriad MM. It initially included four fonts in two weights, with complementary italics. All these Type 1 versions supported the ISO-Adobe character set; all were discontinued in the early 2000s. Myriad Condensed It was a condensed version, released around 1998. The condensed fonts comprise three weights, with complementary italics. Myriad Headline A "Headline" version was also released, which has the weight of Myriad Bold, but slightly narrower.

Myriad Web

[edit]

Myriad Web is a version of Myriad in TrueType font format, optimized for onscreen use. It supports Adobe CE and Adobe Western 2 character sets. Myriad Web comprises only five fonts: Myriad Web Pro Bold, Myriad Web Pro Regular, Myriad Web Pro Condensed Italic, Myriad Web Pro Condensed, Myriad Web Pro Italic. Myriad Web Pro is slightly wider than Myriad Pro, while the width of Myriad Web Pro Condensed is between Myriad Pro Condensed and Myriad Pro SemiCondensed. The family is bundled as part of the Adobe Web Type Pro font pack.

Myriad Pro
Myriad Pro is the OpenType version of the original Myriad font family. It first shipped in 2000, as Adobe moved towards the OpenType standard. Additional designers were Christopher Slye and Fred Brady. Compared to Myriad MM, it added support for Latin Extended, Greek, and Cyrillic characters, as well as oldstyle figures.

[edit]

Myriad Pro originally included thirty fonts in three widths and five weights each, with complementary italics. A "semi-condensed" width was added several years later, expanding the family to forty fonts in four widths and five weights each, with complementary italics. Myriad Pro Regular, Bold, Italic, and Bold Italic are bundled with Adobe Reader 7 and 8. In Adobe Reader 9 and onwards, the fonts are included, but not installed in the system fonts directory.

Myriad Wild

[edit]

Myriad Wild is an Adobe font package comprising the Myriad Sketch and Myriad Tilt fonts in Type 1 format. Myriad Sketch is a slightly irregular outline version of Myriad, while Myriad Tilt incorporates irregular stroke weight and paths. The family supports ISO-Adobe character set.

Myriad Wild Std


Myriad Wild Std is the OpenType version of Myriad Wild. It supports Adobe Western 2 character set.

[edit]

MyriadCAD
MyriadCAD is included in Adobe Reader 9 and is thought to be an implementation of the ANSI CAD lettering.[1]

[edit]

Kozuka Gothic

[edit]

Kozuka Gothic is a Japanese typeface, designed as a sans-serif companion to Kozuka Mincho family. The Japanese letters were designed by Masahiko Kozuka and Adobes Japanese type design team. The Latin letters in Kozuka Gothic were adapted from Myriad.

Adobe Heiti

[edit]

Adobe Heiti is a simplified Chinese typeface that borrows its Latin glyphs from Myriad. It is included with Adobe Illustrator CS3,[2] Adobe Reader 8 Simplified Chinese font pack, Adobe Creative Suite 4.0.[3]

Usage
Since the launch of the eMac in 2002, Myriad has replaced Apple Garamond as Apple Inc.'s corporate font. It is now used in all of Apple's marketing and on its products (See Apple typography). More recent iterations of the iPod (from the iPod photo onward) used Podium Sans, which has similarities with Myriad (as opposed to Chicago), for its user interface. However, the iPod Touch and iPhone 3G replaced Podium Sans with Helvetica. A different humanist sans-serif typeface, Lucida Grande, is used as the system font for Apple's Mac OS X operating system. Myriad was included with the third generation of iPod.[4] Myriad is also used in the corporate identities of Wells Fargo, Wal-Mart, and Modern Telegraph, as the primary headline typefaces of those companies. The Linkedin text based logo uses Myriad font. Myriad MM is the official font for the Tata group of companies. The metro company of Hong Kong, MTR, uses Myriad as its corporate identity font. KCRC (a former rail transport company in Hong Kong) developed Casey in 1996, which uses Myriad Condensed for English and Formata Condensed for numbers. Today the KCRC is part of the MTR and Myriad is used on much of the MTR. The font was adopted in 2005 by the London Borough of Redbridge as its primary font for use in publications, as part of the overall rebrand of the council. Myriad Black is one of two official standard fonts of the University of Virginia [5] and Loyola University Chicago.[6] Myriad is also one of the two official standard fonts of Cambridge University.[7] Myriad Pro is the primary typeface for University of Nevada, Reno [8] and the University of Ottawa [9] and FoxTranslate. Two variants of Myriad MM are used as the primary typefaces for the Carl von Ossietzky University of Oldenburg (Germany) [10] . CBS affiliate KPHO uses Myriad for their third-lower graphics. A variety of fonts from the Myriad family are used on most CT Transit schedules. All Nippon Airways, an airline out of Japan, also uses the Myriad font for their new international cabin class logos as well as promotional materials of its new "Inspiration of Japan" in-flight service concept. [11]

[edit]

Adobe's Myriad is the typeface used in Apple's modern marketing.

All Nippon Airways' promotional logos for its new business class service, in which Adobe's Myriad is extensively used, such as the one above.

The Order of St John adopted the new St John logo in 2005, choosing Myriad Regular (Roman) and Myriad Bold as the approved organization's typeface for all external artwork, communications and publications. They have been using the new logo since 2005, and the organization's typeface since 2008 in their external publications. [12] Establishments are following the order to change their organization's logo to the new St John logo and using the new typeface, like St John New Zealand,[13] St John Ambulance in Wales,[14] Hong Kong St. John Ambulance [15] and The Order of St John USA.[16] Sauber's number seat also use Myriad Pro Bold in the nosecones. Woolworths (Australia) has used Myriad in its branding and logo since 2008.

Awards
Myriad Pro won bukva:raz! 2001 under the Greek and Cyrillic categories.[17] Myriad Pro Greek won TDC2 2000 (Type Directors Club Type Design Competition 2000) in the Text/display type systems category. [18]

[edit]

References
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ "Adobe Myriad CAD inside Acrobat Reader 9..." . Typophile. Retrieved 2011-03-10. "Adobe Illustrator CS3 Read Me" (PDF). Retrieved 2011-03-10. "Fonts supplied with Adobe Creative Suite 4.0" . Microsoft.com. Retrieved 2011-03-10. "Modifying Apple's Myriad Pro" . Retrieved 2008-10-03. "Usage Guidelines, U.Va. Logo" . University of Virginia. Retrieved 2008-10-03. "Loyola University Chicago Brand & Graphic Standards" . Loyola University Chicago. Retrieved 2009-07-19. "Guidlines: Typography" . Retrieved 2009-09-25. "UNR Fonts & Colors" . Retrieved 2010-08-29. "uOttawa Fonts" . Retrieved 2010-10-23. "Hausschrift Myriad" . Retrieved 2011-06-23. "Ana Sky Web" . Ana.co.jp. Retrieved 2011-03-10. "2008 Annual Review of the work of the Order Secretariat" . The Order of St John. Retrieved 2010-04-28. "St John St John New Zealand" . Stjohn.org.nz. Retrieved 2011-03-10. "St John : St John Cymru Wales" . Stjohnwales.co.uk. Retrieved 2011-03-10. "Hong Kong St. John Ambulance Brigade Cadet Command" . Stjohn.org.hk. Retrieved 2011-03-10. "The Order of St. John" . Saintjohn.org. Retrieved 2011-03-10. "News: bukva:raz! Results" . Type Directors Club. 2001-12-02. Retrieved 2008-10-03. "TDC2 2000: The Competition" . Type Directors Club. Retrieved 2008-10-03.

[edit]

External links
Typowiki: Myriad Adobe Systems information on Myriad multiple masters A side by side comparison of the Frutiger and Myriad typefaces Styles of the Myriad font family at Linotype.com Adobe - Fonts: Myriad Condensed Adobe - Fonts: Myriad Pro Adobe - Fonts: Myriad Wild Adobe - Fonts: Myriad Wild Std Adobe - Fonts: Kozuka Gothic Pro

[edit]

Further reading
Blackwell, Lewis (2004). 20th Century Type. Yale University Press. ISBN 0-300-10073-6.

[edit]

Fiedl, Frederich, Nicholas Ott and Bernard Stein (1998). Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal. ISBN 1-57912-023-7. Macmillan, Neil (2006). An AZ of Type Designers. Yale University Press. ISBN 0-300-11151-7.

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Categories: Apple Inc. typefaces | Adobe typefaces | Humanist sans-serif typefaces

This page was last modified on 7 August 2011 at 06:12. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details. Wikipedia is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. Contact us Privacy policy About Wikipedia Disclaimers Mobile view

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Main page Contents Featured content Current events Random article Donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes Contact Wikipedia Toolbox Print/export Languages Catal Deutsch Espaol Franais Italiano Magyar Svenska

[Help with translations!]

Lucida
From Wikipedia, the free encyclopedia

Lucida (pronounced /lusd/ [1] ) is an extended family of related typefaces designed by Charles Bigelow and Kris Holmes in 1985. There are many variants called Lucida, including scripts (Blackletter, Calligraphy, Handwriting), serif (Fax, Bright), and sans-serif (Sans, Sans Unicode, Grande, Sans Typewriter). Bigelow & Holmes, together with the (now defunct) TeX vendor Y&Y, extended the Lucida family with a full set of TeX mathematical symbols, making it one of the few typefaces that provide full-featured text and mathematical typesetting within TeX.
Contents [hide] 1 Lucida Arrows 2 Lucida Blackletter 3 Lucida Bright 4 Lucida Calligraphy 5 Lucida Casual 6 Lucida Console 7 Lucida Fax 8 Lucida Icons 9 Lucida Math 10 Lucida Sans 10.1 Lucida Grande 10.2 Lucida Sans Typewriter 10.3 Lucida Sans Unicode 11 Lucida Serif 12 Lucida Typewriter Serif 13 Samples 14 Usages 15 See also 16 References 17 External links

Lucida Arrows
It is a family of fonts containing arrows.

[edit]

Lucida Blackletter
Released in 1992, it is a family of cursive blackletter fonts.

[edit]

Lucida Bright
Based on Lucida Serif, it features more contrasted strokes and serifs. The font was first used as the text face for Scientific American magazine, and its letter-spacing was tightened to give it a slightly closer fit for use in two and three column formats.

[edit]

Lucida Bright

Lucida Calligraphy
It is a script font family developed from Chancery cursive.

[edit]

Lucida Casual
Released in 1994, it is a casual font similar to Lucida Handwriting, but without connecting strokes.

[edit]

Lucida Console
It is a variant of Lucida Sans Typewriter with smaller line spacing, and added WGL4 character set.

[edit]

Lucida Fax
Released in 1992, it is a slab serif font family derived from Lucida, designed for telefaxing.

[edit]
Category Serif Charles Bigelow, Kris Holmes Bigelow and Holmes

Lucida Icons

[edit]

Designer(s) Foundry

It is a family of fonts for ornament and decoration uses. It contains ampersands, interrobangs, circled Lucida Sans numerals, etc.[2]

Lucida Math

[edit]

It is a family of fonts for mathematical expressions. Lucida Math Extension contains only mathematical symbols. Lucida Math Italic contains Latin characters from Lucida Serif Italic, but with smaller line spacing, and added Greek letters. Lucida Math contains mathematical symbols, and blackletter (from Lucida Blackletter) and script letters in (from Lucida Calligraphy Italic) Letterlike Symbols region. In addition to the above fonts, mathematical fonts for Lucida Bright, Lucida Sans, Lucida Sans Mono were also developed, as well as Lucida Math One, Lucida Math Two, Lucida Math Three, which contain only mathematical symbols.

Lucida Sans
It is a family of sans-serif fonts complementing Lucida Serif, designed in 1985.

[edit]

Lucida Sans
[edit]

Lucida Grande
Main article: Lucida Grande

It is a version of Lucida Sans with expanded character sets. It supports Latin, Greek, Cyrillic, Arabic, Hebrew, Thai scripts.

Lucida Sans Typewriter


Also called Lucida Typewriter Sans, It is a sans-serif monospaced font family, designed for typewriters.

[edit]

Lucida Sans Unicode


Main article: Lucida Sans Unicode

[edit]

Based on Lucida Sans Regular, it added characters in Arrows, Block Elements, Box Drawing, Combining Diacritical Marks, Control Pictures, Currency Symbols, Cyrillic, General Punctuation, Geometric Shapes, Greek and Coptic, Hebrew, IPA Extensions, Latin Extended-A, Latin Extended-B, Letterlike Symbols, Mathematical Operators, Miscellaneous Symbols, Miscellaneous Technical, Spacing Modifier Letters, Superscripts and Subscripts regions.

Category Designer(s)

Various Charles Bigelow Kris Holmes Bigelow & Holmes See samples Sample

Foundry

Lucida Serif
It is the original Lucida font designed in 1985, featuring a thickened serif. It was simply called Lucida when it was first released.

[edit]

Lucida Typewriter Serif


Also called Lucida Typewriter, it is a slab serif monospaced version of Lucida Fax, but with wider serifs. The letters are wider than Lucida Sans Typewriter.

[edit]

Samples

[edit]

Lucida Sans

Lucida Sans Typewriter

Lucida Console

Lucida Handwriting

Lucida Grande

Lucida Calligraphy

Lucida Blackletter

Lucida Fax

Lucida Bright

Lucida Serif

Usages

[edit]

Lucida Console is also the Blue Screen of Death (as well as Notepad default) typeface in Windows XP and Windows CE. Lucida Sans Demibold (Identical outlines to Lucida Grande Bold but with tighter kerning on numerals) is used in Apple Inc.'s Mac OS X operating system, as well as many programs including Front Row. Lucida is also used in the logo for Air Canada. A collection of Lucida variants are installed by default with Java. Lucida Calligraphy was used in the logo for Gladden Entertainment.

See also
MathTime Wingdings

[edit]

References
1. ^ Wells, John (2008-05-02). "World atlas of language structures" 2. ^ Lucida Sans descriptions . John Wellss phonetic blog. Retrieved 2008-09-19.

[edit]

External links
Lucida and TeX Notes on Lucida (TeX Users Group) (Linotype corporation) , by Charles Bigelow Lucida Font Family Group - by Kris Holmes, Charles Bigelow

[edit]

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Categories: Unified serif and sans-serif typeface families | Symbol typefaces | TeX | 1985 introductions

This page was last modified on 2 July 2011 at 07:10. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details. Wikipedia is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. Contact us Privacy policy About Wikipedia Disclaimers Mobile view

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Main page Contents Featured content Current events Random article Donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes Contact Wikipedia Toolbox Print/export Languages Catal Deutsch Espaol Bahasa Indonesia Magyar Nederlands Portugus Svenska Contents [hide] 1 Characteristics 2 Optima Greek (1973) 3 Optima Classified (1976) 4 Optima nova (2002) 4.1 Optima nova Condensed 4.2 Optima nova Titling 5 Usages 6 References 7 External links

[Help with translations!]

Optima
From Wikipedia, the free encyclopedia

For other uses, see Optima (disambiguation). Optima is a humanist sans-serif typeface designed by Hermann Zapf between 1952 and 1955 for the D. Stempel AG foundry, Frankfurt, Germany.

Characteristics

[edit]

Category

Sans-serif

Designer(s) Hermann Zapf Though classified as a sans-serif, Optima has a subtle swelling at the terminal producing a suggestion of a glyphic Foundry Linotype serif. Optimas design follows humanist lines, but its italic variant is merely an oblique, essentially a sloped roman without characteristic italic letterforms such as a single storey a and rounded base of v and w. This is more typical of Variations Optima Nova a realist sans-serif such as Helvetica or Univers. Also unconventional for the contemporary sans, Optima's capitals (like Palatino's) are directly derived from the classic Roman monumental capital model (one other well executed example is Meier's Syntax). It is clear from the reverence in Zapf's designs that he regards the Roman capitals as ideal forms, and his executions in type prove the thesis. Like Palatino, another Zapf design, Optima is both widely admired and much imitated. Optima and Palatino are trade marks of Linotype (a Monotype company).

In the Bitstream font collection, Zapf Humanist is provided as an Optima clone. Other Optima clones include Optane from the WSI Fonts collection, Opulent by Rubicon Computer Labs Inc., Ottawa from Corel, CG Omega and Eterna. Freely available implementations include MgOpen Cosmetica (Available with open source license) and URW Classico (available with URW Font package from Ghostscript).

Optima Greek (1973)


It is a Greek variant designed by Matthew Carter, based on sketches from Hermann Zapf.[1] Digital version has not been produced.

[edit]

Optima Classified (1976)


It is a variant designed by Matthew Carter, based closely on Optima Medium. Digital version has not been produced.

[edit]

Optima nova (2002)

[edit]

Optima nova is a redesign of the original font family, designed by Hermann Zapf and Linotype GmbH type director Akira Kobayashi. The new family contains 7 font weights, which adds light, demi, heavy font weights, but removed extra black weight. Medium weight is readjusted to between medium and bold weights in the old family scale. Glyph sets are expanded to include Adobe CE and Latin Extended characters, with light to bold weight fonts supporting proportional lining figures, old style figures, small caps. Italic fonts include italic type features instead of just tilted romans. Even in roman fonts, letters such as Q, a, f are redesigned. The overall bounding boxes were widened in Optima nova.

Optima nova Condensed

[edit]

It is a condensed variant is which consist of light to bold weights, but no italic fonts. Glyph set does not support proportional lining figures, old style figures, small caps.

Optima nova Titling

[edit]

It is a titling capitals variant, which contains only capital letters, with restyled letterform. Glyph set is same as Optima nova Condensed, except it also includes extra ligatures. In the tradition of hand lettering and lapidary inscription, the titling face shares similarities with the work of Zapf's friend Herb Lubalin especially the exuberant ligatures (for which Lubalin's ITC Lubalin Graph and ITC Avant Garde are notable). Further influence of A.M. Cassandre and Rudolf Koch, whose work greatly inspired the young Zapf, can also be seen in Optima.

Usages

[edit]

The typeface Optima is used for the Vietnam Veterans Memorial and was used by the 2008 John McCain presidential campaign.[2] Optima is also used as the official branding typeface for Este Lauder Companies, the University of New South Wales,[3] the University of Calgary,[4] by Aston Martin, Movado and British retailer Marks & Spencer. Optima is used iconically for Traveller, and Diaspora used it to pay homage to Traveller.[5] Optima was used for lettering on Premier League kits until May 2006, when it was replaced by a different typeface.[6] Marks and Spencer used the font for its corporate logo [7][8][9] and as the default on all internal correspondence from 2000 but since 2007 it is gradually being phased out on all signage and packaging as part of another re-branding exercise.

References
1. 2. 3. 4. 5. 6. 7. 8. 9. ^ ^ ^ ^ ^ ^ ^ ^ ^ magazine TYPO.18 December 2005 issue Tschorn, Adam (March 30, 2008). "The character issue" . Los Angeles Times. http://my.unsw.edu.au/unsw/Fonts.html http://www.ucalgary.ca/universityrelations/coat-of-arms/ http://phreeow.net/pipermail/diaspora_phreeow.net/2009-October/000096.html Neijnens, Sander. "FA Premier League" . Retrieved May 01, 2011. http://www.brandrepublic.com/news/69064/M-S-launches--rsquofresh-rsquo-brand-identity/?DCMP=ILC-SEARCH http://en.wikipedia.org/wiki/Marks_%26_Spencer#Change_of_historic_logo http://www.fontco.com/font-facts/optima.php

[edit]

Margaret Re, Johanna Drucker, Matthew Carter, James Mosley. Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press: 2003. ISBN 1568984278, ISBN 978-1568984278. Blackwell, Lewis. 20th Century Type. Yale University Press: 2004. ISBN 0-300-10073-6. Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998. ISBN 1-57912-023-7. Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983. ISBN 0-7137-1347-X. Lawson, Alexander S., Anatomy of a Typeface. Godine: 1990. ISBN 978-0879233334. Macmillan, Neil. An AZ of Type Designers. Yale University Press: 2006. ISBN 0-300-11151-7. Zapf, Hermann. Manuale Typographicum. The MIT Press: 19534, 1970. ISBN 0-262-24011-4.

External links
Typowiki: Optima The story of Palatino and Optima from Hermann Zapf Linotype: Optima from Hermann Zapf Learn more about Optima nova from Hermann Zapf and Akira Kobayashi

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Categories: Stempel typefaces | Linotype typefaces | Humanist sans-serif typefaces

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Bembo
From Wikipedia, the free encyclopedia

For the Italian poet, humanist, cardinal, and literary theorist, see Pietro Bembo.
The template below (Expert -verify) is being considered for deletion. See templates for discussion to help reach a consensus.

This article requires authentication or verification by an expert. Please assist in recruiting an expert or improve this article yourself. See the talk page for details. (September 2009) Bembo is the name given to a 20th-century revival of an old style serif or humanist typeface cut by Francesco Griffo around 1495. Bembo is a classic typeface that displays the characteristics that identify Old Style, humanist designs: minimal variation in thick and thin stroke weight small x-height ascender height exceeding cap height oblique stress short, bracketed serifs with cupped bases angled top serifs on lower case letters The typeface Bembo seen today is a revival designed under the direction of Stanley Morison for the Monotype Corporation in 1929. It is considered a good choice for expressing classic beauty or formal tradition in typographical design and is generally held to be a good book face.
Category Serif Old style Stanley Morison Monotype

Contents [hide] 1 History 2 Monotype history 3 Recently available fonts 4 Available matrices 5 See also 6 Notes 7 References 8 External links

Classification Designer(s) Foundry

History
Griffo cut punches for the Venetian press of the humanist printer Aldus Manutius. The face was first used in February 1496 (1495 more veneto), in the setting of a book entitled Petri Bembi de Aetna Angelum Chalabrilem liber, a 60-page text about a journey to Mount Aetna written by the young Italian humanist poet Pietro Bembo, later a Cardinal and secretary to Pope Leo X. Six years later Griffo was responsible for the first italic types, cut for Aldus. A second version of the roman face followed in 1499 and this type was used to print the famous illustrated Hypnerotomachia Poliphili. This typeface served as a source of inspiration for typefaces of the Parisian typefounder Claude Garamond, for Voskens and many others, which were themselves the sources for Caslon types and many other European types of the sixteenth and seventeenth centuries. [1]

[edit]

Griffo was the first punch-cutter to fully express the character of the humanist hand that contemporaries preferred for manuscripts of classics and literary texts, in distinction to the book hand humanists dismissed as a gothic hand or the everyday chancery hand. The typeface called Bembo has a calligraphic feel that is particularly evident in the serifs. It has a delicate transitional curve that rises up into the stem of each letter. Many lowercase letters exhibit hints of sinuous curves reminiscent of those generated by hand-drawn letters; the termination of the arm of both the r and the e flare slightly upward and outward. The lowercase c has a subtle forward slant, a reversal of the oblique stress of the o. Characters h, m, and n have a slight returned curve on their final stem. Lowercase italic k has an elegantly curved stroke in the lower-right. One of the main characteristic that distinguished Griffo's types from earlier Venetian forms is the way in which the ascenders of the lowercase letters stand taller than the capitals. An infant variety also exists, which contains single-story versions of the letters A and G. According to the authors of Typographic Specimens: The Great Typefaces, Bembo is noted for its ability to "provide a text that is extremely consistent in color and texture," helping it to "remain one of the most popular book types since its release."

Type specimen by Aldus Manutius, from Pietro Bembo's De Aetna, 149596.

Monotype history

[edit]

Monotype Bembo is generally regarded as one of the most handsome revivals of Aldus Manutiuss 15th-century roman type. However there is no italic cut with it. The rumor goes that Stanley Morison commissioned Alfred Fairbank (Born: Grimsby, United Kingdom, 1895, Died: Hove, Sussex, 1982), a renowned calligrapher, to design an italic for Bembo. This was released in metal type in 1929, but Fairbank claimed that he made the design independently and sold the drawings to Monotype. Fairbanks designalthough very beautifulwas, however, not used at first with the Bembo roman. A more conventional italic was cut by Monotype and used to complete to the Bembo font-family. Fairbanks first design, which was based on the work of 16th-century writing master Ludovico degli Arrighi, was, however, made available in 4 sizes, named Bembo Condensed Italic.

Recently available fonts

[edit]

More recently, Bembo is the typeface used for volumes in the Everyman's Library series. It is also the principal typeface in the Rough Guides series of travel books.

Available matrices
270, Bembo roman/italic, Unit-Arrangement 91 6 pt (6D) 6,75 set Line M-1237, U.A. 91, short descenders, long descenders 8 pt (7D) 7.5 set, line M-1243 9 pt (8D) 8.25 set, line M-1243 10 pt (9D) 8.5 set line M-1292 10.5 pt, (10D) 9 set, line M-1312 11 pt (10D) 9.5 set, line M-1322 12 pt (12D) 10.25 set Line M-1352 13 pt (12D) 11 set, line M-1378 14 pt (14D) 11.5 set, line M-1444 16 pt (16D) 13.5 set, line T-1559, large composition, U.A. 163 18 pt (16D) 14.5 set, line T-1725, large composition, U.A. 169 24 pt (16D) 19.5 set, line T-2302, large composition, U.A. 169 14 pt, display, line T-1344 16 pt, display, line T-1559 18 pt, display, line T-1725 22 pt, display, line T-2104 24 pt, display, line T-2302 30 pt, display, line T-2824 36 pt, display, line T-3444 42 pt, display, line T-4023 48 pt, display, line T-4648 60 pt, display, line T-5821 72 pt, display, line T-6980 370, Bembo Titling [2] 24 pt, display, line T-2942 30 pt, display, line T-3614 36 pt, display, line T-4436 42 pt, display, line T-5196 428, Bembo Bold roman U.A. 368, italic U.A. 444 [3] 6 pt (6D) 6,75 set Line M-1237, 8 pt (7D) 7.5 set, line M-1243 9 pt (8D) 8.25 set, line M-1243 10 pt (9D) 8.5 set line M-1292 10.5 pt, (10D) 9 set, line M-1312 11 pt (10D) 9.5 set, line M-1322 12 pt (12D) 10.25 set Line M-1352 13 pt (12D) 11 set, line M-1378 14 pt (14D) 11.5 set, line M-1444 16 pt (16D) 13.5 set, line T-1559, large composition, U.A. 399 en 489 18 pt (16D) 14.5 set, line T-1725, large composition, U.A. 399 en 489 14 pt, display, line T-1344 16 pt, display, line T-1559 18 pt, display, line T-1725 22 pt, display, line T-2104 24 pt, display, line T-2302 30 pt, display, line T-2824 36 pt, display, line T-3444 42 pt, display, line T-4023 48 pt, display, line T-4648 60 pt, display, line T-5821 72 pt, display, line T-6980 294, Bembo Condensed Italic, U.A. 360 10 pt (10D), 8.5 set, line M-1292 12 pt (12D), 10.25 set, line M-1353 13 pt (12D), 11 set, line M 1378 16 pt (16D), 13.5 set, line T-1559
Large composition matrix-case with Bembo 270-24 pt roman, 19.5 set

[edit]

Large composition matrix-case with Bembo 270-16 roman, prepared for casting with a standard wedge S5-13.75 set.

See also
Antiqua History of western typography Typography Cardo

[edit]

Notes
1. ^ The Monotype Corporation limited, specimen blade 5-64, Bembo 270 2. ^ The Monotype Corporation limited, specimen blade 6-65, Bembo Titling 370 3. ^ Monotype Corporation Limited, specimen blade 7-65, Bemo Bold 428

[edit]

References
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (September 2009) Lawson, Alexander S., Anatomy of a Typeface. Godine: 1990. ISBN 978-0879233334. Meggs, Philip B. and Rob Carter.Typographic Specimens: The Great Typefaces. John Wiley & Sons, Inc.: 1993. ISBN 0-471-28429-7 Meggs, Philip B. and McKelvey, Roy.Revival of the Fittest: Digital Versions of Classic Typefaces. RC Publications: 2000. ISBN 1-883915-08-2 Meggs, Philip B. History of Graphic Design. John Wiley & Sons, Inc.: 1998. ISBN 0-470-04265-6

[edit]

External links
Typowiki: Bembo Bembo Infant at Fonts.com

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Categories: Old style serif typefaces | 1495 introductions | Lowercase numerals typefaces | Typefaces with infant variants

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Gill Sans
From Wikipedia, the free encyclopedia

Gill Sans is a sans-serif typeface designed by Eric Gill. The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Eric Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. [1] In addition, Gill had sketched a design for Cleverdon,[2] intended as a guide for him to make future notices and announcements. Gill further developed it into a complete font family after Stanley Morison commissioned the development of Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in 1928 by Monotype Corporation. Gill Sans became popular when in 1929 Cecil Dandridge commissioned Eric Gill to produce Gill Sans to be used on the London and North Eastern Railway for a unique typeface for all the LNER's posters and publicity material.[3] Gill was a well established sculptor, graphic artist and type designer, and the Gill Sans typeface takes inspiration from Edward Johnstons Johnston typeface for London Underground, which Gill had worked on while apprenticed to Johnston. Eric Gill attempted to make the ultimate legible sans-serif text face. Gill Sans was designed to function equally well as a text face and for display. It is distributed as a system font in Mac OS X and is bundled with certain versions of Microsoft products as Gill Sans MT. [4]
Contents [hide] 1 Characteristics 1.1 History 2 Variants and other versions 2.1 Arabic 2.2 Others 3 Similar fonts 4 Usage 4.1 Legal aspects 5 Bibliography 6 References 7 External links

Gill Sans

Category Classification Designer(s) Foundry Date created Date released Re-issuing foundries

Sans-serif Humanist Eric Gill Monotype 1926 1928 (Monotype) Monotype, Adobe Systems, ITC

Design based on Johnston

Characteristics

[edit]

The uppercase of Gill Sans is modelled on the monumental Roman capitals like those found on the Column of Trajan, and the Caslon and Baskerville typefaces. The capital M from Gill Sans is based on the proportions of a square with the middle strokes meeting at the centre of that square. The Gill Sans typeface family contains fourteen styles and has less of a mechanical feel than geometric sans-serifs like Futura, because its proportions stemmed from Roman tradition. Unlike realist sans-serif typefaces including Akzidenz Grotesk and Univers the lower case is modelled on the lowercase Carolingian script. The Carolingian influence is noticeable in the two-story lowercase a, and g. The lowercase t is similar to old-style serifs in its proportion and oblique terminus of the vertical stroke. Following the humanist model the lowercase italic a becomes single story. The italic e is highly calligraphic, and the lowercase p has a vestigial calligraphic tail reminiscent of the italics of Caslon and Baskerville. Gill Sans serves as a model for several later humanist sans-serif typefaces including Syntax and FF Scala Sans. An Infant variety of the typeface with single-story versions of the letters a and g also exists. The basic glyph shapes do not look consistent across font weights and widths, especially in Extra Bold and Ultra Bold weights, and Extra Condensed width. However, even in lighter weights, some letters do not look consistent. For example, in letters p and q, the top strokes of counters do not touch the top of the stems in Light, Bold, Heavy fonts, but touch the top of the stems in Book, Medium fonts.

History
The letter a was originally developed with straight tail, followed by diagonal tail (which can be seen on early specimen sheets), then the hooked tail. The diagonal tail eventually was found in Extra Bold, Bold Extra Condensed; a modified straight tail was later found in Ultra Bold.

[edit]

The original Gill Sans lacked distinctions between numeral 1, uppercase i, and lowercase L, so alternate version of Gill Sans was made that included an alternate 1 that could be used for numerical setting, such as shop window prices and timetables.[5] In the Adobe version, such alternate figure is not included, even in the OpenType version of the font. Eric Gill removed terminus endings of the vertical stroke in b, d, p and q, but Monotype drawing office revised the forms so that they were preserved in the medium weight, which can be seen on early samples of the series 262. In Gill Sans Pro, the restored endings can be found in Gill Sans Light (in d, p, q only), Bold, Heavy, Extra Bold (p only), Ultra Bold (p only), Condensed, Bold Condensed, Ultra Bold Condensed (p only), Display Bold, Display Extra Bold (p only), Display Bold Condensed, Bold Extra Condensed (d, p only), Shadowed Light (d, q only).

Variants and other versions


Arabic
Gill Arabic started as a project while Pascal Zoghbi was working with Gill Sans in the Letter Press workshop at The Royal Academy of Arts (KABK). It is designed as Arabic type companion for Gill Sans. The finalized font is expected to have an Arabic name rather than Gill Sans Arabic. The type is based on the Arabic Naskh style with a modern look that echoes the proportions and feel of Gill Sans.

[edit] [edit]

Others
Versions of Gill Sans exist in display, condensed, outlined (Monotype ser. 290[6] ), ultra bold (ser. 442), among others, and also Greek and Cyrillic letters. A schoolbook/infant edition also exists.

[edit]

Monotype released in August 2005 a collection of 21 fonts including Book, Book Italic, Heavy, Heavy Italic, Display Bold, Display Bold Condensed fonts of Gill Sans. It adds support of Eastern European characters but not Greek and Cyrillic.[7]

Similar fonts

[edit]

Granby from Stephenson, Blake was a contemporary variant based on Gill Sans. [8] Jeremy Tankard's Bliss and Volker Kster's Today Sans are also contemporaries. [9][10] Gill Sans also shares several humanist sans-serif characteristics with Charlotte Sans: a double storey roman a and g, and a single storey lowercase italic a. Toronto Subway is based on Johnston and is often confused with Gill Sans.

Usage
First unveiled in a single uppercase weight in 1928, Gill Sans achieved national prominence almost immediately, when it was chosen the following year to become the standard typeface for the LNER railway system, soon appearing on every facet of the company's identity, from locomotive nameplates and station signage to restaurant car menus, printed timetables and advertising posters. When British Railways was created by nationalisation in 1948, Gill Sans was used in much of its printed output, including timetables. Specially drawn variations were developed by the British Transport Commission for signs, but these characters are not authentic Gill. The corporate rebranding of BR as British Rail in 1965 introduced Rail Alphabet for signage, and Helvetica and/or Univers for printed matter. Other users included Penguin Books' iconic paperback jacket designs from 1935, and Gill Sans became Monotype's fifth best selling typeface of the twentieth century.

[edit]

The typeface continues to thrive to this day, often being held to bring an artistic or cultural sensibility to an organisation's corporate style. Monotype themselves use it in their corporate style, and the typeface was prominently used by many public service organisations. These include Railtrack (and now Network Rail), which used Gill Sans for printed matter, the Church of England, which adopted Gill Sans as the typeface for the definitive Common Worship family of service books published from 2000, and the British Government, which formally adopted Gill Sans as its standard typeface for use in all communications and logos in 2003. The BBC adopted the typeface as its corporate typeface in 1997. Until 2006, the corporation used the font in all its media output; however, the unveiling of its new idents for BBC One and BBC Two has signalled a shift away from its universal use, as other fonts were used for their respective on-screen identities. On the business side, Saab Automobile adopted the font for almost all of its advertising and marketing communications. Edward Tufte, the information design theorist, uses Gill Sans on his website [11] and in some of his published works. [12]

A type similar to Gill Sans sign on a heritage railway: the letterforms are subtly different.

Legal aspects

[edit]

Because Gill died in 1940, in most parts of the world the typeface became part of the public domain in 2010. In countries where typefaces aren't copyrightable (like in the USA) this isn't important but in other parts of the world this makes it possible to freely use the original design for any purposes, including creating digitised versions of the typeface. New digitized versions based on the original design may or may not suffer copyright protection (depending on the given country's view on creative works, and whether they consider visually exact lookalikes "creative" or not), often possessing their own copyright terms. The name "Gill Sans" is however trademarked (No. 1340167 in the USA and No. 0950970 internationally, filed in 1983 by Monotype) and may not be used to describe the font created.

Bibliography
Carter, Sebastian. Twentieth Century Type Designers, W.W. Norton 1995. ISBN 0-393-70199-9. Johnson, Jaspert & Berry. Encyclopedia of Type Faces. Cassell & Co 2001, ISBN 1-84188-139-2.

[edit]

Ott, Nicolaus, Friedl Fredrich, and Stein Bernard. Typography and Encyclopedic Survey of Type Design and Techniques Throughout History. Black Dog & Leventhal Publishers. 1998, ISBN 1-57912-023-7.

References
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. ^ ^ ^ ^ ^ ^ Paul Townsend (2009-10-20). "Douglas Cleverdon Book Publishers" . Flickr.com. Retrieved 2011-01-07. "Eric Gill & The Cockerel Press" . Itcfonts.com. Retrieved 2011-01-07. East Coast Joys: Tom Purvis and the LNER "Gill Sans MT in Microsoft products" . Microsoft.com. Retrieved 2011-01-07. Archer, Ben. "Eric Gill got it wrong; a re-evaluation of Gill Sans" . Typotheque.com. Retrieved 2011-01-07. Cees W. de Jong, Alston W. Purvis, Friedrich Friedl. Creative Type: A Sourcebook of Classic and Contemporary Letterforms

[edit]

. Thames & Hudson.

ISBN 9780500512296. Retrieved 2011-01-07. [dead link] ^ "Gill Sans Pro" . Fonts.com. Retrieved 2011-01-07. ^ Millington, Roy (2002). Stephenson Blake: The Last of the Old English Typefounders. Oak Knoll Press. ISBN 1-58456-086-X. ^ "Speak Up Archive: Saab or Dodgeball?" . Underconsideration.com. Retrieved 2011-01-07. ^ Previous Next Commentary. "Questioning Gill Sans - Typography Commentary" . Typographica. Retrieved 2011-01-07. ^ http://www.edwardtufte.com/bboard/q-and-a-fetch-msg?msg_id=00009r ^ http://www.edwardtufte.com/bboard/q-and-a-fetch-msg?msg_id=0000Vt

External links
Hidden Gems: Gill Sans Gill Sans Pro GillSans Arabic

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Categories: Humanist sans-serif typefaces | Typefaces with infant variants | 1926 introductions

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[Help with translations!]

Gill Sans
From Wikipedia, the free encyclopedia

Gill Sans is a sans-serif typeface designed by Eric Gill. The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Eric Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. [1] In addition, Gill had sketched a design for Cleverdon,[2] intended as a guide for him to make future notices and announcements. Gill further developed it into a complete font family after Stanley Morison commissioned the development of Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in 1928 by Monotype Corporation. Gill Sans became popular when in 1929 Cecil Dandridge commissioned Eric Gill to produce Gill Sans to be used on the London and North Eastern Railway for a unique typeface for all the LNER's posters and publicity material.[3] Gill was a well established sculptor, graphic artist and type designer, and the Gill Sans typeface takes inspiration from Edward Johnstons Johnston typeface for London Underground, which Gill had worked on while apprenticed to Johnston. Eric Gill attempted to make the ultimate legible sans-serif text face. Gill Sans was designed to function equally well as a text face and for display. It is distributed as a system font in Mac OS X and is bundled with certain versions of Microsoft products as Gill Sans MT. [4]
Contents [hide] 1 Characteristics 1.1 History 2 Variants and other versions 2.1 Arabic 2.2 Others 3 Similar fonts 4 Usage 4.1 Legal aspects 5 Bibliography 6 References 7 External links

Gill Sans

Category Classification Designer(s) Foundry Date created Date released Re-issuing foundries

Sans-serif Humanist Eric Gill Monotype 1926 1928 (Monotype) Monotype, Adobe Systems, ITC

Design based on Johnston

Characteristics

[edit]

The uppercase of Gill Sans is modelled on the monumental Roman capitals like those found on the Column of Trajan, and the Caslon and Baskerville typefaces. The capital M from Gill Sans is based on the proportions of a square with the middle strokes meeting at the centre of that square. The Gill Sans typeface family contains fourteen styles and has less of a mechanical feel than geometric sans-serifs like Futura, because its proportions stemmed from Roman tradition. Unlike realist sans-serif typefaces including Akzidenz Grotesk and Univers the lower case is modelled on the lowercase Carolingian script. The Carolingian influence is noticeable in the two-story lowercase a, and g. The lowercase t is similar to old-style serifs in its proportion and oblique terminus of the vertical stroke. Following the humanist model the lowercase italic a becomes single story. The italic e is highly calligraphic, and the lowercase p has a vestigial calligraphic tail reminiscent of the italics of Caslon and Baskerville. Gill Sans serves as a model for several later humanist sans-serif typefaces including Syntax and FF Scala Sans. An Infant variety of the typeface with single-story versions of the letters a and g also exists. The basic glyph shapes do not look consistent across font weights and widths, especially in Extra Bold and Ultra Bold weights, and Extra Condensed width. However, even in lighter weights, some letters do not look consistent. For example, in letters p and q, the top strokes of counters do not touch the top of the stems in Light, Bold, Heavy fonts, but touch the top of the stems in Book, Medium fonts.

History
The letter a was originally developed with straight tail, followed by diagonal tail (which can be seen on early specimen sheets), then the hooked tail. The diagonal tail eventually was found in Extra Bold, Bold Extra Condensed; a modified straight tail was later found in Ultra Bold.

[edit]

The original Gill Sans lacked distinctions between numeral 1, uppercase i, and lowercase L, so alternate version of Gill Sans was made that included an alternate 1 that could be used for numerical setting, such as shop window prices and timetables.[5] In the Adobe version, such alternate figure is not included, even in the OpenType version of the font. Eric Gill removed terminus endings of the vertical stroke in b, d, p and q, but Monotype drawing office revised the forms so that they were preserved in the medium weight, which can be seen on early samples of the series 262. In Gill Sans Pro, the restored endings can be found in Gill Sans Light (in d, p, q only), Bold, Heavy, Extra Bold (p only), Ultra Bold (p only), Condensed, Bold Condensed, Ultra Bold Condensed (p only), Display Bold, Display Extra Bold (p only), Display Bold Condensed, Bold Extra Condensed (d, p only), Shadowed Light (d, q only).

Variants and other versions


Arabic
Gill Arabic started as a project while Pascal Zoghbi was working with Gill Sans in the Letter Press workshop at The Royal Academy of Arts (KABK). It is designed as Arabic type companion for Gill Sans. The finalized font is expected to have an Arabic name rather than Gill Sans Arabic. The type is based on the Arabic Naskh style with a modern look that echoes the proportions and feel of Gill Sans.

[edit] [edit]

Others
Versions of Gill Sans exist in display, condensed, outlined (Monotype ser. 290[6] ), ultra bold (ser. 442), among others, and also Greek and Cyrillic letters. A schoolbook/infant edition also exists.

[edit]

Monotype released in August 2005 a collection of 21 fonts including Book, Book Italic, Heavy, Heavy Italic, Display Bold, Display Bold Condensed fonts of Gill Sans. It adds support of Eastern European characters but not Greek and Cyrillic.[7]

Similar fonts

[edit]

Granby from Stephenson, Blake was a contemporary variant based on Gill Sans. [8] Jeremy Tankard's Bliss and Volker Kster's Today Sans are also contemporaries. [9][10] Gill Sans also shares several humanist sans-serif characteristics with Charlotte Sans: a double storey roman a and g, and a single storey lowercase italic a. Toronto Subway is based on Johnston and is often confused with Gill Sans.

Usage
First unveiled in a single uppercase weight in 1928, Gill Sans achieved national prominence almost immediately, when it was chosen the following year to become the standard typeface for the LNER railway system, soon appearing on every facet of the company's identity, from locomotive nameplates and station signage to restaurant car menus, printed timetables and advertising posters. When British Railways was created by nationalisation in 1948, Gill Sans was used in much of its printed output, including timetables. Specially drawn variations were developed by the British Transport Commission for signs, but these characters are not authentic Gill. The corporate rebranding of BR as British Rail in 1965 introduced Rail Alphabet for signage, and Helvetica and/or Univers for printed matter. Other users included Penguin Books' iconic paperback jacket designs from 1935, and Gill Sans became Monotype's fifth best selling typeface of the twentieth century.

[edit]

The typeface continues to thrive to this day, often being held to bring an artistic or cultural sensibility to an organisation's corporate style. Monotype themselves use it in their corporate style, and the typeface was prominently used by many public service organisations. These include Railtrack (and now Network Rail), which used Gill Sans for printed matter, the Church of England, which adopted Gill Sans as the typeface for the definitive Common Worship family of service books published from 2000, and the British Government, which formally adopted Gill Sans as its standard typeface for use in all communications and logos in 2003. The BBC adopted the typeface as its corporate typeface in 1997. Until 2006, the corporation used the font in all its media output; however, the unveiling of its new idents for BBC One and BBC Two has signalled a shift away from its universal use, as other fonts were used for their respective on-screen identities. On the business side, Saab Automobile adopted the font for almost all of its advertising and marketing communications. Edward Tufte, the information design theorist, uses Gill Sans on his website [11] and in some of his published works. [12]

A type similar to Gill Sans sign on a heritage railway: the letterforms are subtly different.

Legal aspects

[edit]

Because Gill died in 1940, in most parts of the world the typeface became part of the public domain in 2010. In countries where typefaces aren't copyrightable (like in the USA) this isn't important but in other parts of the world this makes it possible to freely use the original design for any purposes, including creating digitised versions of the typeface. New digitized versions based on the original design may or may not suffer copyright protection (depending on the given country's view on creative works, and whether they consider visually exact lookalikes "creative" or not), often possessing their own copyright terms. The name "Gill Sans" is however trademarked (No. 1340167 in the USA and No. 0950970 internationally, filed in 1983 by Monotype) and may not be used to describe the font created.

Bibliography
Carter, Sebastian. Twentieth Century Type Designers, W.W. Norton 1995. ISBN 0-393-70199-9. Johnson, Jaspert & Berry. Encyclopedia of Type Faces. Cassell & Co 2001, ISBN 1-84188-139-2.

[edit]

Ott, Nicolaus, Friedl Fredrich, and Stein Bernard. Typography and Encyclopedic Survey of Type Design and Techniques Throughout History. Black Dog & Leventhal Publishers. 1998, ISBN 1-57912-023-7.

References
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. ^ ^ ^ ^ ^ ^ Paul Townsend (2009-10-20). "Douglas Cleverdon Book Publishers" . Flickr.com. Retrieved 2011-01-07. "Eric Gill & The Cockerel Press" . Itcfonts.com. Retrieved 2011-01-07. East Coast Joys: Tom Purvis and the LNER "Gill Sans MT in Microsoft products" . Microsoft.com. Retrieved 2011-01-07. Archer, Ben. "Eric Gill got it wrong; a re-evaluation of Gill Sans" . Typotheque.com. Retrieved 2011-01-07. Cees W. de Jong, Alston W. Purvis, Friedrich Friedl. Creative Type: A Sourcebook of Classic and Contemporary Letterforms

[edit]

. Thames & Hudson.

ISBN 9780500512296. Retrieved 2011-01-07. [dead link] ^ "Gill Sans Pro" . Fonts.com. Retrieved 2011-01-07. ^ Millington, Roy (2002). Stephenson Blake: The Last of the Old English Typefounders. Oak Knoll Press. ISBN 1-58456-086-X. ^ "Speak Up Archive: Saab or Dodgeball?" . Underconsideration.com. Retrieved 2011-01-07. ^ Previous Next Commentary. "Questioning Gill Sans - Typography Commentary" . Typographica. Retrieved 2011-01-07. ^ http://www.edwardtufte.com/bboard/q-and-a-fetch-msg?msg_id=00009r ^ http://www.edwardtufte.com/bboard/q-and-a-fetch-msg?msg_id=0000Vt

External links
Hidden Gems: Gill Sans Gill Sans Pro GillSans Arabic

[edit]

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[Help with translations!]

Kuenstler Script
From Wikipedia, the free encyclopedia

Kuenstler Script is a formal script typeface. The primary weight was designed in 1902 by the in-house studio at the D Stempel AG foundry. Originally titled Knstlerschreibschrift which translates from German to English as handwriting of artists. The face is based on late nineteenth century English copperplate scripts. Those face in turn took inspiration from earlier eighteenth century writing masters George Bickham and George Shelley both who worked in a style of writing called round hand. In 1957 Hans Bohn added to the typeface family with Kuenstler Script Black, a heavy weight of the face.

Kuenstler

References
Blackwell, Lewis. 20th Century Type. Yale University Press: 2004. ISBN 0-300-10073-6. Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998. ISBN 1-57912-023-7.

[edit]

Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983. ISBN 0-7137-1347-X. Macmillan, Neil. An AZ of Type Designers. Yale University Press: 2006. ISBN 0-300-11151-7.
Category Formal script Hans Bohn D Stempel AG

This typography-related article is a stub. You can help Wikipedia by expanding it.

Designer(s) Foundry

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Lithos
From Wikipedia, the free encyclopedia

Lithos is a glyphic sans-serif typeface designed by Carol Twombly in 1989 for Adobe Systems. Lithos is inspired by the unadorned, geometric letterforms of the engravings found on Ancient Greek public buildings. The typeface consists of only capital letters, and comes in five weights, with no italics. According to Twombly, Lithos only used Greek inscriptions as inspiration, making Lithos more of a modern reinterpretation than a faithful reproduction. Twombly also designed Trajan and Charlemagne based respectively on ancient Roman and Byzantine inscriptions. Those typefaces, unlike Lithos, were modeled more directly upon their historical counterparts. One example of Lithos' departure from historical accuracy is the inclusion of bold weights, which never existed in historical Greek inscriptions. Publications associated with African, African-American and Southwestern cultures have used Lithos for its "ethnic" feel, even if it is the wrong ethnicity. Lithos has also become something of a generic stand-in whenever a "primitive" feel is desired. For this reason, Lithos has been compared to Rudolf Koch's typeface, Neuland, which was originally intended to be a modern reinterpretation of blackletter, but received similarly broad use.

Lithos

Lithos Pro

[edit]
Category Classification Designer(s) Sans-serif Incised, Display Carol Twombly Adobe Type 1989

In 2000, Adobe released the OpenType version called Lithos Pro, which included Adobe CE, Adobe Western 2, Greek character sets support, and small caps in the lowercase positions. OpenType features include alternates, case forms, proportional lining figures, small caps.

Lithos in popular culture


Lithos was the resident typeface of MTV during the late 1980s and early 1990s.

[edit]

Foundry Date released

Lithos was used on the reverse side of the 2009 one dollar coin produced by the United States Mint. The scene depicted on the coin is one of a native American planting corn.[citation needed] Lithos was also be used to be the title typeface of the Very Short Introduction published by the Oxford University Press.

References
Giampietro, Rob. "New Black Face" "Lithos Pro" Adobe - Fonts: Lithos Giampietro+Smith Studio taken from Letterspace Fall/Winter 2004. Retrieved May 30, 2007. Adobe.com. Retrieved May 30, 2007.

[edit]

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Iniciar sesin / crear cuenta

Artculo Discusin

Leer Editar Ver historial

Buscar

La Fundacin Wikimedia est celebrando un referndum para reunir ms informacin acerca del desarrollo y utilizacin de una caracterstica optativa y personal de ocultamiento de imgenes. Aprende ms y comparte tu punto de vista.
Portada Portal de la comunidad Actualidad Cambios recientes Pginas nuevas Pgina aleatoria Ayuda Donaciones Notificar un error Imprimir/exportar Crear un libro Descargar como PDF Versin para imprimir Herramientas En otros idiomas Catal Deutsch English Franais Magyar Italiano Nederlands Polski Portugus Svenska 1 Historia 2 Variantes 2.1 Courier New 2.1.1 Cdigos de pgina en WIN.INI 2.2 Courier Estndar 2.3 Alternativas libres 3 Aplicaciones 3.1 En el arte ASCII 3.2 En programacin 3.3 En cinematografa 4 Vase tambin 5 Referencias 6 Enlaces externos

[Aydanos traduciendo.]

Courier
Para otros usos de este trmino, vase Courier 1B. Courier es el nombre de una tipografa digital con remates monoespaciada, inspirada en la forma de las letras que se usaban a mediados del siglo XX en las mquinas de escribir.
Contenido [ocultar] Categora Diseador(es) Empresa Slab serif monoespaciada Howard Kettler IBM Muestra

Courier

Fecha de creacin 1955

Historia

[editar]

El diseo original corresponde a Howard Bud Kettler, que en 1955 haba recibido de IBM el encargo de crear un tipo de letra especfico para sus nuevas mquinas de oficina; sin embargo, la compaa no lleg a registrar la exclusividad de los derechos de reproduccin, lo que contribuy a que esta se extendiera con rapidez hasta convertirse en un estndar en la industria de la mecanografa. Como fuente de espaciado fijo entre caracteres, ha recuperado protagonismo en el mundo digital en situaciones donde las columnas de caracteres deben estar uniformemente alineadas; asimismo, es una de las favoritas de los programadores para escribir el cdigo fuente, y en manuales de informtica para reproducir listados de programacin o entradas de usuario. Adrian Frutiger redibuj posteriormente esta tipografa para la serie de mquinas de escribir elctricas IBM Selectric, creando la Courier New. Esta ltima, en su tamao de 12 pt, era la fuente oficial para los escritos del Departamento de Estado de Estados Unidos hasta enero del 2004, ao en que fue reemplazada por la Times New Roman de 14 pt. Entre las razones para tal cambio se inclua la intencin de modernizar el aspecto y mejorar la legibilidad de sus documentos. 1 2 3 Una vez preguntaron a Kettler por qu finalmente eligi ese nombre en lugar del que haba pensado en un principio, Messenger. Despus de cavilar un poco, Kettler dijo: Una letra puede slo jugar el papel de un simple recadero o puede ser un mensajero que transmita dignidad, prestigio y estabilidad. (En ingls courier es una forma ms elegante que messenger, aunque ambas signifiquen lo mismo.) 2

Variantes
Courier New

[editar] [editar]

Courier New es una versin de la Courier presentada con el lanzamiento de Windows 3.1, que tambin incorporaba versiones rasterizadas, o en mapa de bits, de la propia Courier. La familia incluye las variantes bsicas: negrita, cursiva y negrita cursiva. Adems de un interlineado mayor, los caracteres se redisearon para dotarlos de una apariencia ms estilizada, pero no as los signos de puntuacin, que resaltan claramente el color del texto. Desde la versin 2.76 se incluyen glifos del hebreo y del rabe. El diseo de estos se inspiraba en los rasgos de la Times New Roman, aunque adaptados a las exigencias del espaciado fijo. La ltima versin hasta la fecha, la 5.00, contiene 3100 glifos, que abarcan ms de 2700 caracteres por fuente. Aunque el fabricante es Monotype (que tambin posee la marca registrada Courier y los derechos de reproduccin de Courier New), solo Ascender Corporation cuenta con la exclusiva de su distribucin comercial. Las tipografas de Ascender aaden 'WGL' al nombre de la fuente e incluyen solo el repertorio de caracteres [Windows Glyph List] (WGL). No contiene glifos de la escritura ogam. Courier New es la tipografa monoespaciada por defecto en los sistemas operativos de Microsoft ms veteranos, as como en el Mac OS X de Apple y en multitud de navegadores web. Sin embargo, en las versiones ms recientes de sus sistemas operativos, Microsoft la ha sustituido por la fuente Consolas.

Cdigos de pgina en WIN.INI

[editar]

La seccin FontSubstitutes del archivo de configuracin WIN.INI de Windows aade los alias de esta fuente Courier New Baltic, Courier New CE, Courier New Cyr, Courier New Greek y Courier New Tur, que apuntan a la fuente maestra. Cuando el usuario especifica un alias de fuente YEW, el sistema llama a un juego de caracteres distinto del repertorio maestro y de las otras variantes.

Courier Estndar

[editar]

Adobe incorpor por primera vez en su versin 6 de su familia de aplicaciones Acrobat una serie de fuentes digitales alternativas a la versin para Postscript; entre ellas, para la familia Courier se encontraban la Courier Standard, la Courier Standard Bold, la Courier Standard Bold Italic y la Courier Standard Italic. En cuanto al diseo, los remates en estas eran planos en lugar de redondeados, y los contornos se haban enrejillado (hinting) y rasterizado (smoothed). Poda interpretar las pginas de cdigos 437 (DOS) y 1252 (Windows), y para OpenType las tablas aalt, dlig, frac, ordn, sups para el idioma predeterminado en Latin script, y dlig para idioma turco en Latin script. Cada fuente incluye 374 glifos.

Alternativas libres
Existen diversas fuentes de mtrica compatible que se usan como alternativa libre a la Courier o como fuente de sustitucin:

[editar]

URW++ produjo en 1984 una versin de la Courier llamada Nimbus Mono L y publicada finalmente bajo GPL y AFPL (como fuente de Type 1 para Ghostscript) en 1996. 4 5 6 Se trata de una las fuentes Ghostscript, una de las 35 PostScript fonts bsicas (incluida la Courier). Est disponible en sistemas operativos basados en software libre y de cdigo abierto. Liberation Mono, con mtricas equivalentes a las de la Courier New de Ascender Corp., fue publicada por Red Hat en 2007 bajo licencia GPL con algunas restricciones. 7 It is used in some GNU/Linux distributions as default font replacement for Courier New.8 FreeMono, una fuente libre derivada de la Nimbus Mono L de URW++, que a su vez es una derivacin de la Courier. 9 10 Es una de las fuentes libres desarrolladas por el proyecto GNU FreeFont, aparecido en 2002, y se usa en determinadas aplicaciones de software libre como fuente alternativa a Courier o como fuente de sustitucin para tipografas no cargadas en el sistema.

Aplicaciones
En el arte ASCII

[editar] [editar]

Courier se utiliza de forma muy comn en el arte ASCII por su espaciado uniforme, que garantiza el aspecto final en cualquier mquina y por estar disponible de forma casi universal. Para representar slidos, el ASCII Art crea la iluminacin y la sombra a partir de los caracteres para retratar un objeto, que siempre puede ser cuantificado en pxeles (aqu sera en 12 puntos):

a b c d e f g h i j k l m n o p q r s t u v w x y z
21 25 18 25 24 19 28 24 14 15 25 16 30 21 20 27 27 18 21 17 19 17 25 20 21 21

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
25 29 21 26 29 25 27 31 18 19 28 20 36 24 20 25 28 30 28 24 27 22 30 26 23 24

` 1 2 3 4 5 6 7 8 9 0 - = ~ ! @ # $ % ^ & * ( ) _ +
2 16 19 20 23 23 23 16 26 23 24 6 12 9 9 36 30 26 20 7 24 21 13 13 9 13

[ ] \ ; ' , . / { } | : " < > ?


17 17 8 11 4 7 4 8 16 16 13 8 8 9 9 13

En programacin
Como ya se ha comentado, Courier New se usa ampliamente en programacin para reproducir la escritura de cdigo; en Microsoft Windows es la fuente monoespacio por defecto para una variedad de aplicaciones. A continuacin se reproduce un ejemplo de cdigo escrito en Courier New: Tambin se utiliza en manuales de informtica para transcribir texto que corresponde introducir al usuario a travs de su teclado. [cita requerida]

[editar]

En cinematografa

[editar]

En la escritura de guiones de cine es tradicin el empleo de esta tipografa a tamao de 12 puntos que corresponde aproximadamente a 1 minuto de metraje por pgina de guion. [cita requerida]

Vase tambin
Courier New Core fonts for the Web

[editar]

Referencias
1. US bans time-honoured typeface 2. a b Goodbye to the Courier font? - Tom Vanderbilt, Slate.com, 20 de febrero de 2004. . Consultado el 15-04-2010. , consultado el 2010-05-06 , consultado el 2010-05-06 , consultado el 2010-01-15 3. Paul Shaw (10-03-2004). State Department bans Courier New 12, except for treaties 4. Finally! Good-quality free (GPL) basic-35 PostScript Type 1 fonts. 6. Fonts and TeX (19-12-2009). Consultado el 06-05-2010. , consultado el 2010-04-04, integrated into Mandriva Linux 2008 (04-10-2009). Consultado el 02-07-2010. 5. (TXT) Finally! Good-quality free (GPL) basic-35 PostScript Type 1 fonts.

[editar]

7. License.txt - LICENSE AGREEMENT AND LIMITED PRODUCT WARRANTY, LIBERATION FONT SOFTWARE 8. Mandriva Linux 2008 Release Tour 10. GNU FreeFont - Design notes 9. GNU FreeFont - Why do we need free outline UCS fonts?

(04-10-2009). Consultado el 02-07-2010.

Enlaces externos
US bans time-honoured typeface Courier New font information (Microsoft typography) (Core fonts for the Web) Downloadable version of Courier New Courier en letrag Categora: Tipografas de Microsoft

[editar]

Designer of Courier: the Bud Kettler Page

Esta pgina fue modificada por ltima vez el 10 ago 2011, a las 16:25. El texto est disponible bajo la Licencia Creative Commons Atribucin Compartir Igual 3.0; podran ser aplicables clusulas adicionales. Lee los trminos de uso para ms informacin. Poltica de privacidad Acerca de Wikipedia Limitacin de responsabilidad Versin para mviles

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Category Designer(s)

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Comic Sans
From Wikipedia, the free encyclopedia

Comic Sans MS (or Comic Sans) is a casual script typeface modeled on fonts used in American comic books for several decades. Sans is short for sans-serif. The modern Comic Sans was designed by Vincent Connare and released in 1994 by Microsoft Corporation. It is classified as a casual, non-connecting script, and was designed to imitate the historical look of comic book lettering, for use in informal documents. The typeface has been supplied with Microsoft Windows since the introduction of Windows 95, initially as a supplemental font in the Windows Plus Pack and later in Microsoft Comic Chat. The font's widespread use, often in situations for which it was not intended, has been criticized. [1]

Comic Sans MS

Script (typefaces) Vincent Connare Microsoft

History

[edit]

Foundry

Microsoft designer Vincent Connare says that he began work on Comic Sans in October of 1994. Connare had already created a number of child-oriented fonts for various applications, so when he saw a beta version of Microsoft Bob that used Times New Roman in the word balloons of cartoon characters, he decided to create a new face based on the lettering style of comic books he had in his office, specifically The Dark Knight Returns (lettered by John Costanza) and Watchmen (lettered by Dave Gibbons).[2] He completed the face too late for inclusion in MS Bob, but the programmers of Microsoft 3D Movie Maker, which also used cartoon guides and speech bubbles, began to use it. The speech eventually became true voice, but Comic Sans stayed for the programs pop-up windows and help sections. The typeface later shipped with the Windows 95 Plus! Pack. It then became a standard font for the OEM version of Windows 95. Finally, the font became one of the default fonts for Microsoft Publisher and Microsoft Internet Explorer. The font is also used in Microsoft Comic Chat, which was released in 1996 with Internet Explorer 3.0.

Opposition

[edit]

Comic Sans MS is available in two weights

The Boston Phoenix reported on disgruntlement over the widespread use of the font, especially its incongruous use for writing on serious subjects, with the complaints focused around a campaign started by two Indianapolis graphic designers, Dave and Holly Combs, via their website "Ban Comic Sans".[3] The movement was conceived in the autumn of 1999 by the two designers, after an employer insisted that one of them use Comic Sans in a children's museum exhibit, [2] and in early 2009, the movement was "stronger now than ever". [2] The web site's main argument is that a typeface should match the tone of its text, and that the irreverence of Comic Sans is often at odds with a serious message, such as a "do not enter" sign. [4] In the 2005 session of the youth model parliament in Ontario, the New Democratic Party included the clause "Ban the font known as Comic Sans" in an omnibus ban bill. [5] Comic book artist Dave Gibbons, whose work was the inspiration for the font, said that it was "a shame they couldn't have used just the original font, because [Comic Sans] is a real mess. I think it's a particularly ugly letter form." [6] "Im Comic Sans, Asshole", Mike Lacher's angry monologue in the voice of Comic Sans reacting to the criticism leveled at it ("You think Im pedestrian and tacky? Guess the fuck what, Picasso. We dont all have seventy-three weights of stick-up-my-ass Helvetica sitting on our seventeen-inch MacBook Pros. Sorry the entire world cant all be done in stark Eurotrash Swiss type")[7] was adapted as an animated short film in 2011 by Joe Hollier. [8]

Notable usages
In 2010, Cleveland Cavaliers owner Dan Gilbert was criticized for using Comic Sans in a public letter regarding LeBron James's decision to leave the team. [9][10][11]

[edit]

On April Fools' Day 2011, typing the name of certain fonts such as Helvetica into the search engine Google produced a page of results entirely in the Comic Sans font. [12]

See also
Chalkboard (typeface) Kristen (typeface) Papyrus (typeface) Core fonts for the Web

[edit]

Notes
1. ^ "What's so wrong with Comic Sans?"
abc

[edit]
. BBC News. BBC. 2010-10-20. Retrieved 2010-10-21.

2. ^ Steel, Emily (2009-04-17). "Typeface Inspired by Comic Books Has Become a Font of Ill Will" . Wall Street Journal. Dow Jones & Company, Inc.. Archived from the original on 2009-04-19. Retrieved 2009-04-19. 3. ^ "Not Funny: Fighting the Good Fight Against a Very Bad Font" . The Boston Phoenix. June 3, 2005. 4. ^ Ban Comic Sans official page 5. ^ Kinch, Tyler (2007-11-11). "NDP calls for ban on Comic Sans typeface" . Kinch Blog. Tyler Kinch. Archived from the original on 2008-05-16. Retrieved 2008-05-16. 6. ^ Schofield, Jack (2009-08-12). "Computers draw a new chapter in comics" . The Guardian. Retrieved 2009-08-30. 7. ^ "I'm Comic Sans, Asshole" . McSweeney's. Retrieved 19 July 2011. 8. ^ "'I'm Comic Sans, Asshole,' The Animated Version" . Huffington Post. 19 July 2011. Retrieved 19 July 2011. 9. ^ Nate Jones (July 9, 2010). "Scathing: Cavs Owner Dan Gilbert Blasts LeBron - in Comic Sans" . Time NewsFeed. Time Inc.. Retrieved July 11, 2010. 10. ^ MG Siegler (July 8, 2010). "Cavs Owner Goes Online To Rip LeBron A New One In Comic Sans" . TechCrunch. TechCrunch. Retrieved July 11, 2010. 11. ^ John D. Sutter (July 9, 2010). "Cavs owner's letter mocked for Comic Sans font" . CNN.com. CNN. Retrieved July 11, 2010. 12. ^ "Google Plays With Helvetica, Comic Sans For April Fools' 2011 Gag " , Huffington Post, April 1, 2011

References
Connare, Vincent. Comic Sans Background Information. Comic Sans Caf. Connare, Vincent. Why Comic Sans? Macmillan, Neil,. An AZ of Type Designers. Yale University Press: 2006. ISBN 0-300-11151-7. Ascender 2010 Font Pack Overview with Comic Sans 2010

[edit]

External links
Comic Sans MS font information Typowiki: Comic Sans Comic Sans Caf (Microsoft typography) Snog Blog: The Vincent Connare Interview Comic Sans | Font for the masses or weed of the graphic world? Short video of Vincent Connare at 2009 ROFLThing NYC telling the story of Comic Sans Ban Comic Sans an opinion piece about the movement by Dr Chris Scanlon from La Trobe University (Microsoft typography)

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La Fundacin Wikimedia est celebrando un referndum para reunir ms informacin acerca del desarrollo y utilizacin de una caracterstica optativa y personal de ocultamiento de imgenes. Aprende ms y comparte tu punto de vista.
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[Aydanos traduciendo.]

Times New Roman


Times New Roman es una tipografa del tipo serif encargada por el peridico The Times (Londres) en 1931 y diseada por Stanley Morison junto a Starling Burgess y Victor Lardent. Fue publicada por primera vez por Monotype Corporation en 1932. Aunque no es utilizada actualmente por The Times, se encuentra muy extendida para la impresin de libros. En sistemas de tipografa digital, Times New Roman suele ser la primera tipografa codificada y se utiliza para examinar la calidad del sistema de tipografas digitales. Por esto, los diseadores de software y organizaciones comerciales tienen especial cuidado con ella. Times New Roman ha influido en el desarrollo de varias tipografas serif antes y despus del comienzo de la era digital. Un ejemplo notable es el tipo Georgia. Una version de Times New Roman fue producida por Monotype para Microsoft, y distribuida con todas las copias de Microsoft Windows desde la version 3.1. Al igual que con Times en el Apple Macintosh, es usada como la tipografa por defecto en muchas aplicaciones informticas, especialmente en navegadores web y Procesadores de textos. En todo caso, Microsoft ha reemplazado Times New Roman por Calibri, una fuente sans-serif como la fuente predeterminada en las versiones beta de Microsoft Office 2007 publicadas a principios de 2006. 1 En 2004, el Departamento de Estado de los Estados Unidos anunci que el 1 de febrero de 2004 todos los documentos de la diplomacia de EE. UU. usaran Times New Roman de 14 puntos en vez de la anterior tipografa Courier New de 12 puntos.2

Times New Roman

Categora Diseador(es)

Transitional serif Stanley Morison Starling Burgess Victor Lardent Monotype 1931 Muestra

Empresa Fecha de creacin

Times Roman
Times Roman es una tipografa con serifa. Es la versin de Linotype de la tipografa Times New Roman correspondiente a Monotype.

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Las diferencias entre Times Roman y Times New Roman PS son en su mayora temas de la propiedad de la marca registrada. Los sistemas Microsoft Windows poseen la tipografa de Monotype Times New Roman PS mientras que los sistemas de Apple Macintosh tienen la tipografa de Linotype Times Roman (llamada simplemente Times). Los sistemas que utilizan software Open Source suelen tener la versin de URW Nimbus Roman No9 L, que es la versin PostScript de Times Roman de URW, publicada bajo la GNU General Public License.

Times New Roman con 88.5 puntos comparado con Georgia con 84 puntos.

Referencias
1. El final de una era para Times New Roman? - Andrew Whitacre, Fadtastic.net, 27 de mayo de 2006 (en ingls). Slate.com. Consultado el 06-08-2011. 2. Vanderbilt, Tom (20-02-2004). Courier, Dispatched

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Vase tambin
Arial Verdana Core fonts for the Web

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Enlaces externos
Times New Roman (classic version) Times New Roman font information Times Roman vs. Times New Roman Times New Roman en letrag Categoras: Familias tipogrficas | Tipografas de Microsoft (Microsoft typography) (Core fonts for the Web) Downloadable version of Times New Roman

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Main page Contents Featured content Current events Random article Donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes Contact Wikipedia Toolbox Print/export Languages Catal esky Dansk Deutsch Espaol Esperanto Euskara Franais slenska Italiano Magyar Nederlands Norsk (bokml) Polski Portugus Suomi Svenska Trke 1 History 2 Helvetica 2.1 Language variants 2.2 Helvetica Light 2.3 Helvetica Compressed 2.4 Helvetica Textbook 2.5 Helvetica Inserat 2.6 Helvetica Rounded (1978) 2.7 Helvetica Narrow 2.8 Neue Helvetica (1983) 2.9 Neue Helvetica W1G (2009) 2.10 Helvetica World 3 Similar typefaces 4 Usage 5 Media coverage 6 Awards 7 Notes 8 References 9 External links
Foundry Date released Re-issuing foundries Category Classification Designer(s)

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Helvetica
From Wikipedia, the free encyclopedia

This article is about the typeface Helvetica. For the Confderatio Helvetica, see Switzerland. For the Swiss predecessor state, see Helvetic Republic. For the documentary, see Helvetica (film). Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with Eduard Hoffmann.[1]
Contents [hide]

Sans-serif Neo-grotesque sans-serif Max Miedinger, Eduard Hoffman Haas Typefoundry 1957 Mergenthaler Linotype Company

Design based on Akzidenz Grotesk

History

[edit]

Variations

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas'sche Schriftgiesserei (Haas Helvetica World type foundry) of Mnchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. [1] When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family. [2] In 1960, the typeface's name was changed by Haas' German parent company Stempel to Helvetica (derived from Confoederatio Helvetica, the Latin name for Switzerland) in order to make it more marketable internationally. It was initially suggested that the type be called 'Helvetia' which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decided it wouldn't be appropriate to name a type after a country. He then decided on 'Helvetica' as this meant 'Swiss' as opposed to 'Switzerland'.

Helvetica Neue Swiss 721 BT

Helvetica
Language variants
The Cyrillic version was designed in-house in the 1970s at D. Stempel AG, then critiqued and redesigned in 1992 under the advice of Jovica Veljovic. [3] Matthew Carter designed the Helvetica Greek. [4] [edit]

[edit]

Helvetica Light

[edit]

Helvetica Light was designed by Stempel's artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel. [5]

Helvetica Compressed

[edit]

Designed by Matthew Carter, they are narrow variants that are tighter than the Helvetica Condensed. It shares some design elements with Helvetica Inserat, but using curved tail in Q, downward pointing branch in r, and tilde bottom . The family consists of Helvetica Compressed, Helvetica Extra Compressed, Helvetica Ultra Compressed fonts.
Variations of Helvetica

Helvetica Textbook

[edit]

Helvetica Textbook is an alternate design of the typeface. Some characters such as 1, 4, 6, 9, I, J, a, f, j, q, u, , and are drawn differently from the original version.

Helvetica Inserat

[edit]

Helvetica Inserat is a version designed in 1957 primarily for use in the advertising industry. Sharing similar metric as Helvetica Black Condensed, the design gives the glyphs a more squared appearance, similar to Impact and Haettenschweiler. Strike with strokes in $, are replaced by non-strikethrough version. 4 is opened at top.

Comparison of distinguishing characters in Akzidenz-Grotesk, Folio, Helvetica, and Univers 55.

Helvetica Rounded (1978)


Helvetica Rounded is a version containing rounded stroke terminators. Only bold, bold oblique, black, black oblique, bold condensed, bold outline fonts were made, with outline font not issued in digital form by Linotype.

[edit]

Helvetica Narrow

[edit]

Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed. However, the width is scaled in a way that is optically consistent with the widest width fonts. The font was developed when printer ROM space was very scarce, so it was created by mathematically squashing Helvetica by 18% (to 82% of the original width), resulting in distorted letterforms and thin vertical strokes next to thicker horizontals. [6] OpenType version was not produced by Adobe under the distortion reasoning, and recommended Helvetica Condensed instead. However, in Linotype's OpenType version of Helvetica Narrow, the distortions found in the Adobe fonts are non-existent.

Neue Helvetica (1983)


Neue Helvetica is a reworking of the typeface with a more structurally unified set of heights and widths. It was developed at D. Stempel AG, Linotype's daughter company. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was Ren Kerfante. Erik Spiekermann was the design consultant and designed the literature for the launch in 1983. [7] Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers. Neue Helvetica uses a numerical design classification scheme, like Univers. The font family is made up of 51 fonts including 9 weights in 3 widths (8, 9, 8 in normal, condensed, extended widths respectively), and an outline font based on Helvetica 75 Bold Outline (no Textbook or rounded fonts are available). Linotype distributes Neue Helvetica on CD. [8] Neue Helvetica also comes in variants for Central European and Cyrillic text.

[edit]

Neue Helvetica W1G (2009)

[edit]

Varying Helvetica Neue typeface weights

It is a version with Latin Extended, Greek, Cyrillic scripts support. Only OpenType CFF font format was released. The family includes the fonts from the older Neue Helvetica counterparts, except Neue Helvetica 75 Bold Outline. Additional OpenType features include subscript/superscript.

Helvetica World
Also called Helvetica Linotype,[9] Helvetica World supports Arabic, Cyrillic, Greek, Hebrew, and Vietnamese scripts. The family consists of four fonts in 2 weights and 1 width, with complementary italics. The Arabic glyphs were based on a redesigned Yakout font family from Linotype. Latin kerning and spacing were redesigned to have consistent spacing. [10] John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family, [11] as well as the Cyrillic, and Greek letters. [12]

[edit]

Similar typefaces
Generic versions of Helvetica have been made by various vendors, including Monotype Imaging (CG Triumvirate), ParaType (Pragmatica), Bitstream (Swiss 721), URW++ (Nimbus Sans). Monotype's Arial, designed in 1982, while different from Helvetica in some few details, has identical character widths, and is indistinguishable by most non-specialists. The characters C, G, R, Q, 1, a, e, r, and t are useful for quickly distinguishing Arial and Helvetica. [13] Differences include: Helvetica's strokes are typically cut either horizontally or vertically. This is especially visible in the t, r, f, and C. Arial employs slanted stroke cuts. Helvetica's G has a well-defined spur; Arial does not. The tails of the R glyphs and the a glyphs are different. The number 1 of Helvetica has a square angle underneath the upper spur, Arial has a curve. The Q glyph in Helvetica has a straight cross mark, while the cross mark in Arial has a slight snake like curve. "Helv", later known as "MS Sans Serif", is a sans-serif typeface that shares many key characteristics to Helvetica, including the horizontally and vertically aligned stroke terminators and more uniformed stroke widths within a glyph.

[edit]

Comparison of Helvetica, Arial, and Bitstream Vera.

Usage
Helvetica is among the most widely used sans-serif typefaces. Versions exist for the following alphabets/scripts: Latin, Cyrillic, Hebrew, Greek, Japanese, Korean, Hindi, Urdu, Khmer and Vietnamese. Chinese faces have been developed to complement Helvetica. Helvetica is a popular choice for commercial wordmarks, including those for 3M, American Airlines, American Apparel, BMW, Jeep, JCPenney, Lufthansa, Microsoft, Mitsubishi Electric, Target, Panasonic, Motorola, Kawasaki and Verizon Wireless.[14] Apple Inc. has used Helvetica widely in iOS (previously iPhone OS), and the iPod. The iPhone 4 uses Neue Helvetica. [15] Helvetica is widely used by the U.S. government; for example, federal income tax forms are set in Helvetica, and NASA uses the type on the Space Shuttle orbiter.[1] Helvetica is also used in the United States television rating system. New York City's Metropolitan Transportation Authority (MTA) uses Helvetica for many of its subway signs, but Helvetica was not adopted as the official font for signage until 1989. The standard font from 1970 until 1989 was Standard Medium, an Akzidenz Grotesk-like sans-serif, as defined by Unimark's New York City Transit Authority Graphic Standards Manual. The MTA system is still rife with a proliferation of Helvetica-like fonts, including Arial, in addition to some old remaining signs in Medium Standard, and a few anomalous signs in Helvetica Narrow. [16] The Chicago Transit Authority uses Helvetica on its signage for the Chicago 'L'. The former state owned operator of the British railway system developed its own Helvetica-based Rail Alphabet font, which was also adopted by the National Health Service and the British Airports Authority. Additionally, it was also adopted by Danish railway company DSB for a time period.[17] Canada's federal government uses Helvetica as its identifying typeface, with three variants being used in its corporate identity program, and encourages its use in all federal agencies and websites. [18] CNN used Helvetica as its main font for much of its history; they recently switched to Univers. The NBA on TNT used Helvetica from 200205; NBA on ABC used the font during the 2003-04 NBA season. CBS Sports programs have been using Helvetica since 2006, particularly during its broadcasts of the NCAA Men's Division I Basketball Tournament and the NFL. The U.S. adaptation of The Office uses Helvetica in its graphics.
Helvetica used in the logo of the National Film Board of Canada

[edit]

Helvetica is used on signage on the Chicago 'L'

Media coverage

[edit]

In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface.[19][20] Winners were announced in January 2008 issue of the LinoLetter. In 2007, director Gary Hustwit released a documentary, Helvetica, to coincide with the fiftieth anniversary of the typeface. In the film, graphic designer Wim Crouwel said, "Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself. The meaning is in the content of the text and not in the typeface." From April 2007 to March 2008, the Museum of Modern Art in New York City displayed an exhibit called "50 Years of Helvetica",[21] which celebrated the many uses of the typeface. In 2011, one of Google's April Fool's Day jokes centered around the use of Helvetica. If a user attempted to search for the term "Helvetica" using the search engine the results would be displayed in the font Comic Sans.[22]

Awards
Helvetica was rated number one on FontShop Germany's list "Best Fonts of All Time". [23]

[edit]

Notes
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. ^ a b c Helvetica. [Documentary]. 2007-09-12. ^ "myfonts: Arthur Ritzel" . New.myfonts.com. 1999-02-22. Retrieved 2009-06-08. ^ "Adobe Fonts: Helvetica Cyrillic" . Store1.adobe.com. Retrieved 2009-06-08. ^ magazine TYPO.18 December 2005 issue ^ "Cees W. de Jong, Alston W. Purvis, Friedrich Friedl. Creative Type: A Sourcebook of Classic and Contemporary Letterforms. Thames & Hudson. ISBN

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0500512299/ISBN 978-0500512296" . Thamesandhudson.com. Retrieved 2009-06-08. [dead link] ^ "Type 1 ("PostScript") to OpenType font conversion" . Adobe.com. Retrieved 2009-06-08. ^ "Who Made Helvetica Neue?" , typophile.com ^ "Linotype Library presents entire New Helvetica family on a single CD" . Linotype.com. Retrieved 2009-06-08. ^ "The Language Whiz Helvetica Linotype" . Linotype.com. 2007-10-16. Retrieved 2009-06-08. ^ "Linotype Releases 1100+ OpenType Fonts: Release a Significant Step Towards Format's Acceptance" . Typographica.org. August 6, 2003. Archived from the original on 2008-07-04. Retrieved 2009-06-08. "In the Comments Section: The biggest differences are the new Greek, Cyrillic and Hebrew designs, and the presence of Arabic support based on the radically redesigned Yakout Linotype (not a perfect match for the Helvetica, but the most appropriate in the Linotype Library; this is 'core font' Arabic support: not for fine typography). There is also a large maths and symbol set in each font (not complete maths typesetting support, but more than you'll get in most fonts). The only big change in the Latin is that the whole thing has been respaced. The old Helvetica Std Type 1 and TT fonts inherited, via phototype, the unit metrics of the original hot metal type. This led to all sorts of oddities in the sidebearings, which were cleaned up during development of Helvetica Linotype. It is still quite a tightly spaced typeface by today's standards, but the spacing is now consistent. It was also re-kerned. Helvetica Linotype has also been extensively hinted for screen. -John Hudson"

^ "Experimental Arabic Type" . Typographica.org. Retrieved 2009-06-08. [dead link] ^ Macmillan, Neil. An AZ of Type Designers. Yale University Press: 2006. ISBN 0-300-11151-7. ^ How to Spot Arial at Mark Simonson Studio ^ "BBC News - Helvetica at 50" . 2007-05-09. Retrieved 2009-02-20. ^ "Daring Fireball: 4" . John Gruber. ^ "The (Mostly) True Story of Helvetica and the New York City Subway." . AIGA. ^ Eye blog Rue Britanica.Typeface name changes after Eye magazine goes to press ^ "FIP Information Design" . Treasury Board of Canada Secretariat. ^ "Linotype Announces Helvetica NOW Poster Contest" . Creativepro.com. Retrieved 2009-06-08. ^ "Helvetica NOW Poster Contest" . Linotype.com. 2008-08-19. Retrieved 2009-06-08. ^ "Exhibitions 2007: 50 Years of Helvetica" . Museum of Modern Art, New York. Retrieved 2008-11-16. ^ Pickel, Janet (1 April 2011). "April Fool's Day: Helvetica becomes Comic Sans and Gmail Motion is on the move" April 2011. 23. ^ "To Helvetica and Back" . Fontshop.com. Retrieved 2009-06-08. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

. The (Harrisburg, PA) Patriot-News. Retrieved 1

References
Lawrence W Wallis. Modern Encyclopedia of Typefaces 1960-90. Lund Humphries Publishers Ltd: 2000. ISBN 0 85331 597 1.

[edit]

Mller, Lars; Malsy, Victor (Ed.); Langer, Axel; Kupferschmid, Indra: Helvetica forever. Story of a typeface. Lars Mller Publishers 2007. ISBN 978-3-03778121-0 [1]

External links
Typophile Typowiki: Helvetica HELVETICA site for Independent Lens on PBS linotype.com: Helvetica Typeface Family overview & related Information Helvetica documentary site All About Helvetica Font Arial vs Helvetica MoMA Exhibition (2007), 50 Years of Helvetica Helvetica at 50 BBC News article article in Slate, published May 25, 2007 Herald Tribune article on the 50 years of Helvetica The Helvetica Hegemony: How an unassuming font took over the world Helvetica: The little typeface that leaves a big mark Photo of Helvetica wallpaper Alternatives to Helvetica at fontfeed.com Helvetica: Old and Neue A lecture on 'Helvetica' by Experimental Jetset Helvetica forever (book, exhibition, products) on occasion of "The Malady of Writing" exhibition at the MACBA, Barcelona and typefacts.com

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Categories: 1957 introductions | Grotesque sans-serif typefaces | Linotype typefaces

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Article Discussion

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The Wikimedia Foundation is holding a referendum to gather more input into the development and usage of an opt-in personal image hiding feature. Learn more and share your view.
Main page Contents Featured content Current events Random article Donate to Wikipedia Interaction Help About Wikipedia Community portal Recent changes Contact Wikipedia Toolbox Print/export Languages Catal esky Dansk Deutsch Espaol Esperanto Euskara Franais slenska Italiano Magyar Nederlands Norsk (bokml) Polski Portugus Suomi Svenska Trke 1 History 2 Helvetica 2.1 Language variants 2.2 Helvetica Light 2.3 Helvetica Compressed 2.4 Helvetica Textbook 2.5 Helvetica Inserat 2.6 Helvetica Rounded (1978) 2.7 Helvetica Narrow 2.8 Neue Helvetica (1983) 2.9 Neue Helvetica W1G (2009) 2.10 Helvetica World 3 Similar typefaces 4 Usage 5 Media coverage 6 Awards 7 Notes 8 References 9 External links
Foundry Date released Re-issuing foundries Category Classification Designer(s)

[Help with translations!]

Helvetica
From Wikipedia, the free encyclopedia

This article is about the typeface Helvetica. For the Confderatio Helvetica, see Switzerland. For the Swiss predecessor state, see Helvetic Republic. For the documentary, see Helvetica (film). Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with Eduard Hoffmann.[1]
Contents [hide]

Sans-serif Neo-grotesque sans-serif Max Miedinger, Eduard Hoffman Haas Typefoundry 1957 Mergenthaler Linotype Company

Design based on Akzidenz Grotesk

History

[edit]

Variations

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas'sche Schriftgiesserei (Haas Helvetica World type foundry) of Mnchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. [1] When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family. [2] In 1960, the typeface's name was changed by Haas' German parent company Stempel to Helvetica (derived from Confoederatio Helvetica, the Latin name for Switzerland) in order to make it more marketable internationally. It was initially suggested that the type be called 'Helvetia' which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decided it wouldn't be appropriate to name a type after a country. He then decided on 'Helvetica' as this meant 'Swiss' as opposed to 'Switzerland'.

Helvetica Neue Swiss 721 BT

Helvetica
Language variants
The Cyrillic version was designed in-house in the 1970s at D. Stempel AG, then critiqued and redesigned in 1992 under the advice of Jovica Veljovic. [3] Matthew Carter designed the Helvetica Greek. [4] [edit]

[edit]

Helvetica Light

[edit]

Helvetica Light was designed by Stempel's artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel. [5]

Helvetica Compressed

[edit]

Designed by Matthew Carter, they are narrow variants that are tighter than the Helvetica Condensed. It shares some design elements with Helvetica Inserat, but using curved tail in Q, downward pointing branch in r, and tilde bottom . The family consists of Helvetica Compressed, Helvetica Extra Compressed, Helvetica Ultra Compressed fonts.
Variations of Helvetica

Helvetica Textbook

[edit]

Helvetica Textbook is an alternate design of the typeface. Some characters such as 1, 4, 6, 9, I, J, a, f, j, q, u, , and are drawn differently from the original version.

Helvetica Inserat

[edit]

Helvetica Inserat is a version designed in 1957 primarily for use in the advertising industry. Sharing similar metric as Helvetica Black Condensed, the design gives the glyphs a more squared appearance, similar to Impact and Haettenschweiler. Strike with strokes in $, are replaced by non-strikethrough version. 4 is opened at top.

Comparison of distinguishing characters in Akzidenz-Grotesk, Folio, Helvetica, and Univers 55.

Helvetica Rounded (1978)


Helvetica Rounded is a version containing rounded stroke terminators. Only bold, bold oblique, black, black oblique, bold condensed, bold outline fonts were made, with outline font not issued in digital form by Linotype.

[edit]

Helvetica Narrow

[edit]

Helvetica Narrow is a version where its width is between Helvetica Compressed and Helvetica Condensed. However, the width is scaled in a way that is optically consistent with the widest width fonts. The font was developed when printer ROM space was very scarce, so it was created by mathematically squashing Helvetica by 18% (to 82% of the original width), resulting in distorted letterforms and thin vertical strokes next to thicker horizontals. [6] OpenType version was not produced by Adobe under the distortion reasoning, and recommended Helvetica Condensed instead. However, in Linotype's OpenType version of Helvetica Narrow, the distortions found in the Adobe fonts are non-existent.

Neue Helvetica (1983)


Neue Helvetica is a reworking of the typeface with a more structurally unified set of heights and widths. It was developed at D. Stempel AG, Linotype's daughter company. The studio manager was Wolfgang Schimpf, and his assistant was Reinhard Haus; the manager of the project was Ren Kerfante. Erik Spiekermann was the design consultant and designed the literature for the launch in 1983. [7] Other changes include improved legibility, heavier punctuation marks, and increased spacing in the numbers. Neue Helvetica uses a numerical design classification scheme, like Univers. The font family is made up of 51 fonts including 9 weights in 3 widths (8, 9, 8 in normal, condensed, extended widths respectively), and an outline font based on Helvetica 75 Bold Outline (no Textbook or rounded fonts are available). Linotype distributes Neue Helvetica on CD. [8] Neue Helvetica also comes in variants for Central European and Cyrillic text.

[edit]

Neue Helvetica W1G (2009)

[edit]

Varying Helvetica Neue typeface weights

It is a version with Latin Extended, Greek, Cyrillic scripts support. Only OpenType CFF font format was released. The family includes the fonts from the older Neue Helvetica counterparts, except Neue Helvetica 75 Bold Outline. Additional OpenType features include subscript/superscript.

Helvetica World
Also called Helvetica Linotype,[9] Helvetica World supports Arabic, Cyrillic, Greek, Hebrew, and Vietnamese scripts. The family consists of four fonts in 2 weights and 1 width, with complementary italics. The Arabic glyphs were based on a redesigned Yakout font family from Linotype. Latin kerning and spacing were redesigned to have consistent spacing. [10] John Hudson of Tiro Typeworks designed the Hebrew glyphs for the font family, [11] as well as the Cyrillic, and Greek letters. [12]

[edit]

Similar typefaces
Generic versions of Helvetica have been made by various vendors, including Monotype Imaging (CG Triumvirate), ParaType (Pragmatica), Bitstream (Swiss 721), URW++ (Nimbus Sans). Monotype's Arial, designed in 1982, while different from Helvetica in some few details, has identical character widths, and is indistinguishable by most non-specialists. The characters C, G, R, Q, 1, a, e, r, and t are useful for quickly distinguishing Arial and Helvetica. [13] Differences include: Helvetica's strokes are typically cut either horizontally or vertically. This is especially visible in the t, r, f, and C. Arial employs slanted stroke cuts. Helvetica's G has a well-defined spur; Arial does not. The tails of the R glyphs and the a glyphs are different. The number 1 of Helvetica has a square angle underneath the upper spur, Arial has a curve. The Q glyph in Helvetica has a straight cross mark, while the cross mark in Arial has a slight snake like curve. "Helv", later known as "MS Sans Serif", is a sans-serif typeface that shares many key characteristics to Helvetica, including the horizontally and vertically aligned stroke terminators and more uniformed stroke widths within a glyph.

[edit]

Comparison of Helvetica, Arial, and Bitstream Vera.

Usage
Helvetica is among the most widely used sans-serif typefaces. Versions exist for the following alphabets/scripts: Latin, Cyrillic, Hebrew, Greek, Japanese, Korean, Hindi, Urdu, Khmer and Vietnamese. Chinese faces have been developed to complement Helvetica. Helvetica is a popular choice for commercial wordmarks, including those for 3M, American Airlines, American Apparel, BMW, Jeep, JCPenney, Lufthansa, Microsoft, Mitsubishi Electric, Target, Panasonic, Motorola, Kawasaki and Verizon Wireless.[14] Apple Inc. has used Helvetica widely in iOS (previously iPhone OS), and the iPod. The iPhone 4 uses Neue Helvetica. [15] Helvetica is widely used by the U.S. government; for example, federal income tax forms are set in Helvetica, and NASA uses the type on the Space Shuttle orbiter.[1] Helvetica is also used in the United States television rating system. New York City's Metropolitan Transportation Authority (MTA) uses Helvetica for many of its subway signs, but Helvetica was not adopted as the official font for signage until 1989. The standard font from 1970 until 1989 was Standard Medium, an Akzidenz Grotesk-like sans-serif, as defined by Unimark's New York City Transit Authority Graphic Standards Manual. The MTA system is still rife with a proliferation of Helvetica-like fonts, including Arial, in addition to some old remaining signs in Medium Standard, and a few anomalous signs in Helvetica Narrow. [16] The Chicago Transit Authority uses Helvetica on its signage for the Chicago 'L'. The former state owned operator of the British railway system developed its own Helvetica-based Rail Alphabet font, which was also adopted by the National Health Service and the British Airports Authority. Additionally, it was also adopted by Danish railway company DSB for a time period.[17] Canada's federal government uses Helvetica as its identifying typeface, with three variants being used in its corporate identity program, and encourages its use in all federal agencies and websites. [18] CNN used Helvetica as its main font for much of its history; they recently switched to Univers. The NBA on TNT used Helvetica from 200205; NBA on ABC used the font during the 2003-04 NBA season. CBS Sports programs have been using Helvetica since 2006, particularly during its broadcasts of the NCAA Men's Division I Basketball Tournament and the NFL. The U.S. adaptation of The Office uses Helvetica in its graphics.
Helvetica used in the logo of the National Film Board of Canada

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Helvetica is used on signage on the Chicago 'L'

Media coverage

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In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface.[19][20] Winners were announced in January 2008 issue of the LinoLetter. In 2007, director Gary Hustwit released a documentary, Helvetica, to coincide with the fiftieth anniversary of the typeface. In the film, graphic designer Wim Crouwel said, "Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself. The meaning is in the content of the text and not in the typeface." From April 2007 to March 2008, the Museum of Modern Art in New York City displayed an exhibit called "50 Years of Helvetica",[21] which celebrated the many uses of the typeface. In 2011, one of Google's April Fool's Day jokes centered around the use of Helvetica. If a user attempted to search for the term "Helvetica" using the search engine the results would be displayed in the font Comic Sans.[22]

Awards
Helvetica was rated number one on FontShop Germany's list "Best Fonts of All Time". [23]

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Notes
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. ^ a b c Helvetica. [Documentary]. 2007-09-12. ^ "myfonts: Arthur Ritzel" . New.myfonts.com. 1999-02-22. Retrieved 2009-06-08. ^ "Adobe Fonts: Helvetica Cyrillic" . Store1.adobe.com. Retrieved 2009-06-08. ^ magazine TYPO.18 December 2005 issue ^ "Cees W. de Jong, Alston W. Purvis, Friedrich Friedl. Creative Type: A Sourcebook of Classic and Contemporary Letterforms. Thames & Hudson. ISBN

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0500512299/ISBN 978-0500512296" . Thamesandhudson.com. Retrieved 2009-06-08. [dead link] ^ "Type 1 ("PostScript") to OpenType font conversion" . Adobe.com. Retrieved 2009-06-08. ^ "Who Made Helvetica Neue?" , typophile.com ^ "Linotype Library presents entire New Helvetica family on a single CD" . Linotype.com. Retrieved 2009-06-08. ^ "The Language Whiz Helvetica Linotype" . Linotype.com. 2007-10-16. Retrieved 2009-06-08. ^ "Linotype Releases 1100+ OpenType Fonts: Release a Significant Step Towards Format's Acceptance" . Typographica.org. August 6, 2003. Archived from the original on 2008-07-04. Retrieved 2009-06-08. "In the Comments Section: The biggest differences are the new Greek, Cyrillic and Hebrew designs, and the presence of Arabic support based on the radically redesigned Yakout Linotype (not a perfect match for the Helvetica, but the most appropriate in the Linotype Library; this is 'core font' Arabic support: not for fine typography). There is also a large maths and symbol set in each font (not complete maths typesetting support, but more than you'll get in most fonts). The only big change in the Latin is that the whole thing has been respaced. The old Helvetica Std Type 1 and TT fonts inherited, via phototype, the unit metrics of the original hot metal type. This led to all sorts of oddities in the sidebearings, which were cleaned up during development of Helvetica Linotype. It is still quite a tightly spaced typeface by today's standards, but the spacing is now consistent. It was also re-kerned. Helvetica Linotype has also been extensively hinted for screen. -John Hudson"

^ "Experimental Arabic Type" . Typographica.org. Retrieved 2009-06-08. [dead link] ^ Macmillan, Neil. An AZ of Type Designers. Yale University Press: 2006. ISBN 0-300-11151-7. ^ How to Spot Arial at Mark Simonson Studio ^ "BBC News - Helvetica at 50" . 2007-05-09. Retrieved 2009-02-20. ^ "Daring Fireball: 4" . John Gruber. ^ "The (Mostly) True Story of Helvetica and the New York City Subway." . AIGA. ^ Eye blog Rue Britanica.Typeface name changes after Eye magazine goes to press ^ "FIP Information Design" . Treasury Board of Canada Secretariat. ^ "Linotype Announces Helvetica NOW Poster Contest" . Creativepro.com. Retrieved 2009-06-08. ^ "Helvetica NOW Poster Contest" . Linotype.com. 2008-08-19. Retrieved 2009-06-08. ^ "Exhibitions 2007: 50 Years of Helvetica" . Museum of Modern Art, New York. Retrieved 2008-11-16. ^ Pickel, Janet (1 April 2011). "April Fool's Day: Helvetica becomes Comic Sans and Gmail Motion is on the move" April 2011. 23. ^ "To Helvetica and Back" . Fontshop.com. Retrieved 2009-06-08. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

. The (Harrisburg, PA) Patriot-News. Retrieved 1

References
Lawrence W Wallis. Modern Encyclopedia of Typefaces 1960-90. Lund Humphries Publishers Ltd: 2000. ISBN 0 85331 597 1.

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Mller, Lars; Malsy, Victor (Ed.); Langer, Axel; Kupferschmid, Indra: Helvetica forever. Story of a typeface. Lars Mller Publishers 2007. ISBN 978-3-03778121-0 [1]

External links
Typophile Typowiki: Helvetica HELVETICA site for Independent Lens on PBS linotype.com: Helvetica Typeface Family overview & related Information Helvetica documentary site All About Helvetica Font Arial vs Helvetica MoMA Exhibition (2007), 50 Years of Helvetica Helvetica at 50 BBC News article article in Slate, published May 25, 2007 Herald Tribune article on the 50 years of Helvetica The Helvetica Hegemony: How an unassuming font took over the world Helvetica: The little typeface that leaves a big mark Photo of Helvetica wallpaper Alternatives to Helvetica at fontfeed.com Helvetica: Old and Neue A lecture on 'Helvetica' by Experimental Jetset Helvetica forever (book, exhibition, products) on occasion of "The Malady of Writing" exhibition at the MACBA, Barcelona and typefacts.com

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Bodoni
From Wikipedia, the free encyclopedia

Bodoni is a series of serif typefaces first designed by Giambattista Bodoni (17401813) in 1798. The typeface is classified as Didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni had a long career and his designs evolved and differed, ending with a typeface of narrower underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction. Though these later designs are rightfully called "modern", the earlier designs are "transitional". Among digital versions, there are two good examples of the earlier, transitional period: Sumner Stone's ITC Bodoni, and Gnther Lange's "Bodoni Old Face" for Berthold. Virtually all other versions are based on Bodoni's most extreme late manner. Bodoni admired the work of John Baskerville and studied in detail the designs of French type founders Pierre Simon Fournier and Firmin Didot. Although he drew inspiration from the work of these designers,[citation needed] above all from Didot, no doubt Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers. Some digital versions of Bodoni are said to suffer from a particular kind of legibility degradation known as "dazzle" caused by the alternating thick and thin strokes, particularly from the thin strokes being very thin at small point sizes. This only occurs when display versions are used at text sizes, and it is also true of much display type that is used at text sizes. Non-dazzling versions of Bodoni that are intended to be used at text size are "Bodoni Old Face", optimized for 9 points, and ITC Bodoni 12 (for 12 points) and ITC Bodoni 7 (for 7 points).
Contents [hide] 1 Revivals and variants 2 Digital Bodoni types 3 Poster Bodoni 4 Applications 5 References
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Category Classification

Serif Vox-ATypI: Didone British: Didone Bringhurstian: Romantic Giambattista Bodoni Berthold Bodoni Antiqua LTC Bodoni 175 Linotype Bodoni Bauer Bodoni Filosofia ITC Bodoni Seventy Two

Designer(s) Variations

Revivals and variants

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There have been many revivals of the Bodoni typeface; ATF Bodoni and Bauer Bodoni are two of the more successful. ATF Bodoni was drawn by Morris Fuller Benton in 1907, and released by American Type Founders. The Bauer version was drawn by Heinrich Jost in 1926. The Bauer version emphasizes the extreme contrast between hairline and main stroke. ATF captured the flavor of Bodonis original while emphasizing legibility rather than trying to push against the limits of printing technology. Other revivals include Bodoni Antiqua, Bodoni Old Face, ITC Bodoni Seventy Two, ITC Bodoni Six, ITC Bodoni Twelve, Bodoni MT, LTC Bodoni 175, WTC Our Bodoni, Bodoni EF, Bodoni Classico, and TS Bodoni. Zuzana Licko's Filosofia is considered by some to be a revival of Bodoni, but it is a highly personal, stylish, and stylized spinoff, rather than a revival. Although intended to be usable at text sizes, it represents the early period of the designer's career when interletter spacing was yet to be conquered, so has found use primarily in advertising.

Facsimile of lines from Dante's "La Vita Nuova" first published with Bodoni types by the Officina Bodoni in 1925. Actual font is the digital Bodoni Monotype published in 1999.

Digital Bodoni types

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Digital Bodonis typically suffer from a particular kind of legibility degradation. Personal computers generate different sizes of type from a single font of type outlines using mathematical scaling, while printers working with metal type use fonts whose designs have been subtly adjusted to provide optical compensation for improved legibility at specific sizesfor example, opening up counters and expanding the character widths at small sizes. Typefaces like Bodoni tend to highlight these differences of technological application. Many digital revivals are based on designs adjusted for relatively large sizes, making the already thin hairlines very thin when scaled down. Some digital type designers are rediscovering the older lore of "optical scaling", and subsequently turning out more sensible revivals aimed at pleasing human eyes. The most extensive effort in this respect is Sumner Stone's version of Bodoni for three sizes (7 point, 12 point, 72 point): ITC Bodoni. Another important Bodoni optimized for book printing (9 point) is Gnther Gerhard Lange's "Bodoni Old Face" from the Berthold library. Most other versions are best used at display sizes. [citation needed]

Poster Bodoni
It is a variant designed for posters, designed by Chauncey H. Griffith.

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Applications
Bodoni has been used for a wide variety of material, ranging from 18th century Italian books to 1960s periodicals. In the 21st century, the late manner versions continue to be used in advertising, while the early manner versions are occasionally used for fine book printing. [citation needed] Poster Bodoni is used in Mamma Mia! posters. [1] Bodoni is one of the two typesets that is used by Hilton Hotels for restaurant or bar menu content. Nirvana's logo is written with Bodoni. Bauer Bodoni is used for Carnegie Mellon University's wordmark. The text on Alice DeeJay's album Who Needs Guitars Anyway? is written in Poster Bodoni. Tom Clancy used Bodoni font for the artwork of all his affiliated works until his novel Dead or Alive. Lady Gaga's logotype is currently set in Bauer Bodoni with generous spacing.

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References
1. ^ Posters, Signposting & Calendars

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Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. John Wiley & Sons, Inc: 1993. ISBN 0-471-28430-0. Dodd, Robin. From Gutenberg to Opentype. Hartley & Marks Publishers, Inc.: 2006. ISBN 0-88179-210-1. Friedl, Friedrich, Nicholas Ott, and Bernard Ott. Typography: an Encyclopedia Survey of Type Design and Techniques Throughout History. Black Dog & Leventhal Publishers, Inc: 1998. ISBN 1-57912-023-7 . Frey, David. X-Height FontHauss Online Magazine. DsgnHaus, Inc. 2006. Lawson, Alexander S., Anatomy of a Typeface. Godine: 1990. ISBN 978-0-87923-333-4. Nesbitt, Alexander The History and Technique of Lettering Dover Publications: 1975. ISBN 0-486-20427-8

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Categories: Modern serif typefaces | 1808 introductions | Lowercase numerals typefaces

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