wiki143 - User contributions [en]

Umbra (typeface)

2025-03-12T03:49:49Z

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{{Short description|Geometric sans-serif display typeface}}
{{Other uses|Umbra (disambiguation)}}
{{Infobox font
| name = Umbra
| image = Umbra.png
| style = Display
| creationdate = 1935
| creator = [[R. Hunter Middleton]]
| foundry = [[Ludlow Typograph|Ludlow]]
| sample = [[File:Umbra sample.png|250px|Umbra sample text]]
|}}
'''Umbra''' is a [[sans-serif]] display [[typeface]] designed in 1935 by [[R. Hunter Middleton]] for the [[Ludlow Typograph]] company.<ref name="Haley1992">{{cite book|author=Allan Haley|title=Typographic Milestones|url=https://books.google.com/books?id=dKeVor1olhkC&pg=PA117|date=15 September 1992|publisher=John Wiley & Sons|isbn=978-0-471-28894-7|pages=117–120}}</ref><ref name="Macmillan2006">{{cite book|author=Neil Macmillan|title=An A-Z of Type Designers|url=https://books.google.com/books?id=jxV4qEolEo8C&pg=PA135|year=2006|publisher=Yale University Press|isbn=0-300-11151-7|page=135}}</ref> It is an adaptation of the uppercase light weight of his earlier typeface [[Tempo (typeface)|Tempo]]. The name Umbra refers to its [[umbra|shadow]] effect, in which the actual letter shape consists of negative space and is defined solely by its black [[three-dimensional space|dimensional]] shadow.<ref name="Devroye">{{cite web|last1=Devroye|first1=Luc|authorlink1=Luc Devroye|title=R. Hunter Middleton|url=http://luc.devroye.org/fonts-26269.html|website=Type Design Information|accessdate=4 October 2016}}</ref> Several other typefaces were created in similar style around the same time, including shadowed weights of [[Gill Sans]]. Nebiolo's Ombra, part of their [[Semplicità]] family, is very similar.

Umbra has been digitised.<ref>{{Cite web|url=http://www.creativebloq.com/typography/font-day-umbra-11410374|title = Font of the day: Umbra|date = 16 January 2014}}</ref>
==References==
{{reflist|30em}}
{{DEFAULTSORT:Umbra (Typeface)}}
[[Category:Display typefaces]]
[[Category:Typefaces and fonts introduced in 1935]]
[[Category:Letterpress typefaces]]
[[Category:Typefaces designed by R. Hunter Middleton]]
[[Category:Geometric sans-serif typefaces]]
{{Typ-stub}}

Ellington (typeface)

2025-03-12T03:48:37Z

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{{Refimprove|date=March 2025}}
{{short description|Display typeface}}
{{Infobox font
| name = Ellington
| image = Ellington.svg|Bold
| style = Display
| creationdate = 1988
| creator = [[Michael Harvey (lettering artist)|Michael Harvey]]
| foundry = [[Adobe Systems|Adobe]]
| sample = [[File:Ellimgton-sample.svg|250px]]
|}}

'''Ellington''' is a [[typeface]] for [[display typeface|display use]] designed by [[Michael Harvey (lettering artist)|Michael Harvey]]<ref>[http://www.myfonts.com/fonts/agfa/ellington-mt/familytree.html Ellington Family Tree] {{Webarchive|url=https://web.archive.org/web/20070204052703/http://www.myfonts.com/fonts/agfa/ellington-mt/familytree.html |date=2007-02-04 }} on www.myfonts.com</ref> licensed from [[Monotype]]. It was designed in 1990 and it is named after [[Duke Ellington]]. The face has a large [[x-height]] and combines features of a modern serif typefaces with calligraphic elements.

== See also ==
*[[Samples of display typefaces]]

== References ==

{{Commons category|Ellington (typeface)}}
{{reflist}}

{{typ-stub}}

[[Category:Monotype typefaces]]
[[Category:Didone serif typefaces]]
[[Category:Display typefaces]]
[[Category:Typefaces and fonts introduced in 1990]]
[[Category:Typefaces designed by Michael Harvey (lettering artist)]]

Caslon Antique

2025-03-12T03:48:10Z

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{{For|other uses or meanings of Caslon|Caslon (disambiguation)}}
{{More citations needed|date=February 2024}}
{{Infobox font
| name = Caslon Antique
| image = Caslon Antique.png
| style = Display
| creationdate = 1894
| creator = [[Berne Nadall]]
| foundry = [[Barnhart Brothers & Spindler]]
| sample = [[Image:Caslon Antique sample.png|220px|Caslon Antique sample text]]
|}}

'''Caslon Antique''' is a decorative [[United States|American]] [[typeface]] that was designed in 1894 by [[Berne Nadall]]. It was originally called "Fifteenth Century", but was renamed "Caslon Antique" by Nadall's [[type foundry|foundry]], [[Barnhart Brothers & Spindler|Barnhart Bros. & Spindler]], in the mid-1920s.

The design of the typeface is meant to evoke the Colonial era. Early printers would reuse [[movable type|metal type]] over and over again, and the faces would become chipped and damaged from use. Caslon Antique emulates this look.

==Variants==

An [[italic type|italic]] variant of the font is also available.<ref>{{Cite web |title=Caslon Antique Font Family · 1001 Fonts |url=https://www.1001fonts.com/caslon-antique-font.html |access-date=2024-02-20 |website=1001 Fonts |language=en}}</ref>

In addition to versions available under the traditional name, Corel produces its own version of the font under the name "Casablanca Antique."

==Notable uses==

Caslon Antique is popular today when an "old-fashioned" or "gothic" look is desired.

It was used in the opening credits of the [[Jacques Rivette]] film ''[[La Belle Noiseuse]]''. It is used by the musical group [[The Sisters of Mercy]] and [[Sepultura]] on their albums, for the logo of the musical ''[[Les Misérables (musical)|Les Misérables]]'', and for the covers of the books in ''[[A Series of Unfortunate Events]]''. It is also frequently used on historical displays. It is used for the [[Warhammer Fantasy Roleplay|Warhammer Fantasy Role-Play]] role-playing game. It is also used in the logo of a Brazilian chain of ''rodízio''-style steakhouses (''churrascarias'') [[Fogo de Chão]].

The 1985 reboot of the TV series ''[[The Twilight Zone (1985 TV series)|The Twilight Zone]]'' uses it. Most recently, it has been used on promotional material for the smash musical ''[[Monty Python's Spamalot]]'' on [[Broadway theatre|Broadway]], the [[West End theatre|West End]], and its tour of the United States. British 1980s band [[The The]] also used the font in several of their music videos, usually displaying several lyrics from the song in the opening scenes. It used on the cover of [[Regina Spektor|Regina Spektor's]] album ''[[Begin to Hope]]''. Caslon Antique is also the main font used by [[Smuttynose Brewing Company]] in [[Portsmouth, New Hampshire]]. The font is also used in some circumstances of the 2009 children's show ''[[Horrible Histories (2009 TV series)|Horrible Histories]]''.

== See also ==
* [[Samples of display typefaces]]

==References==
{{reflist}}

==External links==
*[http://www.identifont.com/show?3YP] Identifont profile on Caslon Antique

[[Category:Display typefaces]]
[[Category:Old style serif typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Photocomposition typefaces]]
[[Category:Digital typefaces]]
[[Category:Typefaces and fonts introduced in 1894]]

Banco (typeface)

2025-03-12T03:47:22Z

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{{infobox typeface
| name = Banco
| familyname =
| image = Banco font.svg
| style = Display
| classifications =
| creator = [[Roger Excoffon]]
| commissioned_by =
| foundry = [[Fonderie Olive|Olive]]
| releasedate = 1951
| sample = [[File:BancoSpecimen.png|220px]]
}}

'''Banco''' is an inclined [[Title (publishing)|titling]] [[typeface]] designed by [[Roger Excoffon]] for the [[Fonderie Olive]] [[Type foundry|foundry]] in 1951.<ref name="highsmith">{{cite book |last1=Highsmith |first1=Cyrus |title=I Heart Design: Remarkable Graphic Design Selected by Designers, Illustrators, and Critics |date=March 2011 |publisher=Rockport Publishers |isbn=9781610580328 |page=8 |url=https://books.google.com/books?id=64CW2LkAqHwC |access-date=23 February 2023}}</ref>

==History==
Like Excoffon's prior fonts [[Mistral (typeface)|Mistral]] and [[Choc (typeface)|Choc]], Banco was designed to be eye-catching, with what designer [[Cyrus Highsmith]] called an "outspoken flair."<ref name="highsmith" />

The font was considered old-fashioned and unappealing by designers of the time,<ref name="highsmith" /><ref name="typofonderie">{{cite web |title=Roger Excoffon, a part of the mythology of French typography |url=https://typofonderie.com/gazette/post/roger-excoffon-a-part-of-the-mythology-of-french-typography/ |website=Typofonderie |archive-url=https://web.archive.org/web/20120404164746/https://typofonderie.com/gazette/post/roger-excoffon-a-part-of-the-mythology-of-french-typography/ |access-date=23 February 2023|archive-date=2012-04-04 }}</ref> and after launch it was primarily used by small businesses in [[Europe]]. The font's popularity was renewed when it appeared on the cover of [[Bob Marley]]'s 1974 album ''[[Natty Dread]]'', and subsequently on many other [[reggae]] records. The [[skateboard]]ing magazine ''[[Thrasher (magazine)|Thrasher]]'', which was heavily influenced by reggae and [[Dub (music)|dub]] culture, adopted it for its 1981 launch and later issues.<ref name="hypebeast">{{cite web |last1=Roazen |first1=Ben |title=A Brief History of Banco, aka "The 'Thrasher' Font" |url=https://hypebeast.com/2016/8/thrasher-font-history-fashion-banco |website=Hypebeast |access-date=23 February 2023}}</ref> It was used on the PK Ripper BMX, the tv series ''[[Darkwing Duck]]'' or the video game [[Shinobi Legions]].<ref>https://www.mobygames.com/game/23073/shinobi-legions/screenshots/sega-saturn/197829/</ref>

While Excoffon did not design a lowercase alphabet for Banco, [[Phill Grimshaw]] and the [[International Typeface Corporation|ITC]] font foundry released a lighter-weight version of the font in 2000, which included lowercase letters.<ref name="designweek">{{cite news |title=Art director's choice |url=https://www.designweek.co.uk/issues/september-2010-online/art-directors-choice-4/ |access-date=23 February 2023 |agency=Design Week}}</ref> Banco was also translated into [[Cyrillic]] in 2000.<ref name="hypebeast" />

== Corporate identity uses ==
* Munhwa Broadcasting Corporation (MBC) - Korean television broadcasters logo in 1986–2005

== See also ==
{{Commons category|Banco (typeface)}}
* [[Samples of display typefaces]]

==References==
{{reflist}}

{{DEFAULTSORT:Banco (Typeface)}}
[[Category:Display typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Photocomposition typefaces]]
[[Category:Digital typefaces]]
[[Category:Typefaces and fonts introduced in 1951]]
[[Category:Typefaces designed by Roger Excoffon]]
[[Category:Fonderie Olive typefaces]]

{{Typ-stub}}

Astur (typeface)

2025-03-12T03:47:09Z

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{{More citations needed|date=February 2025}}
{{Infobox font
| name = Astur
| image = Astur.png|Astur
| style = Display
| releasedate = 1948
| creator = unknown
| foundry = [[Nacional Typefoundry]]
| sample = [[Image:Astur sample.png|250px|Astur sample text]]
|}}

'''Astur''' is a decorative [[typeface]] that was designed in 1948<ref>{{Cite web |title=Astur in use |url=https://fontsinuse.com/typefaces/79104/astur |access-date=2025-02-03 |website=Fonts In Use |language=en}}</ref> and licensed by the Spanish foundry [[Nacional Typefoundry]]. The letters appear to be made of wooden planks, and it is often used when an outdoor or camping look is desired. The font's name, a reference to the ancient inhabitants of northern [[Spain]] (the [[Astures|Astur]]es), is meant to underline its rustic appearance.

A common software version of the font is called "Woodplank".

==References==
{{reflist}}

{{See also|Samples of display typefaces}}

{{DEFAULTSORT:Astur (Typeface)}}
[[Category:Display typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Digital typefaces]]
[[Category:Typefaces and fonts introduced in 1940]]

{{Typ-stub}}

Neuland

2025-03-12T03:46:17Z

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{{Other uses}}
{{See also|Samples of display typefaces}}
{{Infobox font
| name = Neuland
| image = Neuland font.svg
| style = Display
| creationdate = 1923
| creator = [[Rudolf Koch]]
| foundry = [[Klingspor Type Foundry|Klingspor]]
| sample = [[Image:Neuland sample.svg|220px|Neuland sample text]]
|}}
'''Neuland''' is a German [[typeface]] that was designed in 1923 by [[Rudolf Koch]] for the [[Klingspor Type Foundry]].

Koch designed it by directly carving each size of each letter into metal. The original typeface thus had a different appearance in each of its sizes, something not followed in digital versions where the same font serves for every print size.

While originally intended as a form of modern [[blackletter]], Neuland has come instead to be used as a signifier of the "exotic" or "primitive", such as in the logos for [[Trader Vic's]], [[Natural American Spirit]] cigarettes, promotional materials for ''[[The Lion King (musical)|The Lion King]]'', and the ''[[Jurassic Park (film)|Jurassic Park]]'' films (which use the "inline" variant, so named because each letter has a thin line inside); the association of this "exotic" or "primitive" implication with African or African-American themes has been criticized.<ref name="Lined & Unlined">{{cite web|title=New Black Face: Neuland and Lithos as Stereotypography|url=https://linedandunlined.com/archive/new-black-face|website=Lined & Unlined|accessdate=5 November 2018}}</ref>

[[Image:Neuland Inline sample.png|220px|right|thumb|Sample of Neuland Inline]]
Neuland Inline is a common variant of Neuland, perhaps more common than the standard variety.

[[Monotype Imaging|Monotype]] licensed Neuland under the name of 'Othello' (released in 1928) with the agreement that it would not be sold in Germany, Austria or Switzerland.<ref name="History of the Monotype Corporation">{{cite book|last1=Slinn|first1=Judy|last2=Carter|first2=Sebastian|last3=Southall|first3=Richard|author-link2=Sebastian Carter|title=History of the Monotype Corporation|pages=243–4}}</ref>

[[Erbar (typeface)|Phosphor]], by [[Jakob Erbar]], was a contemporary competitor that has a more regular shape.<ref name="Phosphor MT">{{cite web|title=Phosphor MT|url=http://www.myfonts.com/fonts/mti/phosphor/|website=[[MyFonts]]|publisher=[[Monotype Imaging|Monotype]]|accessdate=23 January 2016}}</ref> Phosphate, an unofficial revival of Phosphor created by Red Rooster Fonts, is bundled with OS X.<ref name="Phosphate MyFonts">{{cite web|title=Phosphate|url=http://www.myfonts.com/fonts/redrooster/phosphate/|website=[[MyFonts]]|publisher=Red Rooster Collection|accessdate=23 January 2016}}</ref>

Nick Curtis's JungleFever typeface is based on Neuland.<ref>{{cite web|title=JungleFever typeface|url=https://www.fontsquirrel.com/fonts/JungleFever|website=fontsquirrel.com|accessdate=4 September 2020}}</ref>

==References==
{{Reflist}}

== External links ==
{{Commons category|Neuland (typeface)|Neuland}}
* [http://cg.scs.carleton.ca/~luc/kochneuland.html A collection of digital Neuland varieties]

[[Category:Display typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Photocomposition typefaces]]
[[Category:Typefaces and fonts introduced in 1923]]
[[Category:Digital typefaces]]
[[Category:Typefaces designed by Rudolf Koch]]

{{typ-stub}}

Jim Crow (typeface)

2025-03-12T03:45:41Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Refimprove|date=March 2025}}
{{Infobox font
| name = Jim Crowe
| image = Jim Crow.png
| style = Display
| classifications = [[Grotesque sans-serif]]
| releasedate = 1850, 1933, 1949
| creator =
| foundry = [[Dickinson Type Foundry]]
| foundries = [[American Type Founders|ATF]], [[Los Angeles Type Foundry]], [[Skyline Type Foundry]]
| sample = [[Image:Jim Crow sample.png|220px|Jim Crow sample text]]
|}}

'''Jim Crow''' is the [[American Type Founders|American Type Founders']] 1933 and 1949 re-casting of the [[Dickinson Type Foundry|Dickinson Type Foundry's]] type of the 1850s, Gothic Shade. Dickenson, a Boston type foundry, had been incorporated into ATF in the original merger of 1892. The face was also known as ''Tombstone.'' ATF only cast the face in 24 point, but later versions by the [[Los Angeles Type Foundry]] were cast from 18 to 30 point.<ref>MacGrew, Mac, ''American Metal Typefaces of the Twentieth Century,'' Oak Knoll Books, New Castle Delaware, 1993, {{ISBN|0-938768-34-4}}, p. 189.</ref> It was often used to indicate political motifs. While [[cold type]] versions were popular right through the 1970s, no major [[type foundry|foundry]] has issued a digital version, and it is seldom used today. Foundry Harold's Fonts has released a digitised version named Jim Dandy.<ref name="haroldsfonts">{{cite web|url=http://haroldsfonts.com/portfolio/jim-dandy/|title=Jim Dandy | Harold's Fonts|publisher=haroldsfonts.com|accessdate=2016-08-01}}</ref>

==See also==
*[[Samples of display typefaces]]

==References==
{{Reflist}}

{{DEFAULTSORT:Jim Crow (Typeface)}}
[[Category:1850s introductions]]
[[Category:Display typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Photocomposition typefaces]]
[[Category:Typefaces and fonts introduced in the 19th century]]

{{Typ-stub}}

FIG Script

2025-03-12T03:44:19Z

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{{No footnotes|date=March 2025}}
{{Infobox font
| name = FIG Script
| image = FIGScript.png
| style = [[Script (typefaces)|Formal script]]
| creationdate = 2001-2002
| creator = Eric Olson
| foundry = Process Type Foundry
}}

'''FIG Script''' is a typeface designed by Eric Olson in 2002 for Process Type Foundry.

The name FIG is an acronym for "'''F'''rank (Sheeran), '''I'''an (Chai), and '''G'''lenn (Chappell) who collaborated in the development of the [[FIGlet]] computer program developed to generate text banners, in a variety of typefaces, composed of letters made up of arrangements of smaller ASCII characters. Olson used FIGlet in creating his ASCII-based FIG typefaces. Olson describes the FIG types as an "exploration into the generative possibilities type design software and simple grid structures." While suggestion of a raster is clearly visible in the face, a hominess similar to that found in nineteenth century cross-stitched samplers is also found. Many characters have swashes, and the overall effect is reminiscent of cursive.

{{Digital-typography-stub}}

==See also==

*[[Samples of display typefaces]]

==References==
* [[Eye (magazine)|''eye.'']] 62/06, Winter 2006. "Practice and Process: Eric Olson." By Deborah Littlejohn, pages 21–24.

==External links==
*[http://processtypefoundry.com/fonts/fig/ Process Type Foundry's web page on FIG typefaces]

[[Category:Script typefaces]]
[[Category:Display typefaces]]
[[Category:Typefaces and fonts introduced in 2002]]
[[Category:Typefaces designed by Eric Olson]]

Kuenstler Script

2025-03-12T03:21:20Z

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{{No footnotes|date=March 2025}}
{{Infobox font
| name = Kuenstler
| image = Kuenstler.svg
| style = [[Script (typefaces)|Formal script]]
| creationdate = 1902
| creator = [[Hans Bohn]]
| foundry = [[D Stempel AG]]
}}

'''Kuenstler Script''' is a formal [[Script (typefaces)|script]] typeface. The primary weight was designed in 1902 by the in-house studio at the [[D. Stemple, A.G.|D Stempel AG foundry]]. It was originally titled ''Künstlerschreibschrift'', which translates from German to English as "handwriting of artists". The face is based on late nineteenth-century English copperplate scripts. Those faces in turn took inspiration from earlier eighteenth century writing masters George Bickham and George Shelley, both of whom worked in a writing style called [[round hand]]. In 1957, [[Hans Bohn]] added to the typeface family with Kuenstler Script Black, a heavy weight of the face.

==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}}.
*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 A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.

[[Category:Stempel typefaces]]
[[Category:Formal script typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Photocomposition typefaces]]
[[Category:Digital typefaces]]
[[Category:Typefaces and fonts introduced in 1902]]

{{typography-stub}}

Fette Fraktur

2025-03-12T03:20:53Z

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{{Short description|Typeface designed by Bauer in 1850}}
{{No footnotes|date=March 2025}}
{{Infobox font
| name = Fette Fraktur
| image = FetteFraktur.png
| style = [[Serif]]
| classifications = Blackletter
| creationdate = 1850
| creator = [[Johann Christian Bauer]]
| foundry = [[Bauer Type Foundry]]
}}

'''Fette Fraktur''' is a [[blackletter]] typeface of the sub-classification [[Fraktur (typeface sub-classification)|Fraktur]] designed by the German [[punchcutter]] [[Johann Christian Bauer]] (1802–1867) in 1850. The [[Weber Typefoundry|C.E. Weber Foundry]] published a version in 1875, and the [[D Stempel AG|D Stempel AG]] foundry published the version shown here in 1908.

Fette Fraktur (German for bold Fraktur) is based on the Fraktur type of blackletter faces. This heavy nineteenth century version was developed more for advertising than text, similar to the extremely heavy [[fat face]] advertising versions of [[Didone (typography)|Didone classification]] faces.

==History==
For a span of nearly a hundred years, the original Fraktur script was used as a standard text face in German-speaking Europe and parts of Scandinavia. During the period of the [[Third Reich]] Fraktur and blackletter faces were initially approved of in contrast to sans-serif faces (associated with the [[Bauhaus]] and [[cultural Bolshevism]]). Approved use of blackletter Fraktur faces by the Nazi regime continued until January 3, 1941, when [[Martin Bormann]], director of the [[Party Chancellery]] issued a directive discontinuing the use of blackletter faces because of an alleged discovery of Jewish contributions in the development of these faces. Another reason may have been their limited legibility outside of Germany. While the [[Nazi]]s forbade its use for practical and ideological reasons, at the conclusion of World War II, the Allied forces also prohibited it for a time because occupation troops could not read these faces. Eventually the ban on blackletter and Frakturs was lifted, but in Germany and Scandinavia the faces were largely replaced by the [[Antiqua (typeface class)|Antiqua]] (roman) alphabet.

Emotional reaction to association with the Third Reich, and a sense that the faces were outdated vestiges of the nineteenth century further reduced their use. Variants of Fraktur faces, such as Fette Fraktur, are however used in advertising and packaging to communicate a sense of traditional Austrian, Bavarian, or German flavor. In this modern decorative use the Fraktur rules about [[long s]] and short s or about [[ligature (typography)|ligature]]s are often disregarded, the knowledge of the old typographical conventions being lost.

==Confusion with Textualis==
Fette Fraktur (and Fraktur typefaces in general) have sometimes been confused for another kind of blackletter script (the style often mislabeled Old English), which has become popular in the world of [[hip-hop]] music and fashion. Those forms of blackletter, however, derive from [[Blackletter#Textualis|Textualis]], not from Fraktur, and have been influenced by the chicano urban culture of [[Los Angeles]], California.

==See also==
* [[Breitkopf Fraktur]]
* [[Fraktur]]

==References==
*Blackwell, Lewis. ''20th Century Type.'' Yale University Press: 2004. {{ISBN|0-300-10073-6}}.
*Bain, Peter and Paul Shaw. ''Blackletter: Type and National Identity.'' Princeton Architectural Press: 1998. {{ISBN|1-56898-125-2}}.
*Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.

{{Reflist}}

[[Category:Stempel typefaces]]
[[Category:Blackletter typefaces]]

Microsoft Sans Serif

2025-03-12T03:18:16Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Neo-grotesque sans-serif typeface}}
{{update|date=August 2011}}
{{Infobox typeface
| name = Microsoft Sans Serif
| image = MicrosoftSansSerifSpecimen.svg
| style = [[Sans-serif]]
| classifications = [[Sans-serif#Neo-grotesque|Neo-grotesque]]
| based_on =[[Helvetica]] [[Arial]] MS Sans Serif
| creationdate = 1985 (Helv) 1992 (MS Sans Serif) 1997 (Microsoft Sans Serif)
| releasedate = 1997
| trademark = Either a registered trademark or a trademark of Microsoft Corporation in the [[United States]] and other countries
| creator = [[Microsoft]]
| foundry = Microsoft Typography
| sample =
}}
'''Microsoft Sans Serif''' is a [[sans-serif]] [[typeface]] introduced with early Microsoft Windows versions. It is the successor of '''MS Sans Serif''', formerly '''Helv''', a proportional [[bitmap font]] introduced in [[Windows 1.0]]. Both typefaces are very similar in design to [[Arial]] and [[Helvetica]]. The typeface was designed to match the MS Sans bitmap included in the early releases of Microsoft Windows.<ref>{{Cite web|url=https://www.linotype.com/875462/microsoft-sans-serif-family.html|title=Microsoft Sans Serif font family|website=Linotype.com|access-date=2019-02-26}}</ref><ref>{{Cite web|url=https://docs.microsoft.com/en-us/typography/font-list/microsoft-sans-serif|title=Microsoft Sans Serif font family - Typography|last=Jacobs|first=Mike|date=2017-10-20|website=docs.microsoft.com|language=en-us|access-date=2019-02-26}}</ref>

==History==
Microsoft Sans Serif's predecessor is Helv (a shortened form of Helvetica), a bitmap font included with Windows 1.0 and later. In [[Windows 3.1]], the bitmap font was renamed MS Sans Serif. "Helv" is still a valid alias for MS Sans Serif. [[OS/2]] and its successor [[ArcaOS]] still name the font "Helv".

MS Sans Serif is the default system font on [[Windows 3.0]], [[Windows 3.1x|Windows 3.1]], [[Windows 95]], [[Windows NT 4.0]], [[Windows 98]], and [[Windows ME]]. A [[Euro]] symbol was added to this font for the release of Windows 98. MS Sans Serif is available in the font sizes 8, 10, 12, 14, 18, and 24. When changing the [[dots per inch|DPI]] settings in Windows 95 or later, Windows loads a different MS Sans Serif font, historically called the "[[IBM 8514|8514]]" variant, which adds sizes 23 and 30 points (high DPI versions of sizes 18 and 24 respectively). 
Also, according to the strings hidden in the .FON file (on the original raster/bitmap variant), it is seen that the font was designed by Microsoft Corporation in 1987 (font sizes 8, 10, 12 and also a portion of the 8514/a version), also in 1985 by Xiphias, Los Angeles, CA (font sizes 14, 18, 24), also the 8514 version contains typefaces designed by Bitstream Inc. in 1989.

==Description==
Microsoft Sans Serif is a [[TrueType]] font that is designed as a [[vector graphics|vectorized]], metric-compatible variant of MS Sans Serif, distributed with [[Windows 2000]] and later. This font also contains most [[Glyph|glyphs]] shipped with any version of Windows until [[Windows Vista]], excluding fonts supporting East Asian [[Ideogram|ideographs]]. The [[PostScript]] font name is <code>MicrosoftSansSerif</code>.

Despite being a vectorized replacement, there are subtle design changes. One example is the capital '''R''' - where in the original MS Sans Serif it was designed in the style of [[Helvetica]], in Microsoft Sans Serif it becomes a compromise between Helvetica and the straight-diagonal descender in [[Arial]]; the [[descender]] curves at the top and is a straight diagonal at the bottom. Other examples include the tail in the lowercase '''a''' being shortened to a vertical stem, the top of the stem on the lowercase '''f''' curving down instead of horizontally, the hook at the descenders of lowercase '''y''' and '''j''' curving up, and the strokes in the middle of digit '''8''' intersecting at a different angle.

Version 1.10 of the font includes 1119 glyphs (1209 characters, 26 blocks), supporting [[Unicode]] ranges Alphabetic Presentation forms, Arabic, Arabic Presentation forms A-B, Cyrillic, General Punctuation, Greek and [[Coptic language|Coptic]], Hebrew, Latin Extended-A, Latin Extended-B, Latin Extended Additional, Mathematical Operators, Thai. Supported code pages include 1250-1258, Macintosh US Roman, 874, 864, 862, 708. Font is smoothed at 0-6 points, hinted at 7-14 points, hinted and smoothed at 15 and above points. [[OpenType]] features includes init, isol, medi, fina, liga for default Arabic script.

Version 1.41 (supplied with [[Windows XP SP2]]) includes 2257 glyphs (2301 characters, 28 blocks), which extended Unicode ranges to include Combining Diacritical Marks, Currency Symbols, Cyrillic Supplement, Geometric Shapes, Greek Extended, IPA Extensions, Number Forms, Spacing Modifier Letters. New OpenType scripts include Arabic MAR script. Additional OpenType features includes rlig for Arabic scripts.

Version 5.00 (supplied with Windows Vista and [[Windows Server 2008]]) includes 3053 glyphs (2788 characters, 36 blocks), which extended Unicode ranges to include Arabic Supplement, Combining Diacritical Marks Supplement, Combining Half Marks, Latin Extended-C, Latin Extended-D, Phonetic Extensions, Phonetic Extensions Supplement, Specials, Superscripts and Subscripts. New OpenType scripts include Arabic URD (Urdu), Cyrillic (default), Hebrew (default), Latin (default, Romanian), Thai (default). Additional OpenType features include: ccmp, mark, mkmk for Arabic scripts; locl for Arabic URD (Urdu) script; mark, mkmk for default Cyrillic; dlig, ccmp, mark for default Hebrew; ccmp, mark, mkmk for Latin scripts; locl for Romanian Latin; ccmp, mark, mkmk for Thai.

MS Sans Serif was given a [[PANOSE]] number that indicates it has "cove" serifs, while the PANOSE number for Microsoft Sans Serif indicates that is a sans serif.

Glyphs from Microsoft Sans Serif are also used in the typeface Kartika.

== Non-Microsoft operating systems ==
On October 16, 2007, [[Apple Inc.|Apple]] announced on their website that the next version of [[Mac OS X v10.5]] ("Leopard"), would include Microsoft Sans Serif. Leopard also ships with [https://web.archive.org/web/20081215210759/http://www.apple.com/macosx/features/300.html#fonts several other] previously Microsoft-only fonts, including [[Tahoma (typeface)|Tahoma]], [[Arial Unicode]], and [[Wingdings]]. Microsoft Sans Serif has been included with all [[macOS]] versions since.

Retail versions of the font are sold through [[Ascender Corporation]].

== See also ==
* [[System (typeface)|System]]
* [[Geneva (typeface)|Geneva]], the equivalent system typeface for the [[classic Mac OS]]

== References==
{{Reflist}}

== External links ==
{{Commons category|Microsoft Sans Serif|Microsoft Sans Serif}}
*[https://learn.microsoft.com/en-us/typography/font-list/microsoft-sans-serif Microsoft's entry on Microsoft Sans Serif]

{{Microsoft Windows Typefaces}}

[[Category:Microsoft typefaces]]
[[Category:Windows XP typefaces]]
[[Category:Neo-grotesque sans-serif typefaces]]
[[Category:Computer-related introductions in 1985]]
[[Category:Typefaces and fonts introduced in 1992]]
[[Category:Typefaces and fonts introduced in 1997]]

Charlotte Sans

2025-03-12T03:14:48Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Humanist sans-serif typeface}}
{{No footnotes|date=March 2025}}
{{Infobox font
| name = Charlotte Sans
| image = WmCharlotteSans.png
| imagesize = 240px
| style = [[Sans-serif]]
| classifications = Humanist sans-serif
| releasedate = 1992
| creator = Michael Gills
| foundry = [[Letraset]]
}}
'''Charlotte Sans''' is a humanist [[sans-serif]] typeface designed by Michael Gills in 1992 as part of a larger family called Charlotte, which includes a related serif text face. The face was designed for [[Letraset]].

Charlotte Sans bears comparison with Eric Gill's 1927 face [[Gill Sans]], sharing several humanist sans-serif characteristics: a double-story roman '''a''' and '''g''', and a single-story lowercase italic '''a'''. Charlotte Sans has a tapered glyphic stroke in the '''t'''. Terminals in vertical strokes are not parallel to the baseline but instead cut at an angle. Similarities can be seen with [[Syntax (typeface)|Syntax]] and [[FF Scala Sans]]. The overall stroke width is varied, and rhythmic is seen especially in the serif version of the face, which was inspired by the types of 18th-century punch-cutter [[Pierre-Simon Fournier]].

==References==
*Friedl, 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 A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.

[[Category:Humanist sans-serif typefaces]]
[[Category:Unified serif and sans-serif typeface families]]
[[Category:Letraset typefaces]]

Tasse

2025-03-12T03:14:04Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Geometric sans-serif typeface}}
{{No footnotes|date=March 2025}}
{{Infobox font
| name = Tasse
| style = [[Sans-serif]]
| image = TasseSP.png
| releasedate = 1994
| creator = [[Guy Jeffrey Nelson]]
| foundry = [[Font Bureau]]
| related = [[Haettenschweiler]]
| based_on = Steile Futura
}}
<div style="padding-left:2em;padding-right:2em;">''For the piece of medieval armor, see [[tassets]]''</div>
<div style="padding-left:2em;padding-right:2em;">''You might also mean [[tasse à café]]''</div>

'''Tasse''' is a revival of [[Paul Renner]]'s Steile Futura. The family consists of 4 weights and 5 widths each, but no italic fonts were made. Nelson maintained Renner's alternative characters, adding additional alternate characters. The face is licensed by [[Font Bureau]].

Tasse shows the influence of pen-written letters in contrast to the modular geometry of [[Futura (typeface)|Futura]]. The face is unusual for a sans-serif in having a true italic rather than a sloped Roman. Lowercase italic '''a''' becomes single story, and the suggestion of calligraphic strokes are found in the italic characters '''e, h, K, k, m, n,''' and '''u.''' Renner's original character set offered alternative, more rounded, versions of uppercase roman characters '''A, E, M,''' and '''W.'''

==References==
*Blackwell, Lewis. ''20th Century Type.'' Yale University Press: 2004. {{ISBN|0-300-10073-6}}.
*Burke, Christopher. ''Paul Renner: the art of typography.'' Hypen Press, London: 1998. {{ISBN|0-907259-12-X}}.
*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 Encyclopædia of Type Faces.'' Blandford Press Lts.: 1953, 1983. {{ISBN|0-7137-1347-X}}.
*Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.

==External links==
*[http://www.typophile.com/node/18227 Typophile article on Steile Futura (Topic)]
*[http://www.fontbureau.com/fonts/Tasse Font Bureau web page for Tasse]

[[Category:Font Bureau typefaces]]
[[Category:Geometric sans-serif typefaces]]

Clearview (typeface)

2025-03-12T03:12:49Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Humanist sans-serif typeface}}
{{redirect|Clearview Hwy|the expressway|Clearview Expressway}}
{{Infobox font
| name = Clearview
| image = Clearview font.svg
| style = [[Sans-serif]]
| creationdate = 2003
| creator = [[Donald Meeker]]<ref name="yaffa">{{cite news|last=Yaffa|first=Joshua|url=https://www.nytimes.com/2007/08/12/magazine/12fonts-t.html?pagewanted=all|title=The Road to Clarity|work=[[The New York Times Magazine]]|access-date=June 5, 2009|date=August 12, 2007}}</ref> [[James Montalbano]]<ref name=yaffa/> Christopher O'Hara<ref name=yaffa/> Harriet Spear<ref name=yaffa/>
| foundry = Terminal Design Inc.
| license = [[Proprietary software|Proprietary]]
| sample = [[Image:Clearview sample.svg|240px|Clearview sample text]]
}}

'''Clearview''', also known as '''Clearview Hwy''', is the name of a [[Vox-ATypI classification#Humanist 2|humanist]] [[sans-serif]] [[typeface]] family for [[Traffic sign|guide signs]] used on [[road]]s in the [[United States]], [[Canada]], [[Indonesia]], the [[Philippines]], [[Israel]], [[Panama]], [[Brazil]]<ref name="brazil">{{Cite web |url=https://capital.sp.gov.br/web/comunicacao/w/noticias/129454 |title=Ruas de São Paulo ganham novas placas de identificação |date=February 5, 2007 |website=Cidade de São Paulo (Comunicação) |language=pt-br |trans-title=Streets of São Paulo will get new identification signs |type= |access-date=November 5, 2024 |url-status=live |archive-url=https://web.archive.org/web/20241106010641/https://capital.sp.gov.br/web/comunicacao/w/noticias/129454 |archive-date=November 6, 2024 |quote=O novo padrão terá uma nova fonte tipográfica, denominada ClearView […], consagrada por ser a de mais fácil leitura nas mais variadas situações de luminosidade e distância. |trans-quote=The new standard will have a new typographic font, named ClearView […], notable for being easy to read under various lighting and distance conditions.}}</ref> and [[Sri Lanka]]. It was developed by independent researchers with the help of the [[Texas A&M Transportation Institute]] and the [[Pennsylvania Transportation Institute]], under the supervision of the [[Federal Highway Administration]] (FHWA). It was once expected to replace the [[Highway Gothic|FHWA typefaces]] in many applications, although newer studies of its effectiveness have called its benefits into question.<ref name=yaffa/><ref name="Grays Harbor Denial" />

Initial testing indicated that Clearview was 2 to 8 percent more legible in both day- and night-time viewing than the then-dominant Series E (Modified) on overhead signs, particularly benefiting older drivers, with a 6 percent increase in legibility distance.<ref name="CastroHorberry2004"/> A design goal of Clearview was the reduction of irradiation effects of retroreflective sign materials.<ref name="CastroHorberry2004">{{cite book| last1=Castro| first1=Candida| last2=Horberry|first2=Tim | title=The Human Factors of Transport Signs| url=https://books.google.com/books?id=iFCZ53i5XXgC&pg=PA126|access-date=18 December 2013 |date=14 April 2004|publisher=CRC Press|isbn=978-0-203-45741-2|page=126}}</ref> Reduced nighttime overglow or haloing was expected also to improve recognition rates for computer road sign detection.<ref name="LiWang2007">{{cite book |last1=Li|first1=Li|last2=Wang| first2=Fei-Yue | author2-link= Fei-Yue Wang | title=Advanced Motion Control and Sensing for Intelligent Vehicles | url=https://books.google.com/books?id=84qWTL_usD4C&pg=PA375 | access-date=18 December 2013|date=24 November 2007 | publisher=Springer | isbn=978-0-387-44409-3 | page=375}}</ref> However, these tests also compared new signs in Clearview to existing, weathered signs in the existing [[Highway Gothic]] font.<ref name="Verge2016">{{Cite web|title = The feds are killing off Clearview, the new highway sign font|url = https://www.theverge.com/2016/2/4/10919686/clearview-highway-font-fhwa-highway-gothic|website = The Verge|date = 4 February 2016|access-date = 2016-02-05}}</ref> The new font's apparent legibility "was more due to the fact that older, worn signs were being replaced with nice, fresh, clean signs which were, naturally, more legible." Better testing also revealed that legibility was worse for negative contrast signs (dark lettering on light backgrounds) such as on speed limit and yellow warning signs.<ref name="Verge2016" />

==History==
[[Image:ClearviewBGS-I696W-I275-I96.JPG|right|thumb|250px|A highway sign using Clearview in [[Farmington Hills, Michigan]], near the terminus of westbound [[Interstate 696|I-696]] (2005)]]
The standard FHWA typefaces, developed in the 1940s, were designed to work with a system of highway signs in which almost all words are capitalized; its standard mixed-case form (Series E Modified) was designed to be most visible under the now-obsolete reflector system of [[button copy]], which has since been superseded by [[retroreflective sheeting]].<ref>{{cite book |last1= Forbes |first1= Theodore W. |last2= Moskowitz |first2= Karl |last3= Morgan |first3= Glen |name-list-style= amp |chapter= A Comparison of Lower Case and Capital Letters for Highway Signs |title= Proceedings of the Highway Research Board |year= 1950 |pages= 355–373}}{{Full citation needed|date= December 2014}}</ref> The designers of Clearview sought to create a typeface adapted for mixed-case signage, initially expecting it would be based on an existing European sans-serif typeface.<ref>{{cite web |publisher=Meeker and Associates / Terminal Design, Inc. |archive-url=https://web.archive.org/web/20041206184721/http://clearviewhwy.com/ResearchAndDesign/index.php |archive-date=2004-12-06 |url=http://clearviewhwy.com/ResearchAndDesign/index.php |title=ClearviewHWY Research & Design Development}}</ref> Instead, using a similar weight to the FHWA fonts, a new font was created from scratch. Two key differences are much larger [[Counter (typography)|counter]] spaces, the enclosed spaces in letters like the lower case "e" or "a", and a higher [[x-height]], the relative height of the lower case "x" to the upper case "X". Smaller counter spaces in the FHWA fonts reduced legibility, particularly when the letters glowed from headlight illumination at night.

==Official acceptance==
[[Image:ClearviewVsFHWAfont.jpg|right|thumb|250px|Highway signs in [[Danville, Virginia]], using both [[Highway Gothic]] and Clearview fonts (2007)]]
Clearview was granted interim approval by the FHWA for use on positive-contrast road signs (light legend on dark background, such as white on black, green, blue, brown, purple or red) on September 2, 2004,<ref name=fha2004>{{cite web | publisher=Federal Highway Administration | url=https://mutcd.fhwa.dot.gov/res-ia_clearview_font.htm | title=Interim Approval for Use of Clearview Font for Positive Contrast Legends on Guide Signs | date=2 September 2004 | access-date=17 December 2013}}</ref> though not on negative-contrast road signs (dark legend on light background, such as black on white, yellow or orange), given its inferior legibility to the existing FHWA typefaces in these applications.<ref>{{Citation | url = http://tti.tamu.edu/documents/0-4984-1.pdf | title = Evaluation of the Clearview Font for Negative Contrast Traffic Signs | date = January 2006 }}</ref> The FHWA also refused to add Clearview to the 2009 [[Manual on Uniform Traffic Control Devices|MUTCD]], citing lack of testing on Clearview's numerals, symbols, and narrower typefaces.<ref>{{Federal Register|74|66740}}</ref> In April 2014, FHWA indicated it expected to rescind Interim Approval to use Clearview in the future,<ref name="Grays Harbor Denial">{{cite web|last=Kehrli|first=Mark R.|title=IA-5.31 - Clearview - Grays Harbor County, WA (DENIED) |url=https://s3.amazonaws.com/media.atssa.com/Resources/Interpretation+Letters/IA-5.31+%28DENIED%29+Clearview-Grays+Harbor+Co+WA-REPLY.pdf|publisher=[[Federal Highway Administration]] |access-date=April 25, 2014 |archive-url=https://web.archive.org/web/20140426233155/https://s3.amazonaws.com/media.atssa.com/Resources/Interpretation+Letters/IA-5.31+(DENIED)+Clearview-Grays+Harbor+Co+WA-REPLY.pdf |archive-date=2014-04-26}}</ref> eventually doing so in January 2016.<ref name="Nadeau">{{cite journal|last1=Nadeau|first1=Gregory G.|title=Notice of Termination of Interim Approval IA-5|journal=Federal Register|date=25 January 2016|volume=81|issue=15|pages=4083–4084|url=https://www.federalregister.gov/documents/2016/01/25/2016-01383/national-standards-for-traffic-control-devices-the-manual-on-uniform-traffic-control-devices-for|access-date=31 January 2016|publisher=Office of the Federal Register}}</ref><ref>{{cite web |url=https://www.transportation.gov/fastlane/fonts-and-highway-safety |title=Keeping drivers safe one road sign at a time | Department of Transportation |website=www.transportation.gov |access-date=12 January 2022 |archive-url=https://web.archive.org/web/20160304101524/https://www.transportation.gov/fastlane/fonts-and-highway-safety |archive-date=4 March 2016 |url-status=dead}}</ref> Congress ordered the FHWA to reinstate the interim approval on March 28, 2018.<ref name=knopp2018>{{cite web|last=Knopp|first=Martin C.|date=March 28, 2018|title=Information: MUTCD – Interim Approval for Use of Clearview Font for Positive Contrast Legends on Guide Signs (IA-5)—Reinstatement [HOTO-1]|url=https://mutcd.fhwa.dot.gov/resources/interim_approval/ia5/ia5_reinstatement.pdf|publisher=Federal Highway Administration|access-date=April 15, 2018}}</ref>

Outside the US, Clearview has been adopted in Canada where it has been the standard typeface for signs in [[British Columbia]] since 2006<ref>{{Cite web |title=New Standards for Sign Fonts (Clearview Type Fonts) and Update to Sheeting reflectivity standards on Guide and Custom Signs (ASTM Type 9/3 and ASTM Type 9/9) |url=http://www.th.gov.bc.ca/publications/Circulars/All/T_Circ/2006/t15-06_v3.pdf |url-status=dead |archive-url=https://web.archive.org/web/20160205191659/http://www.th.gov.bc.ca/publications/Circulars/All/T_Circ/2006/t15-06_v3.pdf |archive-date=2016-02-05 |access-date=2013-09-01}}</ref> and used for street signs in [[Toronto]].<ref>{{cite web|url=http://www.theatlanticcities.com/neighborhoods/2013/05/torontos-gorgeous-old-street-signs-might-soon-be-sale/5545/|title=Toronto's Gorgeous Old Street Signs Might Soon Be for Sale|work=CityLab|access-date=20 May 2015}}</ref> Clearview has been adopted as the standard typeface for road signs in Indonesia since 2014.<ref>{{Cite web |title=About Traffic Signs |url=http://kemhubri.dephub.go.id/perundangan/images/stories/doc/permen/2014/pm_13_tahun_2014.pdf |url-status=dead |archive-url=https://web.archive.org/web/20141006141343/http://kemhubri.dephub.go.id/perundangan/images/stories/doc/permen/2014/pm_13_tahun_2014.pdf |archive-date=6 October 2014 |access-date=30 June 2022 |website=kemhubri.dephub.go.id}}</ref> Since 2016, [[Ontario Ministry of Transportation|Ontario's Ministry of Transportation]] has started using Clearview on some signs on the [[Queen Elizabeth Way]].

==Variants==
In addition to its appearance on road signage, a customized version of the ClearviewText typeface was adopted by [[AT&T]] for corporate use, including advertising, used from 2006 to 2016.<ref name="yaffa"/> Since 2018, [[Toyota]] has used another variant of ClearviewText in its advertisements. ClearviewText and ClearviewADA are versions of the typeface intended for use in general graphic design and [[Americans with Disabilities Act of 1990|ADA-compliant]] signage. An example of ClearviewADA in use is signage at [[Dallas/Fort Worth International Airport]].<ref name="dfwairport">{{cite web | url=https://fontsinuse.com/uses/11519/dallas-fort-worth-international-airport-wayfi | title=Dallas/Fort Worth International Airport wayfinding | work=Fonts In Use | date=January 7, 2016 | access-date=September 26, 2016}}</ref>

[[Image:Clearview.png|thumb|left|An example of the Clearview typeface.]]
{{clear}}

==Adoption==

===United States===
Between 20 and 30 states have adopted the use of the typeface as of 2013.<ref name=murphy2013>{{cite news|title=New font making signs more visible|last=Murphy|first=Matt|work=[[Charleston Daily Mail]]|date=26 December 2013|url=http://www.charlestondailymail.com/News/201312250043|access-date=16 January 2014}}</ref><ref name="Strizver2013">{{cite book|last=Strizver|first=Ilene|title=Type Rules: The Designer's Guide to Professional Typography|url=https://books.google.com/books?id=sY5HAQAAQBAJ&pg=PA20|access-date=18 December 2013|date=7 October 2013|publisher=Wiley|isbn=978-1-118-74869-5|page=20}}</ref><ref name=mutcd>{{cite web|title=List of approved requests for interim approval – FHWA MUTCD|work=Manual on Uniform Traffic Control Devices (MUTCD)|publisher=[[Federal Highway Administration]], U.S. Department of Transportation|url=https://mutcd.fhwa.dot.gov/resources/interim_approval/ialistreq.htm#ia5|access-date=16 January 2014}}</ref> It was not the official font recommended for use by the FHWA and states were required to request interim approval from the Federal Highway Administration to use the font.<ref name=murphy2013/>

On January 25, 2016, the Federal Highway Administration issued a notice in the [[Federal Register]] of the agency's intent to rescind interim approval for use of the Clearview font in 30 days.<ref name="Nadeau"/> FHWA discussed the current state of road signage research and concluded that "the consistent finding among all the research evaluations is that the brightness of the retroreflective sheeting is the primary factor in nighttime legibility."<ref name="Nadeau"/> Even worse, significant misunderstandings and misapplications of the interim approval for Clearview were resulting in badly designed non-uniform signs that violated the uniformity central to the [[Manual on Uniform Traffic Control Devices]].<ref name="Nadeau"/> Accordingly, the notice concluded, "FHWA does not intend to pursue further consideration, development, or support of an alternative letter style."<ref name="Nadeau"/> The rescission of the interim approval drew negative response from government officials as well as one of the typeface's designers.<ref name="114-606">{{cite web|url=https://www.congress.gov/114/crpt/hrpt606/CRPT-114hrpt606.pdf|title=House Report 114-606|work=[[United States House of Representatives]]|date=7 June 2016|access-date=26 September 2016|quote=FHWA is directed to suspend enforcement of actions terminating the interim approval of this alternate font for highway guide signs until the agency provides an opportunity for public comment on this matter, and documents the safety and cost implications of this decision for affected states. [...]}}</ref><ref>{{cite web|url=https://www.congress.gov/bill/115th-congress/house-bill/2029/actions |title=H.R.2029 - To require the Administrator of the Federal Highway Administration to issue a final rule that approves the use of Clearview font for positive contrast legends on guide signs, and for other purposes.|website=Congress.gov|date=7 April 2017|publication-date=April 6, 2017|access-date=April 10, 2017}}</ref><ref>{{cite magazine|first=Margaret|last=Rhodes|title=America's Highway Fonts Got More Drama Than The Bachelor|url=https://www.wired.com/2016/03/americas-highway-fonts-got-drama-bachelor/|magazine=[[Wired (magazine)|Wired]]|date=March 8, 2016|access-date=April 15, 2018}}</ref>

The FHWA reinstated the interim approval on March 28, 2018,<ref name=knopp2018/> per Division L, Title I, Section 125 of the [[Consolidated Appropriations Act, 2018]].<ref name=CAA2018>{{cite web|url=https://www.congress.gov/bill/115th-congress/house-bill/1625/text|publisher=Congress.gov|title=Text - H.R. 1625 - 115th Congress (2017-2018): Consolidated Appropriations Act, 2018 | Congress.gov | Library of Congress|date=23 March 2018|quote=For this fiscal year, the Federal Highway Administration shall reinstate Interim Approval IA–5, relating to the provisional use of an alternative lettering style on certain highway guide signs, as it existed before its termination, as announced in the Federal Register on January 25, 2016 (81 Fed. Reg. 4083).}}</ref>

===Canada===
The Transportation Association of Canada's [[Manual on Uniform Traffic Control Devices#Other jurisdictions|MUTCD for Canada]] allows the use of Clearview, and the [[Ministry of Transportation of Ontario]] uses it for positive contrast guide signs.<ref>{{ cite web | title=Now you see it! MTO's evolution in traffic signs | work=Road Talk | volume=15 | issue=4 | publisher=[[Ministry of Transportation of Ontario]] | url=http://www.mto.gov.on.ca/english/transtek/roadtalk/rt15-4/ | access-date=16 January 2014 | url-status=dead | archive-url=https://web.archive.org/web/20140118140808/http://www.mto.gov.on.ca/english/transtek/roadtalk/rt15-4/ | archive-date=18 January 2014 }}</ref> The Ontario transportation agency [[Metrolinx]] has adopted Clearview for its wayfinding design standard.<ref>{{Cite book |last=Metrolinx |url=https://www.gosite.ca/engineering_public/DesignStandards/DS-03%20MTX%20Wayfinding%20Design%20Standard%20v3.4%20190830.pdf |title=Design Standard DS-03 |date=August 30, 2019 |publisher=[[Metrolinx]] |edition=3.4 |pages=82 |language=EN}}</ref> Toronto has been replacing its black-on-white street signs with newer white-on-blue signs that use Clearview since 2004, with exceptions for certain older neighborhoods.<ref>{{ cite news | title=The signs are a-changin; Those familiar street markers are getting a new font and a new look; Words are designed with seniors and drivers in mind | last=Holden | first=Alfred | work=[[The Toronto Star]] (ONT Edition) | page=B.03 | date=11 July 2004 | url=https://www.proquest.com/docview/438725611 | access-date=16 January 2014 |url-access=subscription }}</ref><ref>{{ cite news | title=The signs they are a changin'; But not right away, as host of exceptions for older neighbourhoods means many existing street signs are sticking around | last=Spears | first=John | date=7 March 2007 | work=[[The Toronto Star]] (MET Edition) | page=C.1 | url=https://www.proquest.com/docview/439184388 | access-date=16 January 2014 |url-access=subscription }}</ref><ref>{{ cite web | last=Byrnes | first=Mark | title=Toronto's gorgeous old street signs might soon be for sale | date=10 May 2013 | work=The Atlantic Cities | publisher=The Atlantic Monthly Group | url=http://m.theatlanticcities.com/neighborhoods/2013/05/torontos-gorgeous-old-street-signs-might-soon-be-sale/5545/ }}</ref> British Columbia has been switching to Clearview for all signage, including regulatory and guide signage.

===Indonesia===
[[File:Indonesia Road Sign Toll Road exit 3.png|thumb|250px|Highway signs using Clearview in Indonesia]]
The [[Ministry of Transportation (Indonesia)|Ministry of Transportation]] promulgated a regulation in 2014 to introduce new [[Road signs in Indonesia|road signs]] that would use the Clearview typeface.<ref>[https://web.archive.org/web/20141006141343/http://kemhubri.dephub.go.id/perundangan/images/stories/doc/permen/2014/pm_13_tahun_2014.pdf Ministerial Regulation No. 13/2014 about Traffic Signs]. Ministry of Transportation of the Republic of Indonesia. Retrieved 7 February 2015.</ref> This new regulation was intended to meet [[Association of Southeast Asian Nations|ASEAN Economic Community]] standards starting in 2015.<ref>[http://kelanakota.suarasurabaya.net/news/2014/139952-Seluruh-Rambu-Lalu-Lintas-akan-Diganti-Ikuti-Standar-ASEAN All road signs will be changed to meet ASEAN Standard]. SuaraSurabaya. Retrieved 7 February 2015.</ref> Previously, road signs in Indonesia had traditionally used [[FHWA Series fonts]] since 1993.<ref>[http://hubdat.dephub.go.id/km/tahun-1993/121-km-61-tahun-1993/download Ministerial Regulation No. 61/1993 about Traffic Signs] {{Webarchive|url=https://web.archive.org/web/20210224203236/http://hubdat.dephub.go.id/km/tahun-1993/121-km-61-tahun-1993/download |date=2021-02-24 }}. Ministry of Transportation of the Republic of Indonesia. Retrieved 7 February 2015.</ref>

===Philippines===
Signage in the [[Philippines]] uses Clearview on newer signs. The numbered shields in the [[Philippine highway network]] use Clearview.{{Citation needed|date=May 2021}}

==See also==
* [[List of public signage typefaces|Public signage typefaces]]
* [[Highway Gothic]]

==References==
{{Reflist}}

==External links==
{{commons category}}
* [https://mutcd.fhwa.dot.gov/resources/clearviewdesignfaqs/index.htm FHWA page about the Clearview typeface]
* [http://www.meekerdesigns.com/typography-and-legibility/ Official site]

{{Traffic signs}}

[[Category:Government typefaces]]
[[Category:Humanist sans-serif typefaces]]
[[Category:Road signs in the United States]]
[[Category:Typefaces and fonts introduced in 2004]]
[[Category:Typefaces designed by James Montalbano]]

Charcoal (typeface)

2025-03-12T03:11:56Z

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{{Refimprove|date=March 2025}}
{{Infobox font
| name = Charcoal
| image = CharcoalSpecimen7.svg
| imagesize = 198px
| style = [[Sans-serif]]
| classifications =
| creationdate = 1995
| creator = David Berlow
| commissioned_by = Apple Computer
| foundry = [[Font Bureau]]
| based_on = [[Chicago font]]
| variations = Virtue Truth Charcoal CY Rostislav (Russia)<ref>[https://rentafont.com/fonts/rostislav Information about font Rostislav]</ref>
| characters =
| glyphs =
| license =
| arabic =
| cyrillic =
| devangari =
| greek =
| hebrew =
| hindi =
| ipa =
| latin = yes
}}

'''Charcoal''' is a sans-serif [[typeface]] designed by David Berlow of [[Font Bureau]] during the period 1994–1997. Charcoal was the default menu [[font]] in Apple Computer's [[Mac OS 8]] and 9, replacing the comparatively harder-to-read [[Chicago (typeface)|Chicago]] as part of the new [[Platinum (theme)|Platinum interface]]. In [[Mac OS X]] developer preview 3, it was replaced with [[Lucida Grande]] as the system typeface. Charcoal is designed for high legibility, even at smaller point sizes, displayed on computer monitors.

While similar in design to grotesque sans-serifs, Charcoal has a distinctive organic quality. The letterforms have a high [[x-height]], a vertical axis, and maintain generous counter-form in and around the letterforms. Descending characters, '''g, j, p, q,''' and '''y''' are shallow, compensating for the high x-height, and allowing for reduced leading in text. While designed primarily for monitor display, Charcoal has had considerable popularity in print, including in letterpress printing.

[http://www.scootergraphics.com/virtue/ Virtue] is a free [[TrueType]] font of similar design sometimes used as a surrogate on non-Apple systems.

==Truth==
'''''Truth''''', an expanded Charcoal family, is sold by Font Bureau, designed by David Berlow, and was released in 2005. It contains small differences from Charcoal, and is available in seven weights: Thin, Light, Regular, Medium, Bold, Black, and Ultra.

== References ==
{{Reflist}}
{{ref begin}}
*{{cite book |author1=Friedrich Friedl |author2=Nicolaus Ott |author3=Bernard Stein |title=Typography: an Encyclopedic Survey of Type Design and Techniques Throughout History |publisher=Black Dog & Leventhal |date=1998 |isbn=1-57912-023-7 |url-access=registration |url=https://archive.org/details/typographyencycl00frie }}
{{Ref end}}

==External links==
{{Commons category|Charcoal (typeface)}}
*[https://web.archive.org/web/20081123064609/http://www.fontbureau.com/news/2005-10-08 New Fonts: FB Truth and Minah]
*[https://store.typenetwork.com/foundry/fontbureau/fonts/truth-fb Truth FB Truth]
*[http://www.identifont.com/show?1O5 Online showing and comparisons]
*[http://ronsilliman.blogspot.com/2006/01/jack-gilbert-once-told-me-that-when-he.html Letterpress printing with the Charcoal typeface]

[[Category:Font Bureau typefaces]]
[[Category:Sans-serif typefaces]]
[[Category:Apple Inc. typefaces]]
[[Category:Typefaces and fonts introduced in 1995]]
[[Category:Typefaces designed by David Berlow]]
{{Typ-stub}}

Benton Sans

2025-03-12T03:08:00Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Grotesque sans-serif typeface}}
{{Infobox font
| name = Benton Sans
| image = FBBentonSans.svg
| style = [[Sans-serif]]
| creationdate = 1995–2003
| based_on = [[News Gothic]]
| creator = [[Tobias Frere-Jones]] [[Cyrus Highsmith]]
| commissioned_by = ''[[Martha Stewart Living]]'', ''[[Worth (magazine)|Worth]]''
| foundry = [[Font Bureau]] Webtype (2015–2016)<ref>{{Cite web |url=http://blog.webtype.com/?p=5585 |title=Complete Benton Sans, Now on Webtype |access-date=2016-07-26 |archive-date=2017-05-09 |archive-url=https://web.archive.org/web/20170509102047/http://blog.webtype.com/?p=5585 |url-status=dead }}</ref> 
Type Network (2016–)<ref>[http://fontbureau.typenetwork.com/news/article/font-bureau-library-now-available-exclusively-on-type-network Font Bureau library now available exclusively on Type Network]</ref>
}}
'''Benton Sans''' is a digital typeface family begun by [[Tobias Frere-Jones]] in 1995, and expanded by [[Cyrus Highsmith]] of [[Font Bureau]]. It is based on the sans-serif typefaces designed for [[American Type Founders]] by [[Morris Fuller Benton]] around the beginning of the twentieth century in the [[Sans-serif#Grotesque|industrial or grotesque]] style. It was a reworked version of Benton Gothic developed for various corporate customers, under Frere-Jones's guidance. In developing the typeface, Frere-Jones studied drawings of [[Morris Fuller Benton|Morris Fuller Benton's]] 1908 typeface [[News Gothic]] at the [[Smithsonian Institution]]. The typeface began as a proprietary type, initially titled MSL Gothic, for [[Martha Stewart Living]] magazine and the website for [[Martha Stewart Living Omnimedia]]. As Benton Gothic, there are 7 weights from Thin to Black and only 2 widths.

When working for retail version of the font, the family was harmonized and given the new name called Benton Sans. In 2002-2003, Cyrus Highsmith added additional widths, weights, and italics to the typeface family, and the face was released for public use under the name Benton Sans. The extra weight and widths also served as optically-corrected replacements for [[Franklin Gothic]], Alternate Gothic, Lightline Gothic.

Like News Gothic, Benton Sans follows the grotesque model. Distinct characters are the two-story lowercase '''a,''' the two-story lowercase '''g,''' and a blunt terminus at the apex of the lowercase '''t.''' The tail of the uppercase '''Q''' is distinct for being located completely outside the bowl. The character set is compact, and descenders are shallow. The typeface differs from other grotesque sans-serifs in its organic shapes and subtle transitions of stroke width, all contributing to a less severe, humanist tone of voice. Benton Sans has a wider, less compact character set than News Gothic. The typeface includes [[text figures]] (old style figures) providing a refinement not available in News Gothic.

Benton Sans font family originally consists of 26 fonts in 8 weights, and 4 widths for all but Extra Light and Thin families, which only include the widest width. On December 18, 2008, The Font Bureau Inc. announced the expansion of the font family. The expanded family has 128 fonts in 8 weights, and 4 widths for all weights, with complementary italic and small caps.<ref>{{Cite web |url=http://www.fontbureau.com/news/2008-12-18 |title=New Fonts: Zocalo, Whitman Display, and Benton Sans |access-date=2009-01-21 |archive-url=https://web.archive.org/web/20090117071646/http://fontbureau.com/news/2008-12-18 |archive-date=2009-01-17 |url-status=dead }}</ref>

==Benton Sans RE (2010)==
It is a version of Benton Sans font designed by David Berlow for screen use between 9 and 18 pixels. Changes include exaggerate the glyph features, larger clearances between letter features, reduced stroke contrasts, wider and more open letterforms with increased letter spacing, larger x-heights, shortened ascenders and descenders.<ref>[http://www.fontbureau.com/ReadingEdge/ The Reading Edge (RE) fonts - Ten font families, each with four basic styles, designed to function reliably at 9px–18px]</ref> Other changes include 1-storey small g, addition of lower right tail in small a, truncation of vertical stem in cedilla, stretched top hook in small f, linked f bar to dotless i in fi ligature ({{not a typo|ﬁ}}), semicircular O in capital OE ligature (Œ), small numeral 1 without bottom bar, 2-storey a in @, diagonal stem and leaned hooks in integral sign (∫), addition of lower left ball serif in small Greek mu and micro signs (μ), addition of lower right tail in small Greek pi (π), downward left hook in square root sign (√), wedged acute and grave diacritical marks, circular dots in commas, quotation marks, exclamation marks, question marks, decimal point, division sign; stretched upper tail in partial differential sign (∂), wedged quotation marks in primes and back quote marks, smaller angle brackets in angle bracket marks, sharper lower tip in single dagger mark, sharper tips in asterisk, elimination of loop in pound currency sign (£), vertical stem in cent currency sign (¢), separation of plus and minus signs in plus-minus sign (±).

The font family includes 4 fonts in 2 weights (regular, bold) and 1 width (between normal and extended width), with complementary italic.

==Benton Sans Wide (2013)==
On August 7, 2013, The Font Bureau Inc. announced the expansion of the Benton Sans font family, which included the addition of Wide width fonts to Benton Sans font family. In addition, small caps and figure styles, extended Latin character set, language support are included in all Benton Sans fonts.

The updated Benton Sans font family includes 80 fonts in 5 widths and 8 weights, with complementary italic.<ref>[https://web.archive.org/web/20150906025519/http://www.fontbureau.com/blog/new-benton-sans-wide/ New Fonts: Benton Sans Wide]</ref><ref>[http://fontbureau.typenetwork.com/news/article/new-benton-sans-wide Benton Sans Wide - Benton Sans, Font Bureau's largest type family, goes wide, to give full coverage in eight wide-ranging weights.]</ref>

==Usage examples==

=== Corporate branding===
*Benton Sans is used in BostonGlobe.com for supplemental heads and section titles.<ref>{{cite web|title=BostonGlobe.com One of the first major newspapers to use webfonts in its digital edition, the Globe always feels like the Globe, on paper or screen.|url=http://fontsinuse.com/uses/62/bostonglobe-com|website=Fonts In Use}}</ref>
* Primary font used in [[The Walt Disney Company]] corporate logo since 2012
* Primary font used in [[SAP ERP|SAP]] website and documents
* Primary font used in [[frog design]] documents
* Primary font used in [[IA Collaborative]] documents
* Primary font used in 2013 [[Myspace]] redesign
* Primary font of [[Indiana University]], along with [[Georgia (typeface)|Georgia Pro]] and [[Salvo Serif]]<ref>{{cite web|title=Fonts: Applying the Brand|url=http://brand.iu.edu/apply/font.shtml|website=Indiana University|access-date=2014-12-16}}</ref>
* Primary font of [[University of Western Ontario|Western University]]<ref>{{Cite journal|title=Western University Graphic Standards Manual|url=http://communications.uwo.ca/comms/pdf/Western_StyleGuide_Final_Jan2013.pdf|journal=Western University}}</ref> and its [[Ivey Business School]]<ref>{{cite web|title=Ivey Standards Manual|url=https://www.ivey.uwo.ca/cmsmedia/286347/ive1004_style_guide_v7.pdf|website=Ivey Business School|access-date=2017-07-25}}</ref>
* Primary font used by [[Heroku]]
* Font of [[Marvel Comics]] logo
* Font of [[The University of Texas at Austin]] for print publications <ref>{{cite web|title=UT Brand Guidelines: Fonts|url=http://www.utexas.edu/brand-guidelines/visual-style-guide/fonts|website=The University of Texas at Austin|access-date=2014-09-10}}</ref>
* On-screen graphics font of [[Formula One]] television coverage from 2015 to 2017
* Font of [[Lonely Planet]]'s book covers<ref>{{cite web|title=Designing destinations at Lonely Planet|url=https://medium.com/@lonelyplanet/hey-andrew-beaver-we-ve-been-using-benton-for-our-book-cover-font-for-years-and-it-was-just-1c4bef35e50f#.sc5707ay1|website=Medium|access-date=2017-02-27}}</ref>
* On-screen graphics font for the [[FIA Formula 2 Championship]] from 2017 to the [[2018 Silverstone FIA Formula 2 round|2018 Silverstone round]]
* On-screen graphics font for the [[GP3 Series]] in 2017 and 2018
* Primary font used in [[Tableau Software]] website and documents
* Primary font used in [[El País]] newspaper website
* Primary font of official [[reddit]] mobile applications
* Font used in [[Fox Sports Networks]] on-screen scorekeeping and analytic graphics since 2017
* Primary font of [[North Rhine-Westphalia]] government websites, documents and logos
*Primary font of [[Axon Enterprise]] corporate logo and publications<ref>{{cite web |title=Look & Feel {{!}} Axon |url=https://brand.axon.com/look |website=Axon}}</ref>

===Miscellaneous===
* Main in-game user interface font of ''[[The Sims 4]]''

==References==
{{reflist|2}}
*Blackwell, Lewis. ''20th Century Type.'' Yale University Press: 2004. {{ISBN|0-300-10073-6}}.
*Friedl, Friedrich, Nicolaus 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 A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.
*Meggs, Phillip B. ''Revival of the Fittest.'' RC Publications, Inc: 2002. {{ISBN|1-883915-08-2}}.

==External links==
*{{Commons category-inline}}
*[https://store.typenetwork.com/foundry/fontbureau/series/benton-sans Font Bureau's website page on Benton Sans]
*[https://web.archive.org/web/20040714030817/http://www.fontbureau.com/images/specimen/pdf/BentonGothic.pdf Font Bureal Benton Gothic specimen]
*[https://web.archive.org/web/20061003015959/http://designarchives.aiga.org/entry.cfm/eid_1490 AIGA Design Archives]
*[http://www.typophile.com/node/2486 Benton Sans vs. News Gothic]
*[https://web.archive.org/web/20120511091518/http://www.fonts.com/font/font-bureau/benton-sans Benton Sans Family History]
*Webtype pages: [https://web.archive.org/web/20160313023939/http://www.webtype.com/font/benton-sans-family/ Benton Sans], [https://web.archive.org/web/20160328162915/http://www.webtype.com/font/bentonsansre-family/ Benton Sans RE]
*Type Network pages: [https://store.typenetwork.com/foundry/fontbureau/series/benton-sans Benton Sans], [https://store.typenetwork.com/foundry/fontbureau/series/benton-sans?family=benton-sans-re Benton Sans RE]

[[Category:Grotesque sans-serif typefaces]]
[[Category:Font Bureau typefaces]]
[[Category:Typefaces with text figures]]
[[Category:Digital typefaces]]
[[Category:Typefaces designed by Tobias Frere-Jones]]
[[Category:Typefaces designed by David Berlow]]
[[Category:Typefaces with optical sizes]]

Mrs Eaves

2025-03-12T03:04:25Z

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{{short description|Transitional serif typeface designed by Zuzana Licko}}
{{Infobox font
| name = Mrs Eaves
| image = MrsEaves.png
| style = [[Serif]]
| classifications = [[Serif#Transitional|Transitional]]
| creationdate = 1996
| creator = [[Zuzana Licko]]
| foundry = [[Emigre (type foundry)|Emigre]]
| variations = Mrs Eaves XL, Mr Eaves
| based_on = [[Baskerville]]
}}
'''Mrs Eaves''' is a [[Serif#Transitional|transitional]] [[serif]] typeface designed by [[Zuzana Licko]] in 1996. It is a variant of [[Baskerville]], which was designed in Birmingham, England, in the 1750s. Mrs Eaves adapts Baskerville for use in display contexts, such as headings and book blurbs, through the use of a low [[x-height]] and a range of unusual combined characters or [[typographic ligature|ligatures]].

Mrs Eaves was released by [[Emigre (type foundry)|Emigre]], a type foundry run by Licko and husband [[Rudy VanderLans]], and has been joined by an 'XL' version for body text, as well as '''Mr Eaves''', a [[sans-serif]] companion.<ref>Lupton, E. (2004). Thinking with Type: A Critical Guide for Designers, Writers, Editers, and Students. New York, Princeton Architectural Press.</ref>

== Description ==

Mrs Eaves is named after Sarah Eaves, the woman who became [[John Baskerville]]'s wife. Like his typefaces, John Baskerville was, himself, a controversial character. As Baskerville was setting up his printing and type business, he hired Sarah Eaves as his live-in housekeeper; eventually, her husband Richard abandoned her and their five children, and Mrs Eaves became Baskerville's mistress and eventual helpmate with typesetting and printing. She married Baskerville within a month of her estranged husband's death. Selection of the name Mrs Eaves honors one of the forgotten women in the history of typography.<ref>{{Cite journal|last=Shaw|first=Paul|year=1996|title=Baskerville Revisited|journal=Print|volume=50|page=28D}}</ref>

Stylistically, Mrs Eaves is a revival of the [[Baskerville]] typefaces cut for Baskerville by John Handy. Like Baskerville, Mrs Eaves has a near vertical stress, departing from the [[Serif#Old-style|old-style]] model. Identifying characters, similar to Baskerville's types, are the lowercase '''g''' with its open lower counter and swashlike ear. Both the roman and italic uppercase '''Q''' have a flowing swashlike tail. The uppercase '''C''' has serifs at top and bottom; there is no serif at the apex of the central junction in uppercase '''W'''; and the uppercase '''G''' has a sharp spur suggesting a vestigial serif.

Licko's design is unorthodox and not a pure revival. In creating it, she was influenced by how it would be printed by contrast to printing in Baskerville's time: considering the flatness of offset lithography in comparison to letterpress printing, and the resolution of set devices and on-screen display. The overall stroke weight of Mrs Eaves is considerably heavier than most other revivals, countering the often anemic reproduction of smaller point sizes in other digital revivals of Baskerville, and restoring some of the feeling of letterpress printing's unpredictability. To compensate for this and create a brighter-looking page, Licko lowered the [[x-height]], reducing the amount of space taken up by ink on the page.

Issue 38, ''The Authentic Issue'', saw the first extensive use of Mrs Eaves in ''Emigre'' Magazine. [http://www.emigre.com/EMag.php?issue=38]

In an interview featured in [[Eye (magazine)|''Eye'']] [[List of Eye magazine issues|(No. 43, Vol. 11, Spring 2002)]], Licko explained why she thought Mrs Eaves was a successful typeface:

{{cquote|I think Mrs Eaves was a mix of just enough tradition with an updated twist. It’s familiar enough to be friendly, yet different enough to be interesting. Due to its relatively wide proportions, as compared with the original Baskerville, it’s useful for giving presence to small amounts of text such as poetry, or for elegant headlines and for use in print ads. It makes the reader slow down a bit and contemplate the message.<ref>''Eye'', Number 43, Volume 11, Spring 2002.</ref>}}

Licko also designed a set of Petite Caps for Mrs Eaves, which were lower in height than regular Small Caps to accommodate the small x-height. This was the first typeface family to have a Petite Caps font and it became a feature in the OpenType specifications.<ref>{{Cite web|title=Petite Caps, anyone?|url=https://typedrawers.com/discussion/1413/petite-caps-anyone|access-date=2021-03-31|website=TypeDrawers|language=en}}</ref>

==Derivatives==
Several derivatives of Mrs Eaves have been released. These include Mrs Eaves XL (2009), a tighter derivative with a higher [[x-height]] intended for body text, and Mr Eaves and Mr Eaves XL, a sans-serif design similar to [[Johnston (typeface)|Johnston]] and [[Gill Sans]].

Mrs Eaves XL was intended to provide a solution to a common criticism of Mrs Eaves' original release: its very loose and uneven spacing, which makes Mrs Eaves unsuitable for body text. Emigre noted themselves that "The spacing is generally too loose for large bodies of text, it sort of rambles along ... Economy of space was not one of the goals behind the original Mrs Eaves design."<ref>{{cite web|title=Introducing Mrs Eaves XL|url=http://www.typo1.com.ar/wp-content/uploads/2012/08/MrsEaves.pdf|website=Emigre|accessdate=6 November 2014}}</ref>

Mr Eaves was released in both regular and XL designs, matching the original Mrs Eaves and Mrs Eaves XL. Both heights were released in two widths: regular and narrow, and in two styles: Sans, a [[Sans-serif#Humanist|humanist]] design closest to the original serif model, and a more simplified Modern design resembling [[Sans-serif#Geometric|geometric]] sans-serif fonts like [[Futura (typeface)|Futura]].<ref>{{cite web|title=Mr Eaves|url=http://www.emigre.com/EF.php?fid=215|publisher=Emigre Fonts|accessdate=6 November 2014}}</ref><ref>{{cite web|title=Mr Eaves specimen|url=https://secure.emigre.com/pdf.php?id=12|publisher=Emigre|accessdate=6 November 2014|archive-url=https://web.archive.org/web/20160304104441/https://secure.emigre.com/pdf.php?id=12|archive-date=4 March 2016|url-status=dead}}</ref>

==Ligatures==
Mrs Eaves is particularly well known for its range of [[typographic ligature|ligatures]], ranging from the common to the fanciful and including intertwined and swash designs. Ligatures in all variants of Mrs Eaves include the standard '''fi, ffi,''' and '''fl''' ligatures, as well as the classic eighteenth-century '''ct''' and '''st''' ligatures and others with no historical precedent. These have been released in a variety of formats: originally ligatures were released in separate expert set fonts; more recently they are issued as stylistic alternates using the [[OpenType]] format. A Just Ligatures variant is available in roman and italic. The OpenType format fonts also contain all 213 ligatures.<ref>{{cite web|url=http://www.emigre.com/EFfeature.php?di=109 |title=Mrs Eaves Design Information: Emigre Fonts |publisher=Emigre.com |date= |accessdate=2012-08-13}}</ref>

==Identifying characteristics==

* Tail on lowercase g does not close
* Swash-like tail of Q
* small counter of italic e compared to italic a
* J well below baseline
* High crossbar and pointed apex of A
* Top and bottom serifs on C
* W and w have no middle stroke
* Long lower arm of E
* Many versions feature a calligraphic J
* T has wide arms

==Prominent uses==
The [[WordPress]] logotype is set in Mrs Eaves.<ref>{{cite web|url=http://wordpress.org/about/logos/ |title=WordPress › About » Logos and Graphics |publisher=Wordpress.org |date= |accessdate=2012-08-13}}</ref> It is also used for the titles (but not author names) on the covers and spines of the current [[Penguin Classics]] from [[Penguin Books]].

Blacktree's [[Quicksilver (software)|Quicksilver]] wordmark uses Mrs Eaves. Roman and petite caps.

[[Bowdoin College]] uses Mrs Eaves in the college wordmark and in many other official materials.

Logo of [[Mandate Pictures]].

[[Radiohead]]'s 2003 album ''[[Hail to the Thief]]'' prominently used Mrs Eaves in its related artwork.

[[NBC]]'s ''[[For Love or Money (2003 TV series)|For Love or Money]]''.

The body text from the published [[Browne Review]].

[[Coldplay]] uses the font in their logo along with any other promotional artwork related to their 2015 album ''[[A Head Full Of Dreams]]''.

[[mewithoutYou]], a punk rock band from Philadelphia, use the font for every release, including their logo.

==References==
{{reflist}}

==Further reading==
*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 A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.
*Meggs, Philip B. and Roy McKelvey. ''Revival of the Fittest.'' RC Publications, Inc.: 2000. {{ISBN|1-883915-08-2}}
*Updike, Daniel Berkley. ''Printing Types Their History, Forms and Use, Vol. II.'' Dover Publications, Inc.: 1937, 1980. {{ISBN|0-486-23929-2}}
*Emigre http://www.emigre.com/EFfeature.php?di=109

==External links==
*[http://emigre.com/EF.php?fid=109 Emigre's web page on Mrs Eaves]
*[http://www.textism.com/textfaces/index.html?id=7 Textism web page on Baskerville]

[[Category:Transitional serif typefaces]]
[[Category:Typefaces with text figures]]
[[Category:Emigre typefaces]]
[[Category:Typefaces designed by Zuzana Licko]]
[[Category:Typefaces and fonts introduced in 1996]]
[[Category:Unified serif and sans-serif typeface families]]
[[Category:Digital typefaces]]
[[Category:Display typefaces]]

Dead History

2025-03-12T03:02:06Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Refimprove|date=March 2025}}
{{Infobox font
| name = Dead History
| image = WcDeadHistory.png
| style =Sans-serif–serif hybrid
| classifications = Geometric sans-serif Didone Postmodern
| releasedate = 1990
| creator = P. Scott Makela
| foundry = [[Emigre (type foundry)|Emigre]]
}}'''Dead History''' is a typeface which explores combining structural elements of both geometric sans-serif and [[Didone (typography)|Didone]] serif typefaces.

== History ==
The Dead history typeface was designed in 1990 by [[P. Scott Makela]] and is licensed by [[Emigre (type foundry)|Emigre]]. While Makela studied in the design program at Cranbook, he used a digital process to create Dead History as opposed to [[Phototypesetting]]. With his computer, he combined elements of both the [[VAG Rounded]] and [[Bell Centennial]] to create Dead History. The typeface went through a few more edits before being licensed by Emigre in 1994, where it was redrawn and finalized by [[Zuzana Licko]]. In 2011, The Museum of Modern Art in New York added Dead History to its architecture and design collection. The typeface was designed when digital tools became standard for designers. Dead history aided in paving the way for other dual typefaces and more creative approaches to the design of type.

== Characteristics ==
Dead History's strokes transition from unbracketed serifs and contrasting stroke width on the left side of characters to a mono-weighted sans-serif with soft, rounded terminals on the right. This typeface is most often associated with postmodern ideals from the time by shifting from the idea of clear and simple to expressive and intense forms. This allows readers to explore type not just as a way of communication but also as a visual experience.<ref>{{Cite web |date=2024-09-26 |title=Dead History Font: A Legacy of Experimental Typography |url=https://artifyassets.com/dead-history-font/ |access-date=2024-12-13 |website=ArtifyAssets |language=en}}</ref>

==References==
*Friedl, 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 A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.

==External links==
*[http://www.emigre.com/EF.php?fid=88 Emigre's web page for Dead History]

== References ==
{{Reflist}}

[[Category:Emigre typefaces]]
[[Category:Semi-serif typefaces]]
[[Category:Typefaces and fonts introduced in 1990]]
[[Category:Display typefaces]]

Cholla Slab

2025-03-12T03:01:32Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{short description|Typeface}}
{{Refimprove|date=March 2025}}
{{Infobox font
| name = Cholla Slab
| image = WmChollaSlab.png
| style = [[Sans-serif]]
| classifications = [[Slab-serif]]
| releasedate = 1998–1999
| creator = Sibylle Hagmann
| foundry = [[Emigre (type foundry)|Emigre]]
}}
'''Cholla Slab''' is a geometric [[slab-serif]] variant of a larger [[typeface]] family called Cholla, designed by Sibylle Hagmann between 1998 and 1999 for the [[Art Center College of Design]]. Cholla is licensed by the [[Emigre (type foundry)|Emigre]] foundry. The typeface is named for a group of [[cactus]] species indigenous to the [[Mojave Desert]].

The family is distinct for maintaining a highly unified design across weights and the [[serif]] and [[sans serif]] variants while allowing for a wide range of variation in form and counter-form across the family. Similarities in structure can be found with the 1930 [[Berthold Type Foundry|Berthold foundry]] typeface, "[[City (typeface)|City]]".

The typeface family has been awarded by both the [[Type Directors Club of New York]] and the [[ATypI|Association Typographique Internationale]] (ATypI).

==References==
*Friedl, 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 A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.

==External links==
*[http://www.kontour.com/typefaces_cholla_samples.html Kontour web page for Cholla]
*[http://www.emigre.com/EF.php?fid=84 Emigre web page for Cholla]

[[Category:Emigre typefaces]]
[[Category:Slab serif typefaces]]
[[Category:Typefaces and fonts introduced in 1998]]

Lo-Type

2025-03-12T02:58:58Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Display typeface}}
{{Refimprove|date=March 2025}}
[[File:Lo-Type sample.png|right|thumb|Lo-Type sample]]
'''Lo-Type''' (sometimes '''Lo-type''', or '''Lo Type'''; originally '''Lo-Schrift''') is a display [[typeface]] originally designed by [[Louis Oppenheim]]. Oppenheim named the font using his own initials which he also used to sign his work. Oppenheim designed the [[avant-garde]] Lo-Type for [[Berthold (company)|Berthold]] during 1911–1914 under the influence of the emerging [[modernist]] era, thus participating in its outburst. In 1980, Oppenheim's Lo-Type was reintroduced with additional weights for phototypesetting by [[Erik Spiekermann]] and is still in use today.<ref>{{cite book
|author=Friedrich Friedl |author2=Nicolaus Ott |author3=Bernard Stein
| title = Typography – when who how
| year = 1998
| publisher = Könemann
| isbn = 3-89508-473-5
}}</ref>

In its extreme thick–thin contrast balanced with hearty roundness and humorous detail, Lo-Type was originally designed as a [[Typeface#Display_type|display type]] for [[advertising]], [[poster]]s and headlines. Typical of its time, it has an irregular outline which gives it a hand cut or ink painted feel. The large [[x-height]] and intentionally idiosyncratic shapes make it particularly eye-catching and unique.

== See also ==
* [[Louis Oppenheim]]
* [[Erik Spiekermann]]
{{See also|Samples of display typefaces}}

== Sources ==
<references/>

== External links ==
* [http://www.myfonts.com/fonts/berthold/lo-type-bq/ MyFonts on Lo-Type]

[[Category:Berthold typefaces]]
[[Category:Display typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Digital typefaces]]

[[Category:Typefaces and fonts introduced in 1914]]

{{typ-stub}}

City (typeface)

2025-03-12T02:58:24Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Infobox font
| name = Berthold City
| image = BCitySp.svg
| style = [[Serif]]
| classifications = [[Slab-serif]]
| releasedate = c. 1930
| creator = [[Georg Trump]]
| foundry = [[Berthold Type Foundry|H. Berthold AG]]
}}

[[Image:TypoGestaltung.jpg|right|thumb|250px|Title page for Tschichold's ''Typographische Gestaltung'' using City Medium, for the Benno Schwabe & Co. publishing house, 1932.]]

'''City''' is a [[slab serif]] [[typeface]] designed by [[Georg Trump]] and released around 1930 by the [[Berthold type foundry]] in Berlin, Germany.{{efn|Different sources have claimed 1930 and 1931.<ref name="Macmillan2006">{{cite book|author=Neil Macmillan|title=An A-Z of Type Designers|url=https://books.google.com/books?id=jxV4qEolEo8C&pg=PA174|year=2006|publisher=Yale University Press|isbn=0-300-11151-7|pages=174–5}}</ref><ref name="Klingspor">{{cite web|title=Georg Trump|url=http://www.klingspor-museum.de/KlingsporKuenstler/Schriftdesigner/Trump/GTrump.pdf|publisher=[[Klingspor Museum]]|accessdate=24 January 2017}}</ref>}} Though classified as a slab serif, City displays a strong [[modernist]] influence in its geometric structure of right angles and opposing round corners. The typeface takes inspiration from the machine age, and industry. A consistent application of repeated parts: an outer circle softening interior rectilinear spaces, results in a highly unified and refined typeface.

The lowercase '''a''' is composed of a two horizontal rectangles in the interior, the outer skin follows the counter but always contrasting the outer stroke with the organic curves. The face was produced in three weights: light, medium, and bold, each in [[roman type|roman]] and [[italic type|italic]]. The graphic designer [[Jan Tschichold]] helped to popularize the City typeface by his use of it for his book ''Typographische Gestaltung'' published by the Basel publishing house Benno Schwabe & Co.

==Commercial uses==
* [[IBM]] Corporation used variations of City for their corporate [[logo]] from 1956 onward<ref>[https://web.archive.org/web/20041221233808/http://www-03.ibm.com/ibm/history/exhibits/logo/logo_7.html www-03.ibm.com] IBM Logo History</ref> and used City Medium on the title pages and covers of their technical manuals for several decades.
* [[Southern Television]] used City for titling in their news programme ''Day by Day.''
* The 1998 anime series ''[[Cowboy Bebop]]'' used City for its title sequence.
* A variant of this typeface was also used for the titles and credits of the [[CBS]] crime drama series, ''[[Mannix]]''.
* For several years until 2015, [[ESPN]] used City Pro Bold to brand its college [[American football|football]] and [[basketball]] coverage; ESPN has since used it solely for the latter.
* [[Italian Air Force]] (''Aeronautica Militare'') used City Bold typeface for their logo.
* Australia's [[Big Bash League|BBL]] and [[Women's Big Bash League|WBBL]] T20 Cricket Tournaments used City for their branding up until 2019. The font is still used in the tournaments' logo.

==City Pro==
In 2007–09, Berthold released an OpenType Pro version of City called City Pro, which supports Central European, Latin Extended A characters. OpenType features include ordinals, proportional lining figures, subscripts and superscripts, fractions.

==Square Slabserif 711==

The Square Slabserif 711 font from Bitstream is very similar to City and is available in light, medium, and bold weights. The Square Slabserif 711 also support [[Greek alphabet|Greek]] and [[Cyrillic]].<ref>{{Cite web|url=http://www.myfonts.com/fonts/bitstream/square-slabserif-711/|title = Font Family Page}}</ref>

==See also==
*[[Cholla Slab]]

== 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}}.
*Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.
*Meggs, Philip and Rob Carter. ''Typographic Specimens: The Great Typefaces.'' Van Nostrand Reinhold: 1993. {{ISBN|0-442-00758-2}}.
{{reflist|30em}}
{{notelist|30em}}

==External links==
{{Commons category|City (typeface)}}
*[http://www.bertholdtypes.com/bq_library/590058.html Berthold Fonts: City Pro OpenType]

[[Category:Berthold typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Photocomposition typefaces]]
[[Category:Digital typefaces]]
[[Category:Typefaces designed by Georg Trump]]
[[Category:Geometric slab-serif typefaces]]
{{typ-stub}}

Catull

2025-03-12T02:57:53Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{short description|Serif typeface}}
{{Refimprove|date=March 2025}}
{{Infobox font
| name = Catull
| image = Catull font.svg
| style = [[Serif]]
| classifications = [[serif]]
| releasedate = 1982
| creator = Gustav Jaeger
| foundry = [[Berthold Type Foundry|Berthold]]
| sample = [[File:Catull sample.svg|220px|Sample text]]
}}

'''Catull''' is a [[serif]] [[typeface]] created by Gustav Jaeger for the [[Berthold Type Foundry]] in 1982.<ref>{{Cite news |last=McWade |first=John |date=June 30, 2010 |title=Famous logo links past and present? |url=http://www.mcwade.com/DesignTalk/2010/06/famous-logo-links-past-and-present/ |access-date=2024-07-31 |work=Before & After's Design Talk}}</ref>

Between May 31, 1999 and September 1, 2015,<ref>{{Cite news |last=Matthews |first=Dylan |date=September 1, 2015 |title=Here’s Google’s brand new logo |url=https://www.vox.com/2015/9/1/9239835/google-logo-history |access-date=2024-07-31 |work=Vox}}</ref> it was used by [[Google]] for its [[Google logo|logo]].

==References==
{{reflist}}

[[Category:Serif typefaces]]
[[Category:Berthold typefaces]]
[[Category:Google]]

{{Typography-stub}}

Skia (typeface)

2025-03-12T02:54:01Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Humanist sans-serif typeface}}
{{about|the typeface included in Mac OS|the graphics engine|Skia Graphics Engine|QuickDraw GX, for which Skia was the codename|QuickDraw GX}}
{{Refimprove|date=March 2025}}
{{Infobox font
| name = Skia
| image = Skiaspecimen3.svg
| imagesize = 259px
| style = [[Sans-serif]]
| creationdate = 1994
| creator = [[Matthew Carter]]
| foundry = [[Apple Computer]]
| variations = Cadmus
}}
'''Skia''' is a [[VOX-ATypI classification#Humanist_2|humanist]] sans-serif [[typeface]] designed by [[Matthew Carter]] for [[Apple Computer]] in 1994.<ref name="Carter"/> ''Skia'' is [[Greek language|Greek]] for "shadow", and the letterforms take inspiration from stone-carved 1st century BC Greek writing. The typeface was the first [[QuickDraw GX]] font, and has been pre-installed in [[Mac operating systems]] since [[System 7 (Macintosh)|System 7.5]] (1994).

Skia includes "GX variations" technology that–if an application offers the UI–allows its weight to be adjusted smoothly between thin and bold, and its width between narrow and extended. (Adobe's "[[multiple master fonts|multiple master]]" technology was similar.) In 2016 it was announced that several technology companies, including [[Google]], [[Microsoft]] and [[Adobe Inc.|Adobe]], were adopting Apple's GX variations as the basis of the variations specification inside [[OpenType]] 1.8, and since that announcement Skia had been used to demonstrate the capabilities of the technology.

==References==
{{reflist|refs=

<ref name="Carter">{{cite web|url=http://designmuseum.org/design/matthew-carter|title=Matthew Carter|website=Design Museum + British Council|access-date=25 April 2010 |archive-url=https://web.archive.org/web/20100613000612/http://designmuseum.org/design/matthew-carter |archive-date=13 June 2010}}</ref>

}}

== External links ==
{{Commons category|Skia (typeface)|Skia}}
* [http://www.myfonts.com/fonts/apple/skia/ Skia at myfonts.com] {{Webarchive|url=https://web.archive.org/web/20051125204436/http://www.myfonts.com/fonts/apple/skia/ |date=2005-11-25 }}
* [https://vimeo.com/120047887 TrueType GX Variations — Skia by Matthew Carter] (a video showing the variations axes being adjusted)
{{OS X typefaces}}

[[Category:Humanist sans-serif typefaces]]
[[Category:Incised typefaces]]
[[Category:Apple Inc. typefaces]]
[[Category:Typefaces and fonts introduced in 1994]]
[[Category:Typefaces designed by Matthew Carter]]

{{mac-stub}}
{{typ-stub}}

New York (1983 typeface)

2025-03-12T02:52:22Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{for|the newer Apple typeface|New York (2019 typeface)}}
{{Infobox font
| name =
| image = NewYorkSpecimen.svg
| style = [[Serif]]
| classifications = Transitional
| creationdate = 1983, 1988
| creator = [[Susan Kare]]
| foundry = [[Apple Computer]]
| arabic =
| cyrillic =
| devangari =
| greek =
| hebrew =
| hindi =
| ipa =
| latin = yes
|}}

'''New York''' is a transitional serif typeface designed in 1983 for the [[Macintosh]] computer by [[Susan Kare]] and reworked in 1988 by [[Charles Bigelow (type designer)|Charles Bigelow]] and [[Kris Holmes]]. The typeface was the standard bitmap [[serif]] font for the early Macintosh operating systems. Originally titled “Ardmore”, it was renamed to New York before its initial release as part of the "World Class Cities" naming scheme by Apple Computer cofounder [[Steve Jobs]].<ref>Susan Kare. [http://www.folklore.org/StoryView.py?project=Macintosh&story=World_Class_Cities.txt “The Original Macintosh: World Class Cities”] ''Folklore,'' retrieved January 16, 2007.</ref>

Designed as a bitmap face, New York was later released in [[TrueType]] format, though the design differed from the bitmap version.<ref>[http://cajun.cs.nott.ac.uk/compsci/epo/papers/volume4/issue3/ep050cb.pdf "Notes on Apple 4 Fonts"],
Charles A. Bigelow and Kris Holmes, September 1991</ref>

In 2019, Apple made a new serif typeface available, also named [[New York (2019 typeface)|New York]], although the designs are unrelated.<ref>{{cite web|last=Carter|first=Dom|date=June 4, 2019|title=Apple's new free system font isn't actually that new|url=https://www.creativebloq.com/news/new-york-font|website=Creative Bloq}}</ref>

The [[Fox Broadcasting Company]] network used the font in its on-air promotion graphics during the early 2000s.{{citation needed|date=June 2024}}

==See also==
*[[Apple typography]]
*[[San Francisco (sans-serif typeface)]]

==References==
{{Commons category|New York (1983 typeface)}}
<references/>

[[Category:Apple Inc. typefaces]]
[[Category:Transitional serif typefaces]]
[[Category:Typefaces and fonts introduced in 1983]]
[[Category:Typefaces designed by Susan Kare]]
[[Category:Typefaces designed by Charles Bigelow (type designer)]]
[[Category:Typefaces designed by Kris Holmes]]

{{typ-stub}}

Lydian (typeface)

2025-03-12T02:46:48Z

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{{short description|Humanist typeface}}
{{Infobox font
| name = Lydian
| image = Lydian.svg
| style = [[Calligraphic]], [[Vox-ATypI_classification#Humanist|humanist]], [[sans-serif]]
| creationdate = 1938–1946
| creator = [[Warren Chappell]]
| foundry = [[American Type Founders|ATF]]
| sample =
}}

'''Lydian''' is a calligraphic [[Vox-ATypI classification#Humanist|humanist]] [[sans-serif]]<ref name=":0">{{Cite web|url=https://www.vox.com/the-goods/2019/1/17/18185389/lydian-font-book-design-nancy-drew-against-everything|title=This font you know from old pulp novels is all over new books|last=Tiffany|first=Kaitlyn|date=2019-01-17|website=Vox|access-date=2019-05-18}}</ref> [[typeface]] designed by [[Warren Chappell]] for [[American Type Founders]] in 1938. It is available in bold, italic, and condensed,<ref>{{Cite web|url=https://www.fonts.com/font/bitstream/lydian|title=Lydian™ Font Family|website=Fonts.com|language=en|access-date=2019-05-19}}</ref> as well as in a Cursive variant.<ref>{{Cite web|url=https://www.myfonts.com/fonts/bitstream/lydian-cursive/|title=Lydian Cursive|website=[[MyFonts]]|access-date=2019-05-19}}</ref> The original foundry font was commissioned and cast by [[American Type Founders]] and included a [[stylistic alternate]], a capital ‹A› with a cross bar.<ref>{{Cite web|url=https://www.thejumpingfrog.com/?page=shop/flypage&product_id=1555332&keyword=Lydian&searchby=title&offset=0&fs=1#|title=American Type Founders typeface showing card Lydian ca 1940s|website=The Jumping Frog|publisher=American Type Founders|access-date=2019-05-19}}</ref> It was named after the designer's wife Lydia.<ref name=":0" /><ref>{{Cite news |url=https://www.newspapers.com/article/richmond-times-dispatch-warren-chappell/166432420/ |title=Warren Chappell, Illustrator, Dies |date=1991-03-28 |newspaper=[[Richmond Times-Dispatch]] |page=B2 |via=[[Newspapers.com]] |access-date=2025-02-22}}{{Open access}}</ref> It is famously used as the font for the end credits on the TV show ''[[Friends]]''.

The various members of the [[Font family|family]] were introduced over the course of eight years:

* ''Lydian Italic'' (1938)
* ''Lydian Bold Italic'' (1938)
* ''Lydian Cursive'' (1940)
* ''Lydian Condensed Italic'' (1946)

== References ==
{{Reflist}}

{{DEFAULTSORT:Lydian (Typeface)}}
[[Category:Sans-serif typefaces]]
[[Category:American Type Founders typefaces]]
[[Category:Display typefaces]]
[[Category:Typefaces and fonts introduced in 1938]]

Kaufmann (typeface)

2025-03-12T02:46:07Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Script typeface}}
{{Infobox font
| name =
| image = Kaufmann Font Spec.svg
| style = [[Script (typefaces)|Casual script]]
| creationdate = 1936
| creator = Max R. Kaufmann
| foundry = [[American Type Founders]]
| foundries = [[Bitstream]], [[Elsner+Flake]], [[Mergenthaler Linotype Company|Linotype]], [[Adobe Type]], [[Scangraphic]], Tilde, SIA, URW
}}

'''Kaufmann''' is a brush script [[typeface]] drawn in 1936 by Max R. Kaufmann for the [[American Type Founders]] (ATF). The stroke weight is monotone. Uppercase characters are freely drawn, while lowercase is more regular in height and width, recalling cursive handwriting. Lowercase characters are close-fitting, affecting the look of a connecting script. The '''d''' is looped.

The fluid forms of both the uppercase and lowercases, combined with an even weight of stroke, have made Kaufmann popular in neon sign fabrication.

==Usages==
A slightly modified form of the typeface has been used since 2001 for the logo of the ''[[Pop Idol]]'' series and [[Idols (franchise)|various international spinoffs]]. The most notable change is the long stylised flick added to the capital "A" in the ''[[American Idol]]'', ''[[Australian Idol]]'' and ''[[Asian Idol]]'' logos. The "Z" featured in the ''[[NZ Idol]]'' logo is also very different from a standard Kaufmann "Z".

Kaufmann was also used to display the players' names on [[Topps]] baseball cards from 1970 and 1994, and is featured on the marquee of the [[Ed Sullivan Theater]] in [[New York City]], in the ''[[Late Show with David Letterman]]'' logo.
[[File:Script-r.png|alt=MS Word Kaufmann font version of lowercase r|thumb|'''r''' as used within Griffiths Electrodynamics]]
A version of the typeface's lowercase '''r''' is used in [[Introduction to Electrodynamics|the undergraduate electrodynamics book]] by [[David J. Griffiths]]. It is used to denote the distance from the source point to the field point - commonly represented as <math>|\mathbf{x} - \mathbf{x}'|</math> in other texts.<ref>{{Cite book|last=Griffiths|first=David J.|title=Introduction to Electrodynamics|publisher=Cambridge University Press|year=2017|isbn=978-1-108-42041-9|pages=xii|language=en}}</ref><ref>{{Cite web|title=David J. Griffiths - Physics - Reed College|url=https://www.reed.edu/physics/faculty/griffiths/}}</ref>

==References==
{{Reflist}}
*Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. ''The Encyclopedia of Type Faces''. Blandford Press Ltd.: 1953, 1983. {{ISBN|0-7137-1347-X}}.

==External links==
*[https://ssl.kundenserver.de/www.elsner-flake-shop.com/sess/utn154581e252a30f6/shopdata/product_search.shopscript?query=Kauffman&search_logical=and&content=suche&page=1&sprache= Elsner + Flake website]{{Dead link|date=February 2020 |bot=InternetArchiveBot |fix-attempted=yes }}

[[Category:American Type Founders typefaces]]
[[Category:Casual script typefaces]]
[[Category:Typefaces designed by Max R. Kaufmann]]

{{Typography-stub}}

Andreas (typeface)

2025-03-12T02:41:55Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{See also|Samples of display typefaces}}
{{unreferenced|date= April 2022}}
{{Infobox font
| name = Andreas
| image = Andreas font.svg
| imagesize = 250px
| style = Display
| creationdate = 1988
| creator = [[Michael Harvey (lettering artist)|Michael Harvey]]
| foundry = [[Adobe Systems|Adobe]]
| sample = [[Image:Andreas sample.svg|250px|Andreas sample text]]
|}}

'''Andreas''' is a humanist [[serif]] [[typeface]] designed by [[Michael Harvey (lettering artist)|Michael Harvey]], and licensed from the [[Adobe Type]] library. Harvey drew the lettering in 1988 as part of the book-jacket design for James F. Peck's book ''In the Studios of Paris: William Bouguereau and His American Students,'' a [[Yale University Press]] publication. That lettering became the foundation for the 1986 typeface Andreas.

In keeping with the book's subject, Harvey wanted [[letterform]]s that reflected the [[Art Nouveau]] period. The letterforms also bear comparison with the condensed, calligraphic thirteenth-century Italian monumental capitals. Due to space constraints, the type had to be narrow enough to allow the title to fit on a single line across the top, so as to not intrude on the [[Van Gogh]] painting that filled the rest of the jacket. To accomplish this he drew the letterforms freehand, giving them highly animated organic strokes and narrow character set. He also added distinctive junctions of letter strokes to the '''D,''' '''P,''' and '''R.''' The typeface was drawn in outline, intending to reverse to white, so as to not be overly assertive on the cover.

{{DEFAULTSORT:Andreas (Typeface)}}
[[Category:Display typefaces]]
[[Category:Adobe typefaces]]
[[Category:Typefaces and fonts introduced in 1988]]
[[Category:Art Nouveau typefaces]]
[[Category:Typefaces designed by Michael Harvey (lettering artist)]]

{{Typ-stub}}

Alexa (typeface)

2025-03-12T02:41:42Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Primary sources|date=June 2020}}
{{Infobox font
| image = Alexa font.svg
| name = Alexa
| style = Script
| creationdate = 1995
| creator = [[John Benson (artisan)|John Benson]]
| foundry = [[Adobe Systems]]
| sample = [[Image:Alexa sample.svg|250px|Alexa sample text]]
|}}

'''Alexa''' is a [[typeface]]. It was designed for [[Adobe Systems]] in 1995 by [[John Benson (artisan)|John Benson]], a [[United States]] carver of inscriptions, including those at the [[John F. Kennedy]] Memorial in [[Arlington National Cemetery]]. Benson modeled the friendly, casual [[script (typefaces)|script]] after his own [[handwriting]] and named it after his niece. Although based on the ''[[cancelleresca]]'' style of 16th-century [[Italy|Italian]] writing masters, Alexa has no [[swash (typography)|swash]] terminals or [[Typographic ligature|ligatures]]. The absence of these features and its pronounced slope give this typeface a distinctly modern look for lively lines and pages. One can use Alexa for both text and display sizes.

==External links==
*[http://www.adobe.com/type/browser/P/P_1444.html Alexa Std] from adobe.com

[[Category:Adobe typefaces]]
[[Category:Casual script typefaces]]
[[Category:Typefaces and fonts introduced in 1994]]

{{typ-stub}}

Adobe Jenson

2025-03-12T02:41:22Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Distinguish | Janson}}
{{Infobox font
| name = Adobe Jenson
| image = Adobe Jenson.svg
| imagesize = 250px
| style = [[Serif]]
| releasedate = 1996
| based_on = [[Nicolas Jenson]]
| creator = [[Robert Slimbach]]
| foundry = [[Adobe Type]]
| classifications = [[Serif#Old-style|Old-style]] Venetian
}}
'''Adobe Jenson''' is an [[serif#Old-style|old-style]] [[serif]] [[typeface]] drawn for [[Adobe Systems]] by its chief type designer [[Robert Slimbach]]. Its Roman styles are based on a text face cut by [[Nicolas Jenson]] in Venice around 1470, and its italics are based on those created by [[Ludovico Vicentino degli Arrighi]] fifty years later.

Jenson is an organic design, with a low [[x-height]]. It is considered a highly readable typeface and is accordingly often used in book design for body text.

==Development==
[[Image:Jenson 1475 venice laertius.png|thumb|left|A specimen of [[Nicolas Jenson]]'s roman typeface, from the "Laertis" published in Venice ''ca'' 1475.]]
[[Image:JensonOpticalSizes.png|thumb|right|Optical sizing in Adobe Jenson]]
Adobe Jenson was first released in 1996 as a [[multiple master fonts|multiple master]] font.<ref name="2015 Award">{{cite web|title=SOTA Typography Award Honors Robert Slimbach|url=http://www.typesociety.org/typography/2015/|publisher=SOTA|accessdate=8 January 2016}}</ref> It was created using sophisticated interpolation or multiple-master technology, to create a range of weights and [[optical size]]s suitable for different text sizes.<ref>{{cite web|title=DesigningMultiple Master Typefaces|url=https://partners.adobe.com/public/developer/en/font/5091.Design_MM_Fonts.pdf|publisher=Adobe|accessdate=2 July 2015|archive-url=https://web.archive.org/web/20150706062642/http://partners.adobe.com/public/developer/en/font/5091.Design_MM_Fonts.pdf|archive-date=2015-07-06|url-status=dead}}</ref> This partial automation of font creation was intended to allow a gradual trend in styles from solid, chunky designs for caption-size small print to more graceful and slender designs for headings.<ref>{{cite web|last1=Riggs|first1=Tamye|title=The Adobe Originals Silver Anniversary Story|url=http://blog.typekit.com/2014/07/30/the-adobe-originals-silver-anniversary-story-how-the-originals-endured-in-an-ever-changing-industry/|website=Typekit blog|publisher=Adobe|accessdate=2 July 2015}}</ref>{{efn|The original goal was that this would be controllable from inside applications using text, so a user could fine-tune the font to the exact form they needed (thickness, optical size, level of condensation, etc.)<ref>{{cite web|last1=Phinney|first1=Thomas|title=Font Remix Tools (RMX) and Multiple Master Fonts in type design|url=http://www.thomasphinney.com/2010/03/font-remix-tools-rmx-and-multiple-master-fonts-in-type-design/|publisher=Phinney|accessdate=4 July 2015}}</ref> Making apps support this proved impractical, and so instead multiple master fonts have been released in a set of styles likely to be useful.<ref>{{cite web|last1=Phinney|first1=Thomas|title=TrueType, PostScript Type 1, & OpenType: What’s the Difference?|url=http://blogs.adobe.com/typblography/files/typblography/TT%20PS%20OpenType.pdf|publisher=Adobe|accessdate=4 July 2015}}</ref>}} It is now sold in the standard [[OpenType]] font format under the name Adobe Jenson Pro.<ref name="Arno Pro specimen">{{cite book|author=Twardoch|author2=Slimbach|author3=Sousa|author4=Slye|title=Arno Pro|date=2007|publisher=Adobe Systems|location=San Jose|url=http://wwwimages.adobe.com/content/dam/Adobe/en/products/type/pdfs/ArnoPro.pdf|accessdate=14 August 2015|archive-date=30 August 2014|archive-url=https://web.archive.org/web/20140830030331/http://wwwimages.adobe.com/content/dam/Adobe/en/products/type/pdfs/ArnoPro.pdf|url-status=dead}}</ref> Jenson's type used an 'M' with two-way top serifs and a 'Q' with a curled tail, both now not commonly seen; the default characters are more contemporary forms but both were included as [[Stylistic alternate|alternate characters]].<ref name="Typeface review: Adobe Jenson">{{cite journal |last1=Burke |first1=Christopher |authorlink1=Christopher Burke (design writer) |title=Typeface review: Adobe Jenson |journal=Bulletin of the Printing Historical Society|pages=16-17 |date=1998}}</ref>

==Adobe Jenson Pro==
Adobe Jenson Pro is an OpenType update of the original family. The font family supports Adobe CE, ISO-Adobe (later Adobe Western 2), dingbat character sets. The family comes with 4 weights each in roman and italic, and 4 optical sizes. Supported OpenType features include Stylistic alternates, ligatures, proportional numbers, old style figures, small caps, subscripts and superscripts, ordinals, and swashes (italic fonts only).

{| class="wikitable"
|-
! Optical sizes !! Caption !! Regular !! Subhead !! Display
|-
! Intended point sizes
| 6–9 || 9–13.4 || 13.4–21.9 || 21.9–72
|-
|}

==Related typefaces==
Many other typefaces have been cut based on the work of Jenson. William Morris's [[Golden Type]] created the trend in the 1890s; his design is known for its emboldening of Jenson's original design, giving it something of the feel of [[blackletter]].<ref name="Peterson1991">{{cite book|author=William S. Peterson|title=The Kelmscott Press: A History of William Morris's Typographical Adventure|url=https://archive.org/details/kelmscottpresshi0000pete_y2f4|url-access=registration|year=1991|publisher=University of California Press|isbn=978-0-520-06138-5|pages=[https://archive.org/details/kelmscottpresshi0000pete_y2f4/page/39 39], 81–95, 194–305}}</ref> It is named for ''[[The Golden Legend]]'', which was intended to be the first book printed using it.<ref name="HarveyPress1991">{{cite book|author1=Charles Harvey|author2=Jon Press|title=William Morris: Design and Enterprise in Victorian Britain|url=https://books.google.com/books?id=ujXpAAAAIAAJ&pg=PA201|year=1991|publisher=Manchester University Press|isbn=978-0-7190-2419-1|pages=201–2}}</ref><ref name="Lawson1990">{{cite book|author=Alexander S. Lawson|title=Anatomy of a Typeface|url=https://books.google.com/books?id=FiJ87ixLs0sC&pg=PA47|date=January 1990|publisher=David R. Godine Publisher|isbn=978-0-87923-333-4|pages=47–51}}</ref> Popular since the 1930s, [[Bruce Rogers (typographer)|Bruce Rogers]]' [[Centaur (typeface)|Centaur]] is a much more slender revival in the same style. [[American Type Founders]]' [[Cloister Old Style]] was created by its design team led by [[Morris Fuller Benton]] around 1915, during the same period as Centaur.<ref name=MyFonts>{{cite web|title=ITC Golden Type|url=http://www.myfonts.com/fonts/itc/golden-type/|website=MyFonts|publisher=ITC|accessdate=29 December 2015}}</ref><ref name="LTC Cloister">{{cite web|title=LTC Cloister|url=http://www.myfonts.com/fonts/lanston/ltc-cloister/|website=LTC|publisher=MyFonts|accessdate=29 December 2015}}</ref> Ludlow created another release with italic under the direction of [[Ernst F. Detterer]] and [[Robert Hunter Middleton]] in the 1920s.<ref name="Nicolas Jenson SG">{{cite web|title=Nicolas Jenson SG|url=http://www.myfonts.com/fonts/spiecegraphics/nicolas-jenson-sg/|website=MyFonts|publisher=Speice Graphics/Ludlow|accessdate=29 December 2015}}</ref> [[American Type Founders]] also issued a very eccentric{{According to whom|date=December 2024}} Jenson revival inspired by the work of Morris which is little-known today.<ref name="LTC Jenson">{{cite web|title=LTC Jenson|url=https://web.archive.org/web/20101013154353/http://new.myfonts.com/fonts/lanston/ltc-jenson/|website=LTC|publisher=MyFonts|accessdate=29 December 2015}}</ref>[[Tobias Frere-Jones]] created a revival in 1994 named [[Hightower Text]] that is bundled with some Microsoft software, adding his own italic design.<ref name=Hightower>{{cite web|last1=Frere-Jones|first1=Tobias|title=Hightower|url=http://www.fontbureau.com/fonts/Hightower/|publisher=Font Bureau|accessdate=29 December 2015}}</ref>

==References==
{{reflist|30em}}
{{notelist}}
*''Adobe Jenson Specimen Book''. [[Adobe Systems Incorporated]], 1996.

==External links==
* [http://www.adobe.com/type/browser/P/P_1715.html Jenson Pro]
*[http://store1.adobe.com/cfusion/store/html/index.cfm?store=OLS-US&event=displayFontPackage&code=1716 Adobe Jenson Pro Opticals]

[[Category:Old style serif typefaces]]
[[Category:Typefaces with optical sizes]]
[[Category:Adobe typefaces]]
[[Category:Typefaces and fonts introduced in 1996]]
[[Category:Typefaces designed by Robert Slimbach]]

Zapf Dingbats

2025-03-12T02:36:24Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{short description|Dingbat typeface}}
{{Lead too short|date=January 2021}}
{{Infobox font
| name = Zapf Dingbats
| image = Zapf Dingbats sample.tiff
| style = [[Dingbat]]s
| releasedate = 1978
| creator = [[Hermann Zapf]]
| foundry = [[International Typeface Corporation|ITC]]
}}
{{Infobox character encoding
|name = Zapf Dingbats Encoding
|definitions = [https://unicode.org/Public/MAPPINGS/VENDORS/APPLE/DINGBATS.TXT Mac OS Dingbats] [https://unicode.org/Public/MAPPINGS/VENDORS/ADOBE/zdingbat.txt Adobe Zapf Dingbats]
|alias = <code>x-mac-dingbats</code><ref>[https://l0.cm/encodings/test7/safari_x-mac-dingbats.html Safari x-mac-dingbats]</ref>
|image =
|caption =
|lang = [[Dingbat]] ornaments
|otherrelated = '''Other dingbats:''' [[Webdings]], [[Wingdings]] '''Other PS Pi fonts:''' [[Symbol (typeface)|Symbol]]
|classification = [[PostScript fonts#Core Font Set|PostScript core]] [[pi font]]
}}

'''ITC Zapf Dingbats''' is one of the more common [[dingbat]] [[typeface]]s. It was designed by the [[type designer|typographer]] [[Hermann Zapf]] in 1978 and licensed by [[International Typeface Corporation]].

==History==
In 1977, Zapf created about 1000 (or over 1200 according to Linotype) sketches of signs and symbols. ITC chose from those a subset of 360 symbols, ornaments and typographic elements based on the original designs, which became known as ITC Zapf Dingbats. The font first gained wide distribution when ITC Zapf Dingbats, which consists of the subset chosen by ITC, became one of 35 PostScript fonts built into Apple's [[LaserWriter|LaserWriter Plus]].{{Citation needed|date=February 2012}}

When ITC Zapf Dingbats was first announced in [[International Typeface Corporation#U&lc magazine|''U&lc'' magazine]], volume 5-2,<ref>[http://uandlc.com/PDF/Volume%205-2%20%28Low%20Res%29.pdf U&lc. magazine volume 5-2]</ref> the family was divided into the 100 series (ITC-100), 200 series (ITC-200), 300 series (ITC-300). Each series contains 120 symbols.

Zapf Dingbats series 100 became widely implemented on [[PostScript]] printers, and gained currency as a [[pi font]] encoding in the 1980s and early 1990s. It incorporates several rightward-facing arrows without counterparts for the other three cardinal directions, on the assumption that it would be used in contexts allowing rotation of text characters.<ref>{{cite web |url=https://unicode.org/mail-arch/unicode-ml/y2015-m05/0272.html |title=Re: Arrow dingbats |date=2015-05-28 |last=Whistler |first=Ken |work=Unicode Mailing List Archive}}</ref>

==Availability==
The ITC glyph set is included in [[Unicode]] and it is one of the "Basic 14" typefaces guaranteed to be available for [[PDF]] files.

ZapfDingbats, the [[PostScript]] version of ITC Zapf Dingbats, is distributed with [[Acrobat Reader]] 5 and 5.1.

[[URW++]] donated a version of ZapfDingbats to [[GhostScript]] under the non-commercial [[Aladdin Free Public License]]. The font can be found in GhostPCL source code, as ''D050000L.ttf''.

ITC Zapf Dingbats Std is an OpenType version of the font family, based on the PostScript variant of the font. The [[glyphs]] are mapped to the corresponding Unicode code points. The family consists of 1 font (ITC Zapf Dingbats Medium) with 204 glyphs.

===Zapf Essentials===
Zapf Essentials is an update to the Zapf Dingbats family which consists of 6 symbol-encoded fonts categorized in Arrows One (black arrows), Arrows Two (white arrows, patterned arrows), Communication (pointing fingers, communication devices), Markers (squares, triangles, circles, ticks, hearts, crosses, check marks, leaves), Office (pen, clock, currency, scissors, hand), Ornaments (flowers, stars), for a total of 372 glyphs. However, not all ITC Zapf Dingbats glyphs are included in the Zapf Essentials collections (e.g.: airplane, letter).<ref>[http://www.linotype.com/1830/adynamicversatilesymbolfontbyhermannzapf.html Linotype Zapf Essentials - Available as Value Pack for instant download or on CD with physical shipping]</ref><ref>[http://www.linotype.com/1460/introduction.html A dynamic, versatile symbol font by Hermann Zapf]</ref>

==Codepage layout==
{{see also|Dingbats (Unicode block)}}

{|{{chset-table-header1|ITC Zapf Dingbats<ref>{{cite web|url=https://unicode.org/Public/MAPPINGS/VENDORS/APPLE/DINGBATS.TXT|title=Map (external version) from Mac OS Dingbats character set to Unicode 3.2 and later.|year=2005|publisher=Apple, Inc}}</ref>}}
|-
|{{chset-left1|0x}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|-
|{{chset-left1|1x}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|-
|{{chset-left1|2x}}
|{{chset-ctrl1|U+0020 SPACE| [[Space character|SP]] }}
|{{chset-cell1|u=2701|U+2701 UPPER BLADE SCISSORS|[[✁]]}}
|{{chset-cell1|u=2702|U+2702 BLACK SCISSORS|[[✂]]}}
|{{chset-cell1|u=2703|U+2703 LOWER BLADE SCISSORS|[[✃]]}}
|{{chset-cell1|u=2704|U+2704 WHITE SCISSORS|[[✄]]}}
|{{chset-cell1|u=260E|U+260E BLACK TELEPHONE|[[☎]]}}
|{{chset-cell1|u=2706|U+2706 TELEPHONE LOCATION SIGN|[[✆]]}}
|{{chset-cell1|u=2707|U+2707 TAPE DRIVE|[[✇]]}}
|{{chset-cell1|u=2708|U+2708 AIRPLANE|[[✈]]}}
|{{chset-cell1|u=2709|U+2709 ENVELOPE|[[✉]]}}
|{{chset-cell1|u=261B|U+261B BLACK RIGHT POINTING INDEX|[[☛]]}}
|{{chset-cell1|u=261E|U+261E WHITE RIGHT POINTING INDEX|[[☞]]}}
|{{chset-cell1|u=270C|U+270C VICTORY HAND|[[✌]]}}
|{{chset-cell1|u=270D|U+270D WRITING HAND|[[✍]]}}
|{{chset-cell1|u=270E|U+270E LOWER RIGHT PENCIL|[[✎]]}}
|{{chset-cell1|u=270F|U+270F PENCIL|[[✏]]}}
|-
|{{chset-left1|3x}}
|{{chset-cell1|u=2710|U+2710 UPPER RIGHT PENCIL|[[✐]]}}
|{{chset-cell1|u=2711|U+2711 WHITE NIB|[[✑]]}}
|{{chset-cell1|u=2712|U+2712 BLACK NIB|[[✒]]}}
|{{chset-cell1|u=2713|U+2713 CHECK MARK|[[✓]]}}
|{{chset-cell1|u=2714|U+2714 HEAVY CHECK MARK|[[✔]]}}
|{{chset-cell1|u=2715|U+2715 MULTIPLICATION X|[[Multiplication sign|✕]]}}
|{{chset-cell1|u=2716|U+2716 HEAVY MULTIPLICATION X|[[✖]]}}
|{{chset-cell1|u=2717|U+2717 BALLOT X|[[✗]]}}
|{{chset-cell1|u=2718|U+2718 HEAVY BALLOT X|[[✘]]}}
|{{chset-cell1|u=2719|U+2719 OUTLINED GREEK CROSS|[[✙]]}}
|{{chset-cell1|u=271A|U+271A HEAVY GREEK CROSS|[[✚]]}}
|{{chset-cell1|u=271B|U+271B OPEN CENTRE CROSS|[[✛]]}}
|{{chset-cell1|u=271C|U+271C HEAVY OPEN CENTRE CROSS|[[✜]]}}
|{{chset-cell1|u=271D|U+271D LATIN CROSS|[[✝]]}}
|{{chset-cell1|u=271E|U+271E SHADOWED WHITE LATIN CROSS|[[✞]]}}
|{{chset-cell1|u=271F|U+271F OUTLINED LATIN CROSS|[[✟]]}}
|-
|{{chset-left1|4x}}
|{{chset-cell1|u=2720|U+2720 MALTESE CROSS|[[✠]]}}
|{{chset-cell1|u=2721|U+2721 STAR OF DAVID|[[✡]]}}
|{{chset-cell1|u=2722|U+2722 FOUR TEARDROP-SPOKED ASTERISK|[[✢]]}}
|{{chset-cell1|u=2723|U+2723 FOUR BALLOON-SPOKED ASTERISK|[[✣]]}}
|{{chset-cell1|u=2724|U+2724 HEAVY FOUR BALLOON-SPOKED ASTERISK|[[✤]]}}
|{{chset-cell1|u=2725|U+2725 FOUR CLUB-SPOKED ASTERISK|[[✥]]}}
|{{chset-cell1|u=2726|U+2726 BLACK FOUR POINTED STAR|[[✦]]}}
|{{chset-cell1|u=2727|U+2727 WHITE FOUR POINTED STAR|[[✧]]}}
|{{chset-cell1|u=2605|U+2605 BLACK STAR|[[★]]}}
|{{chset-cell1|u=2729|U+2729 STRESS OUTLINED WHITE STAR|[[✩]]}}
|{{chset-cell1|u=272A|U+272A CIRCLED WHITE STAR|[[✪]]}}
|{{chset-cell1|u=272B|U+272B OPEN CENTRE BLACK STAR|[[✫]]}}
|{{chset-cell1|u=272C|U+272C BLACK CENTRE WHITE STAR|[[✬]]}}
|{{chset-cell1|u=272D|U+272D OUTLINED BLACK STAR|[[✭]]}}
|{{chset-cell1|u=272E|U+272E HEAVY OUTLINED BLACK STAR|[[✮]]}}
|{{chset-cell1|u=272F|U+272F PINWHEEL STAR|[[✯]]}}
|-
|{{chset-left1|5x}}
|{{chset-cell1|u=2730|U+2730 SHADOWED WHITE STAR|[[✰]]}}
|{{chset-cell1|u=2731|U+2731 HEAVY ASTERISK|[[✱]]}}
|{{chset-cell1|u=2732|U+2732 OPEN CENTRE ASTERISK|[[✲]]}}
|{{chset-cell1|u=2733|U+2733 EIGHT SPOKED ASTERISK|[[✳]]}}
|{{chset-cell1|u=2734|U+2734 EIGHT POINTED BLACK STAR|[[✴]]}}
|{{chset-cell1|u=2735|U+2735 EIGHT POINTED PINWHEEL STAR|[[✵]]}}
|{{chset-cell1|u=2736|U+2736 SIX POINTED BLACK STAR|[[✶]]}}
|{{chset-cell1|u=2737|U+2737 EIGHT POINTED RECTILINEAR BLACK STAR|[[✷]]}}
|{{chset-cell1|u=2738|U+2738 HEAVY EIGHT POINTED RECTILINEAR BLACK STAR|[[✸]]}}
|{{chset-cell1|u=2739|U+2739 TWELVE POINTED BLACK STAR|[[✹]]}}
|{{chset-cell1|u=273A|U+273A SIXTEEN POINTED ASTERISK|[[✺]]}}
|{{chset-cell1|u=273B|U+273B TEARDROP-SPOKED ASTERISK|[[✻]]}}
|{{chset-cell1|u=273C|U+273C OPEN CENTRE TEARDROP-SPOKED ASTERISK|[[✼]]}}
|{{chset-cell1|u=273D|U+273D HEAVY TEARDROP-SPOKED ASTERISK|[[✽]]}}
|{{chset-cell1|u=273E|U+273E SIX PETALLED BLACK AND WHITE FLORETTE|[[✾]]}}
|{{chset-cell1|u=273F|U+273F BLACK FLORETTE|[[✿]]}}
|-
|{{chset-left1|6x}}
|{{chset-cell1|u=2740|U+2740 WHITE FLORETTE|[[❀]]}}
|{{chset-cell1|u=2741|U+2741 EIGHT PETALLED OUTLINED BLACK FLORETTE|[[❁]]}}
|{{chset-cell1|u=2742|U+2742 CIRCLED OPEN CENTRE EIGHT POINTED STAR|[[❂]]}}
|{{chset-cell1|u=2743|U+2743 HEAVY TEARDROP-SPOKED PINWHEEL ASTERISK|[[❃]]}}
|{{chset-cell1|u=2744|U+2744 SNOWFLAKE|[[❄]]}}
|{{chset-cell1|u=2745|U+2745 TIGHT TRIFOLIATE SNOWFLAKE|[[❅]]}}
|{{chset-cell1|u=2746|U+2746 HEAVY CHEVRON SNOWFLAKE|[[❆]]}}
|{{chset-cell1|u=2747|U+2747 SPARKLE|[[❇]]}}
|{{chset-cell1|u=2748|U+2748 HEAVY SPARKLE|[[❈]]}}
|{{chset-cell1|u=2749|U+2749 BALLOON-SPOKED ASTERISK|[[❉]]}}
|{{chset-cell1|u=274A|U+274A EIGHT TEARDROP-SPOKED PROPELLER ASTERISK|[[❊]]}}
|{{chset-cell1|u=274B|U+274B HEAVY EIGHT TEARDROP-SPOKED PROPELLER ASTERISK|[[❋]]}}
|{{chset-cell1|u=25CF|U+25CF BLACK CIRCLE|[[●]]}}
|{{chset-cell1|u=274D|U+274D SHADOWED WHITE CIRCLE|[[❍]]}}
|{{chset-cell1|u=25A0|U+25A0 BLACK SQUARE|[[■]]}}
|{{chset-cell1|u=274F|U+274F LOWER RIGHT DROP-SHADOWED WHITE SQUARE|[[❏]]}}
|-
|{{chset-left1|7x}}
|{{chset-cell1|u=2750|U+2750 UPPER RIGHT DROP-SHADOWED WHITE SQUARE|[[❐]]}}
|{{chset-cell1|u=2751|U+2751 LOWER RIGHT SHADOWED WHITE SQUARE|[[❑]]}}
|{{chset-cell1|u=2752|U+2752 UPPER RIGHT SHADOWED WHITE SQUARE|[[❒]]}}
|{{chset-cell1|u=25B2|U+25B2 BLACK UP-POINTING TRIANGLE|[[▲]]}}
|{{chset-cell1|u=25BC|U+25BC BLACK DOWN-POINTING TRIANGLE|[[▼]]}}
|{{chset-cell1|u=25C6|U+25C6 BLACK DIAMOND|[[◆]]}}
|{{chset-cell1|u=2756|U+2756 BLACK DIAMOND MINUS WHITE X|[[❖]]}}
|{{chset-cell1|u=25D7|U+25D7 RIGHT HALF BLACK CIRCLE|[[◗]]}}
|{{chset-cell1|u=2758|U+2758 LIGHT VERTICAL BAR|[[❘]]}}
|{{chset-cell1|u=2759|U+2759 MEDIUM VERTICAL BAR|[[❙]]}}
|{{chset-cell1|u=275A|U+275A HEAVY VERTICAL BAR|[[❚]]}}
|{{chset-cell1|u=275B|U+275B HEAVY SINGLE TURNED COMMA QUOTATION MARK ORNAMENT|[[❛]]}}
|{{chset-cell1|u=275C|U+275C HEAVY SINGLE COMMA QUOTATION MARK ORNAMENT|[[❜]]}}
|{{chset-cell1|u=275D|U+275D HEAVY DOUBLE TURNED COMMA QUOTATION MARK ORNAMENT|[[❝]]}}
|{{chset-cell1|u=275E|U+275E HEAVY DOUBLE COMMA QUOTATION MARK ORNAMENT|[[❞]]}}
|{{chset-cell1|||style=background:#DDD}}
|-
|{{chset-left1|8x}}
|{{chset-cell1|u=2768|U+2768 MEDIUM LEFT PARENTHESIS ORNAMENT|[[❨]]}}
|{{chset-cell1|u=2769|U+2769 MEDIUM RIGHT PARENTHESIS ORNAMENT|[[❩]]}}
|{{chset-cell1|u=276A|U+276A MEDIUM FLATTENED LEFT PARENTHESIS ORNAMENT|[[❪]]}}
|{{chset-cell1|u=276B|U+276B MEDIUM FLATTENED RIGHT PARENTHESIS ORNAMENT|[[❫]]}}
|{{chset-cell1|u=276C|U+276C MEDIUM LEFT-POINTING ANGLE BRACKET ORNAMENT|[[❬]]}}
|{{chset-cell1|u=276D|U+276D MEDIUM RIGHT-POINTING ANGLE BRACKET ORNAMENT|[[❭]]}}
|{{chset-cell1|u=276E|U+276E HEAVY LEFT-POINTING ANGLE QUOTATION MARK ORNAMENT|[[❮]]}}
|{{chset-cell1|u=276F|U+276F HEAVY RIGHT-POINTING ANGLE QUOTATION MARK ORNAMENT|[[❯]]}}
|{{chset-cell1|u=2770|U+2770 HEAVY LEFT-POINTING ANGLE BRACKET ORNAMENT|[[❰]]}}
|{{chset-cell1|u=2771|U+2771 HEAVY RIGHT-POINTING ANGLE BRACKET ORNAMENT|[[❱]]}}
|{{chset-cell1|u=2772|U+2772 LIGHT LEFT TORTOISE SHELL BRACKET ORNAMENT|[[❲]]}}
|{{chset-cell1|u=2773|U+2773 LIGHT RIGHT TORTOISE SHELL BRACKET ORNAMENT|[[❳]]}}
|{{chset-cell1|u=2774|U+2774 MEDIUM LEFT CURLY BRACKET ORNAMENT|[[❴]]}}
|{{chset-cell1|u=2775|U+2775 MEDIUM RIGHT CURLY BRACKET ORNAMENT|[[❵]]}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|-
|{{chset-left1|9x}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|||style=background:#DDD}}
|-
|{{chset-left1|Ax}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|u=2761|U+2761 CURVED STEM PARAGRAPH SIGN ORNAMENT|[[❡]]}}
|{{chset-cell1|u=2762|U+2762 HEAVY EXCLAMATION MARK ORNAMENT|[[❢]]}}
|{{chset-cell1|u=2763|U+2763 HEAVY HEART EXCLAMATION MARK ORNAMENT|[[❣]]}}
|{{chset-cell1|u=2764|U+2764 HEAVY BLACK HEART|[[❤]]}}
|{{chset-cell1|u=2765|U+2765 ROTATED HEAVY BLACK HEART BULLET|[[❥]]}}
|{{chset-cell1|u=2766|U+2766 FLORAL HEART|[[❦]]}}
|{{chset-cell1|u=2767|U+2767 ROTATED FLORAL HEART BULLET|[[❧]]}}
|{{chset-cell1|u=2663|U+2663 BLACK CLUB SUIT|[[♣]]}}
|{{chset-cell1|u=2666|U+2666 BLACK DIAMOND SUIT|[[♦]]}}
|{{chset-cell1|u=2665|U+2665 BLACK HEART SUIT|[[♥]]}}
|{{chset-cell1|u=2660|U+2660 BLACK SPADE SUIT|[[♠]]}}
|{{chset-cell1|u=2460|U+2460 CIRCLED DIGIT ONE|[[①]]}}
|{{chset-cell1|u=2461|U+2461 CIRCLED DIGIT TWO|[[②]]}}
|{{chset-cell1|u=2462|U+2462 CIRCLED DIGIT THREE|[[③]]}}
|{{chset-cell1|u=2463|U+2463 CIRCLED DIGIT FOUR|[[④]]}}
|-
|{{chset-left1|Bx}}
|{{chset-cell1|u=2464|U+2464 CIRCLED DIGIT FIVE|[[⑤]]}}
|{{chset-cell1|u=2465|U+2465 CIRCLED DIGIT SIX|[[⑥]]}}
|{{chset-cell1|u=2466|U+2466 CIRCLED DIGIT SEVEN|[[⑦]]}}
|{{chset-cell1|u=2467|U+2467 CIRCLED DIGIT EIGHT|[[⑧]]}}
|{{chset-cell1|u=2468|U+2468 CIRCLED DIGIT NINE|[[⑨]]}}
|{{chset-cell1|u=2469|U+2469 CIRCLED NUMBER TEN|[[⑩]]}}
|{{chset-cell1|u=2776|U+2776 DINGBAT NEGATIVE CIRCLED DIGIT ONE|[[❶]]}}
|{{chset-cell1|u=2777|U+2777 DINGBAT NEGATIVE CIRCLED DIGIT TWO|[[❷]]}}
|{{chset-cell1|u=2778|U+2778 DINGBAT NEGATIVE CIRCLED DIGIT THREE|[[❸]]}}
|{{chset-cell1|u=2779|U+2779 DINGBAT NEGATIVE CIRCLED DIGIT FOUR|[[❹]]}}
|{{chset-cell1|u=277A|U+277A DINGBAT NEGATIVE CIRCLED DIGIT FIVE|[[❺]]}}
|{{chset-cell1|u=277B|U+277B DINGBAT NEGATIVE CIRCLED DIGIT SIX|[[❻]]}}
|{{chset-cell1|u=277C|U+277C DINGBAT NEGATIVE CIRCLED DIGIT SEVEN|[[❼]]}}
|{{chset-cell1|u=277D|U+277D DINGBAT NEGATIVE CIRCLED DIGIT EIGHT|[[❽]]}}
|{{chset-cell1|u=277E|U+277E DINGBAT NEGATIVE CIRCLED DIGIT NINE|[[❾]]}}
|{{chset-cell1|u=277F|U+277F DINGBAT NEGATIVE CIRCLED NUMBER TEN|[[❿]]}}
|-
|{{chset-left1|Cx}}
|{{chset-cell1|u=2780|U+2780 DINGBAT CIRCLED SANS-SERIF DIGIT ONE|[[➀]]}}
|{{chset-cell1|u=2781|U+2781 DINGBAT CIRCLED SANS-SERIF DIGIT TWO|[[➁]]}}
|{{chset-cell1|u=2782|U+2782 DINGBAT CIRCLED SANS-SERIF DIGIT THREE|[[➂]]}}
|{{chset-cell1|u=2783|U+2783 DINGBAT CIRCLED SANS-SERIF DIGIT FOUR|[[➃]]}}
|{{chset-cell1|u=2784|U+2784 DINGBAT CIRCLED SANS-SERIF DIGIT FIVE|[[➄]]}}
|{{chset-cell1|u=2785|U+2785 DINGBAT CIRCLED SANS-SERIF DIGIT SIX|[[➅]]}}
|{{chset-cell1|u=2786|U+2786 DINGBAT CIRCLED SANS-SERIF DIGIT SEVEN|[[➆]]}}
|{{chset-cell1|u=2787|U+2787 DINGBAT CIRCLED SANS-SERIF DIGIT EIGHT|[[➇]]}}
|{{chset-cell1|u=2788|U+2788 DINGBAT CIRCLED SANS-SERIF DIGIT NINE|[[➈]]}}
|{{chset-cell1|u=2789|U+2789 DINGBAT CIRCLED SANS-SERIF NUMBER TEN|[[➉]]}}
|{{chset-cell1|u=278A|U+278A DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT ONE|[[➊]]}}
|{{chset-cell1|u=278B|U+278B DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT TWO|[[➋]]}}
|{{chset-cell1|u=278C|U+278C DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT THREE|[[➌]]}}
|{{chset-cell1|u=278D|U+278D DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT FOUR|[[➍]]}}
|{{chset-cell1|u=278E|U+278E DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT FIVE|[[➎]]}}
|{{chset-cell1|u=278F|U+278F DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT SIX|[[➏]]}}
|-
|{{chset-left1|Dx}}
|{{chset-cell1|u=2790|U+2790 DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT SEVEN|[[➐]]}}
|{{chset-cell1|u=2791|U+2791 DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT EIGHT|[[➑]]}}
|{{chset-cell1|u=2792|U+2792 DINGBAT NEGATIVE CIRCLED SANS-SERIF DIGIT NINE|[[➒]]}}
|{{chset-cell1|u=2793|U+2793 DINGBAT NEGATIVE CIRCLED SANS-SERIF NUMBER TEN|[[➓]]}}
|{{chset-cell1|u=2794|U+2794 HEAVY WIDE-HEADED RIGHTWARDS ARROW|[[➔]]}}
|{{chset-cell1|u=2192|U+2192 RIGHTWARDS ARROW|[[Right arrow (symbol)|→]]}}
|{{chset-cell1|u=2194|U+2194 LEFT RIGHT ARROW|[[↔]]}}
|{{chset-cell1|u=2195|U+2195 UP DOWN ARROW|[[Arrow (symbol)|↕]]}}
|{{chset-cell1|u=2798|U+2798 HEAVY SOUTH EAST ARROW|[[➘]]}}
|{{chset-cell1|u=2799|U+2799 HEAVY RIGHTWARDS ARROW|[[➙]]}}
|{{chset-cell1|u=279A|U+279A HEAVY NORTH EAST ARROW|[[➚]]}}
|{{chset-cell1|u=279B|U+279B DRAFTING POINT RIGHTWARDS ARROW|[[➛]]}}
|{{chset-cell1|u=279C|U+279C HEAVY ROUND-TIPPED RIGHTWARDS ARROW|[[➜]]}}
|{{chset-cell1|u=279D|U+279D TRIANGLE-HEADED RIGHTWARDS ARROW|[[➝]]}}
|{{chset-cell1|u=279E|U+279E HEAVY TRIANGLE-HEADED RIGHTWARDS ARROW|[[➞]]}}
|{{chset-cell1|u=279F|U+279F DASHED TRIANGLE-HEADED RIGHTWARDS ARROW|[[➟]]}}
|-
|{{chset-left1|Ex}}
|{{chset-cell1|u=27A0|U+27A0 HEAVY DASHED TRIANGLE-HEADED RIGHTWARDS ARROW|[[➠]]}}
|{{chset-cell1|u=27A1|U+27A1 BLACK RIGHTWARDS ARROW|[[Arrow (symbol)|➡]]}}
|{{chset-cell1|u=27A2|U+27A2 THREE-D TOP-LIGHTED RIGHTWARDS ARROWHEAD|[[➚]]}}
|{{chset-cell1|u=27A3|U+27A3 THREE-D BOTTOM-LIGHTED RIGHTWARDS ARROWHEAD|[[➣]]}}
|{{chset-cell1|u=27A4|U+27A4 BLACK RIGHTWARDS ARROWHEAD|[[➤]]}}
|{{chset-cell1|u=27A5|U+27A5 HEAVY BLACK CURVED DOWNWARDS AND RIGHTWARDS ARROW|[[➥]]}}
|{{chset-cell1|u=27A6|U+27A6 HEAVY BLACK CURVED UPWARDS AND RIGHTWARDS ARROW|[[➦]]}}
|{{chset-cell1|u=27A7|U+27A7 SQUAT BLACK RIGHTWARDS ARROW|[[➧]]}}
|{{chset-cell1|u=27A8|U+27A8 HEAVY CONCAVE-POINTED BLACK RIGHTWARDS ARROW|[[➨]]}}
|{{chset-cell1|u=27A9|U+27A9 RIGHT-SHADED WHITE RIGHTWARDS ARROW|[[➩]]}}
|{{chset-cell1|u=27AA|U+27AA LEFT-SHADED WHITE RIGHTWARDS ARROW|[[➪]]}}
|{{chset-cell1|u=27AB|U+27AB BACK-TILTED SHADOWED WHITE RIGHTWARDS ARROW|[[➫]]}}
|{{chset-cell1|u=27AC|U+27AC FRONT-TILTED SHADOWED WHITE RIGHTWARDS ARROW|[[➬]]}}
|{{chset-cell1|u=27AD|U+27AD HEAVY LOWER RIGHT-SHADOWED WHITE RIGHTWARDS ARROW|[[➭]]}}
|{{chset-cell1|u=27AE|U+27AE HEAVY UPPER RIGHT-SHADOWED WHITE RIGHTWARDS ARROW|[[➮]]}}
|{{chset-cell1|u=27AF|U+27AF NOTCHED LOWER RIGHT-SHADOWED WHITE RIGHTWARDS ARROW|[[➯]]}}
|-
|{{chset-left1|Fx}}
|{{chset-cell1|||style=background:#DDD}}
|{{chset-cell1|u=27B1|U+27B1 NOTCHED UPPER RIGHT-SHADOWED WHITE RIGHTWARDS ARROW|[[➱]]}}
|{{chset-cell1|u=27B2|U+27B2 CIRCLED HEAVY WHITE RIGHTWARDS ARROW|[[➲]]}}
|{{chset-cell1|u=27B3|U+27B3 WHITE-FEATHERED RIGHTWARDS ARROW|[[➳]]}}
|{{chset-cell1|u=27B4|U+27B4 BLACK-FEATHERED SOUTH EAST ARROW|[[➴]]}}
|{{chset-cell1|u=27B5|U+27B5 BLACK-FEATHERED RIGHTWARDS ARROW|[[➵]]}}
|{{chset-cell1|u=27B6|U+27B6 BLACK-FEATHERED NORTH EAST ARROW|[[➶]]}}
|{{chset-cell1|u=27B7|U+27B7 HEAVY BLACK-FEATHERED SOUTH EAST ARROW|[[➷]]}}
|{{chset-cell1|u=27B8|U+27B8 HEAVY BLACK-FEATHERED RIGHTWARDS ARROW|[[➸]]}}
|{{chset-cell1|u=27B9|U+27B9 HEAVY BLACK-FEATHERED NORTH EAST ARROW|[[➹]]}}
|{{chset-cell1|u=27BA|U+27BA TEARDROP-BARBED RIGHTWARDS ARROW|[[➺]]}}
|{{chset-cell1|u=27BB|U+27BB HEAVY TEARDROP-SHANKED RIGHTWARDS ARROW|[[➻]]}}
|{{chset-cell1|u=27BC|U+27BC WEDGE-TAILED RIGHTWARDS ARROW|[[➼]]}}
|{{chset-cell1|u=27BD|U+27BD HEAVY WEDGE-TAILED RIGHTWARDS ARROW|[[➽]]}}
|{{chset-cell1|u=27BE|U+27BE OPEN-OUTLINED RIGHTWARDS ARROW|[[➾]]}}
|{{chset-cell1|||style=background:#DDD}}
|}

==Usages==
[[David Carson (graphic designer)|David Carson]], radical editor of experimental music magazine ''[[Ray Gun (magazine)|Ray Gun]]'', lent the font a degree of notoriety in 1994 when he printed an interview with [[Bryan Ferry]] in the magazine entirely in the symbols-only font – the double-page spread was therefore incomprehensible and would have to be interpreted like a [[cryptogram]] for those unfamiliar with the font. He said he did it because the interview was "incredibly boring" and that upon searching his typeface collection for a suitable font and ending at Zapf Dingbats, decided to use it with hopes of making the article interesting again.<ref name="HelveticaFilm">[https://www.hustwit.com/helvetica/ Helvetica], 2007 film by [[Gary Hustwit]].</ref>

==References==
{{Reflist}}

==External links==
* [https://www.unicode.org/charts/PDF/U2700.pdf Official Unicode Dingbats block code chart] (contains the Zapf Dingbats characters) at [[Unicode Consortium]]

{{MacOS typefaces}}

[[Category:International Typeface Corporation typefaces]]
[[Category:Symbol typefaces]]
[[Category:Typefaces and fonts introduced in 1978]]
[[Category:Typefaces designed by Hermann Zapf]]

Willow (typeface)

2025-03-12T02:35:39Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Refimprove|date=March 2017}}
{{rewrite|date=March 2023}}

'''Willow''' is the name shared by two [[typeface]]s.

== ITC Willow ==
{{ infobox font
| name = ITC Willow
| image = Willow.png
| style = Decorative
| creationdate = 1990
| creator = [[Tony Forster]]
| foundry = [[International Typeface Corporation|ITC]]
| sample = [[Image:Willow sample.png|250px]]
}}

''ITC Willow'' was designed by [[Tony Forster]] in 1990. Although a contemporary typeface, Willow is the reminiscent of the Scottish Arts and Crafts style made popular by painter and social reformer [[Jessie Marion King]] (1875–1949), and architect and designer [[Charles Rennie Mackintosh]] (1868–1928) of the [[Glasgow School]]. The face is based upon a sign for The [[Willow Tea Rooms]], one of four tea rooms in Glasgow designed by Mackintosh. The typeface is distinct for the double crossbars on the uppercase '''A''' and '''H''', and the unusual design of the uppercase '''O,''' which is raised above the baseline, with two dots centred beneath the bowl.

== Willow Regular ==
{{ infobox font
| name = Willow Regular
| image =
| style = Display
| creationdate = 1990
| creator = [[Joy Redick]]
| foundry = [[Adobe Type]]
| sample =
}}

''Willow Regular'' was designed by [[Joy Redick]] in 1990, and is part of the [[Adobe Originals]] Woodtype Collection.

== Popular culture ==

The American television series ''[[American Horror Story]]'' and its spin-off series ''[[American Horror Stories]]'' features a variant of ITC Willow* prominently in the episodes as well as the series logotype itself.<ref>{{Cite web |last=Bailey |first=Shawn |date=10 May 2014 |title=Why Is The 'American Horror Story' Font So Creepy? |url=http://www.inquisitr.com/1246305/why-is-the-american-horror-story-font-so-creepy/ |access-date=30 March 2017 |website=The Inquisitr News}}</ref> The font used was actually a slightly edited version of The Charles Rennie Mackintosh Font, which was purchased specifically to use on the show. This features a modified letter "O" and slightly closer character spacing than the original. Its use was notable among TV and movie buffs since it has never been regarded as synonymous with the [[Horror film|horror genre]].

The Charles Rennie Mackintosh Font was also used in the motion picture ''[[Spider-Man 2]]''. It featured in the display signage for the [[Broadway theatre|Broadway]] play (Oscar Wilde's "The Importance of Being Earnest") in which [[Mary Jane Watson]] ([[Kirsten Dunst]]), [[Peter Parker]]'s on-off girlfriend, was appearing. The movie's director, [[Sam Raimi]], spent some time in Glasgow, Scotland, at the Glasgow School of Art, the institute attended by (and later re-designed by) Charles Rennie Mackintosh himself. Raimi became a big fan of Mackintosh's work and specifically asked for this font to be used in the making of the signage.
<ref>{{Cite web |title=ITCS代写 | 地表最专业的留学生程序代写 |url=https://www.itcsdaixie.com/}}</ref>

The City of [[Berkeley, California]] uses the Mackintosh font in its logo and official communications.<ref>{{Cite web |title=8 Cities That Have Their Own Distinctive Fonts |url=https://gizmodo.com/8-cities-that-have-their-own-distinctive-fonts-1681041888 |access-date=21 January 2021 |website=Gizmodo |date=27 January 2015 |language=en-us}}</ref>

==See also==

* [[Samples of display typefaces]]

== External links ==

* {{Cite web |title=ITC Willow |url=http://www.itcfonts.com/fonts/detail.htm?pid=426948 |publisher=[[International Typeface Corporation|ITC]]}}
* {{Cite web |title=Willow Font Family |url=http://www.linotype.com/1610/willow-family.html |publisher=[[Mergenthaler Linotype Company|Linotype]]}}
*[http://www.willowtearooms.co.uk/ The Willow Tea Room with photo of the sign the typeface is based upon]

== References ==

{{refs}}

{{typ-stub}}

{{Use dmy dates|date=September 2021}}
[[Category:Display typefaces]]
[[Category:Typefaces and fonts introduced in 1990]]
[[Category:International Typeface Corporation typefaces]]
[[Category:Linotype typefaces]]
[[Category:Adobe typefaces]]

FF Scala Sans

2025-03-12T02:30:55Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Humanist sans-serif typeface}}
{{Infobox font
| name = FF Scala Sans
| image = FFScalaSansAIB.svg
| imagesize = 235px
| style = Sans-serif
| classifications = Humanist
| creationdate = 1992
| creator = [[Martin Majoor]]
| foundry = [[FontFont]]
|}}

'''FF Scala Sans''' is a [[humanist sans-serif]] [[typeface]] designed by Dutch designer [[Martin Majoor]] in 1993 for the Vredenburg Music Center in [[Utrecht (city)|Utrecht]], the Netherlands. It was designed as a companion to Majoor's earlier serif old style typeface [[FF Scala]], designed in 1990. It is similar in appearance to [[Joanna (typeface)#Related typefaces | Joanna Sans]].

Like [[Eric Gill|Eric Gill's]] 1927–30 design [[Gill Sans]] and Hans Eduard Meier's typeface [[Syntax (typeface)|Syntax]], both upper and lower case are structurally modeled on serif old style faces. The lowercase roman '''a''' and '''g''' are two-story. FF Scala Sans' italics are true italics, not sloped roman. The lowercase '''a''', '''e''', '''v''' and '''y''' are particularly calligraphic. FF Scala Sans is a very complete sans-serif in its inclusion of true small capitals, lining and non-lining (old style figures) and many ligatures. In 1993, an additional condensed width of the typeface was released. The typefaces are available through Font Shop International. In 2023, the font, alongside its companion [[FF Scala]], were reissued as "Scala Sans" and "Scala", respectively on Majoor's own independent type foundry, which was founded in 2021.

==Usage==
The [[Los Angeles Metro]] and the [[Hungary|Hungarian]] weekly magazine [[Magyar Narancs]] prominently use the typeface.
FF Scala Sans is less commonly used by [[Kwik Trip]], most notably some of its signage. It is also used by the [[Museum of Contemporary Art Chicago]], as well as the fifteenth edition of [[The Chicago Manual of Style]], [[JBL | JBL Sound Systems]], [[The Elements of Typographic Style]] by [[Robert Bringhurst]]; [[Nelson-Atkins Museum of Art]] in [[Kansas City, Missouri]], the [[Saint Louis Art Museum]], Shakespeare's Words: A Glossary and Language Companion by [[David Crystal]], and [[Martin Majoor | Martin Majoor's]] official website. It is also used by [[Wizards of the Coast]] for Sidebar/Table Body in Dungeons and Dragons 5th Edition Modules as well as Dungeons and Dragons 5th Edition Character Sheets. For a number of years between the mid-2000s and until the mid-2010s, the typeface had been used by [[Whole Foods Market]] as a secondary typeface.<ref>{{cite web|title=Whole Foods Market identity - Fonts In Use|url=https://fontsinuse.com/uses/5684/whole-foods-market-identity|access-date=July 5, 2024|website=Fonts In Use}}</ref>

==Similar fonts==

The fonts Freight Sans, [https://fonts.google.com/specimen/Ysabeau/about?safe=active&query=Ysabeau Ysabeau], and [https://fonts.google.com/specimen/Alegreya+Sans/about?safe=active&query=Alegreya+Sans Alegreya Sans] are all humanist sans serif fonts similar in appearance to FF Scala Sans.

==References==
{{Reflist}}

== Bibliography ==
* [[Ellen Lupton|Lupton, Ellen]]. ''Graphic Design and Typography in the Netherlands: A View of Recent Work.'' Princeton Architectural Press: 1992. {{ISBN|1-878271-62-8}}.
* Friedl, 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}}.
* [[Robert Bringhurst|Bringhurst, Robert]]. ''[[The Elements of Typographic Style]]''. Hartley & Marks: 1992. {{ISBN|0-88179-033-8}}.
* Middendorp, Jan: ''Dutch Type'', 010 Publishers: 2004, {{ISBN|978-90-6450-460-0}}
* Lupton, Ellen. ''Thinking with Type: A critical guide for designers, writers, editors, & students.'' Princeton Architectural Press: 2004. {{ISBN|1-56898-448-0}}.
* Spiekermann, Erik; Middendorp, Jan: ''Made with FontFont'', Book Industry Services (BIS): 2006, {{ISBN|978-90-6369-129-5}}
* Thi Truong, Mai-Linh; Siebert, Jürgen; Spiekermann, Erik: ''[[FontBook]] – Digital Typeface Compendium'', FSI FontShop International: 2006, {{ISBN|978-3-930023-04-2}}

==External links==
[[File:Scala & Scala Sans sample.png|thumb|Sample image of FF Scala & Scala Sans.]]
* [http://scalafont.com/ FF Scala microsite] A website fully dedicated to FF Scala
* [https://web.archive.org/web/20100715005826/http://www.papress.com/thinkingwithtype/letter/documents/Type_Spec_Demo.pdf ''Writing With Scala''] Typespecimen by Ellen Lupton (2005)
* [http://www.martinmajoor.com www.martinmajoor.com] Martin Majoor's official website
* [http://www.typotheque.com/articles/my_type_design_philosophy ''My Type Design Philosophy''] by Martin Majoor (2002)
* [https://web.archive.org/web/20041210230208/http://www.typotheque.com/articles/interview_martin_majoor.html ''Martin Majoor, type designer''] Interview by [[Peter Biľak]] (2003)
* [https://web.archive.org/web/20110716012337/http://www.scalafont.com/downloads/files/types_and_characters_martin_majoor.pdf ''Types and Characters: Martin Majoor''] Brochure by Nina Völlink (2007)
* [http://www.fontshop.com/fonts/designer/martin_majoor/ Martin Majoor] on fontshop.com
* [https://www.fontfont.com/fonts/scala-sans Uses of FF Scala]

{{DEFAULTSORT:Ff Scala Sans}}

[[Category:Humanist sans-serif typefaces|Scala Sans]]
[[Category:Typefaces with text figures|Scala Sans]]
[[Category:FontShop typefaces|Scala Sans]]
[[Category:Unified serif and sans-serif typeface families]]
[[Category:Typefaces and fonts introduced in 1993]]

[[de:FF Scala Sans]]

FF Scala

2025-03-12T02:30:13Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Old-style serif typeface}}
{{Infobox font
| name =
| image = FFScalaSpecimenAIB.svg
| style = Serif
| classifications = [[Serif#Old-style|Old-style]]
| releasedate = 1991
| creator = [[Martin Majoor]]
| foundry = [[FontFont]]
|}}

'''FF Scala''' is an [[Serif#Old-style|old-style]] [[serif]] typeface designed by Dutch typeface designer [[Martin Majoor]] in 1991 for the [[Muziekcentrum Vredenburg]] in [[Utrecht (city)|Utrecht]], the [[Netherlands]]. The FF Scala font family was named for the [[Teatro alla Scala]] (1776–78) in [[Milan|Milan, Italy]]. Like many contemporary Dutch serif faces, FF Scala is not an academic revival of a single historic typeface but shows influences of several historic models. Similarities can be seen with [[William Addison Dwiggins]]' 1935 design for the typeface [[Electra (typeface)|Electra]] in its clarity of form, and rhythmic, highly calligraphic italics. [[Eric Gill]]'s 1931 typeface [[Joanna (typeface)|Joanna]] (released by [[Monotype Corporation]] in 1937), with its old style armature but nearly square serifs, is also similar in its nearly mono-weighted stroke width.

FF Scala is a complete typeface family with [[small caps]], [[typographic ligature|ligatures]] and [[text figures]] or lower-case numbers, as well as condensed regular and bold fonts. In 1996, a decorative variety of capitals titled FF Scala Jewel<ref>https://www.fontfont.com/fonts/scala-jewel-crystal/packages#41426 FF Scala Jewel package</ref> was released. These show influence of Dutch Baroque decorative capitals. A companion sans-serif version, [[FF Scala Sans]] was released in 1993, making Scala a [[font superfamily]] of matching designs. This makes Scala a very popular font in book design and [[fine printing]].<ref>{{cite web|last1=Coles|first1=Stephen|title=Top Ten Typefaces Used by Book Design Winners|url=http://fontfeed.com/archives/top-ten-typefaces-used-by-book-design-winners/|archive-url=https://web.archive.org/web/20120228035307/http://fontfeed.com/archives/top-ten-typefaces-used-by-book-design-winners/|url-status=dead|archive-date=28 February 2012|website=FontFeed|accessdate=2 July 2015}}</ref>
[[File:FF Scala Jewels.gif|thumb|Two of the 'jewel fonts', used traditionally in fine book printing, that come with FF Scala.]]

FF Scala used to be the house typeface for the prominent Dutch newspaper ''[[Algemeen Dagblad]]'' and for [[KLM]] Royal Dutch Airlines. It is also used on the logo of the United States' [[Department of Homeland Security]], which uses the similar [[Joanna (typeface)|Joanna]] as a corporate font.<ref>{{cite web|last1=Coles|first1=Stephen|title=Fonts in use: Scala|url=http://fontsinuse.com/uses/3700/seal-of-the-u-s-department-of-homeland-securi|website=Fonts in Use|date=16 April 2013 }}</ref>

In 2023, the font, alongside its companion [[FF Scala Sans]], were reissued as "Scala" and "Scala Sans", respectively on Majoor's own independent type foundry, which was founded in 2021.

== Bibliography ==
[[File:Scala & Scala Sans sample.png|thumb|Sample image of FF Scala & Scala Sans.]]
* [[Ellen Lupton|Lupton, Ellen]]. ''Graphic Design and Typography in the Netherlands: A View of Recent Work.'' Princeton Architectural Press: 1992. {{ISBN|1-878271-62-8}}.
* Friedl, 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}}.
* [[Robert Bringhurst|Bringhurst, Robert]]. ''[[The Elements of Typographic Style]]''. Hartley & Marks: 1992. {{ISBN|0-88179-033-8}}.
* Middendorp, Jan: ''Dutch Type'', 010 Publishers: 2004, {{ISBN|978-90-6450-460-0}}
* Lupton, Ellen. ''Thinking with Type: A critical guide for designers, writers, editors, & students.'' Princeton Architectural Press: 2004. {{ISBN|1-56898-448-0}}.
* Spiekermann, Erik; Middendorp, Jan: ''Made with FontFont'', Book Industry Services (BIS): 2006, {{ISBN|978-90-6369-129-5}}
* Thi Truong, Mai-Linh; Siebert, Jürgen; Spiekermann, Erik: ''[[FontBook]] – Digital Typeface Compendium'', FSI FontShop International: 2006, {{ISBN|978-3-930023-04-2}}

==References==
{{reflist}}

==External links==
* [http://scalafont.com/ FF Scala microsite] A website fully dedicated to FF Scala
* [https://web.archive.org/web/20100715005826/http://www.papress.com/thinkingwithtype/letter/documents/Type_Spec_Demo.pdf ''Writing With Scala''] Typespecimen by Ellen Lupton (2005)
* [http://www.martinmajoor.com www.martinmajoor.com] Martin Majoor’s official website
* [http://www.typotheque.com/articles/my_type_design_philosophy ''My Type Design Philosophy''] by Martin Majoor (2002)
* [https://web.archive.org/web/20110716012337/http://www.scalafont.com/downloads/files/types_and_characters_martin_majoor.pdf ''Types and Characters: Martin Majoor''] Brochure by Nina Völlink (2007)
* [http://www.fontshop.com/fonts/designer/martin_majoor/ Martin Majoor] on fontshop.com
* [http://www.fontfont.com/fonts/scala Uses of FF Scala]

{{Authority control}}
{{DEFAULTSORT:Ff Scala}}
[[Category:Old style serif typefaces|Scala]]
[[Category:Typefaces with text figures|Scala]]
[[Category:FontShop typefaces|Scala]]
[[Category:Typefaces and fonts introduced in 1991]]
[[Category:Unified serif and sans-serif typeface families]]

FF Meta

2025-03-12T02:29:12Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Humanist sans-serif typeface}}
{{Infobox font
| name = FF Meta
| image = FFMeta.svg
| style = [[Sans-serif]]
| classifications = Humanist sans-serif
| creationdate = 1985
| releasedate = 1991
| creator = [[Erik Spiekermann]]
| foundry = [[FontFont]]
|}}

'''FF Meta''' is a [[Humanist sans-serif|humanist]] [[sans-serif]] [[typeface]] family designed by [[Erik Spiekermann]] and released in 1991{{sfn|Sweet|1999|p=17}} through his [[FontFont]] library.

According to Spiekermann, FF Meta was intended to be a "complete antithesis of [[Helvetica]]", which he found "boring and bland".{{sfn|Sweet|1999|p=16}} It originated from an unused commission for the [[Deutsche Bundespost]] (German Federal Post Office). Throughout the 1990s, FF Meta was embraced by the international design community{{sfn|Sweet|1999|p=16}} with Spiekermann and E. M. Ginger writing that it had been dubiously praised as the ''Helvetica of the 1990s''.{{sfn|Spiekermann|Ginger|2003|p=67}}

FF Meta has been adopted by numerous corporations and other organizations as a corporate typeface, for signage or in their logo. These include [[Imperial College London]], [[The Weather Channel]], the television stations [[WSYR-TV]], [[WIVT]] and [[WUTR]] in upstate New York, [[Herman Miller (manufacturer)|Herman Miller]], [[Zimmer Holdings]], [[Mozilla Corporation]], [[Mozilla Foundation]], [[Schaeffler Group]], [[Endemol]], [[Greggs]], [[Everyone TV|Digital UK (now Everyone TV)]], [[Liberal Democrats (UK)|Liberal Democrats]], [[Mumsnet]] and [[Fort Wayne International Airport]].<ref name="Using the right font">{{cite web|title=Using the right font|url=http://www3.imperial.ac.uk/graphicidentity/applyingthegraphicidentity/usingtherightfont|publisher=Imperial College London|access-date=10 August 2015}}</ref> The [[University of Hull]] uses FF Meta Serif alongside FF Meta.<ref name="Typography - Print - University of Hull">{{cite web|title=Typography|url=http://www2.hull.ac.uk/administration/marketing/rebranding/basicdesignelements/typography.aspx|publisher=University of Hull|access-date=10 October 2016|archive-url=https://web.archive.org/web/20170128044848/http://www2.hull.ac.uk/administration/marketing/rebranding/basicdesignelements/typography.aspx|archive-date=28 January 2017|url-status=dead}}</ref> The [[Government of Greece]] has used FF Meta Greek as the official government typeface since 2010.<ref>{{Citation |url=https://www.culture.gr/DocLib/ETHNOSIMO_GUIDELINES_wall[1].pdf |title=Οδηγός επικοινωνίας και σχεδιασμού {{endash}} Εφαρμογών εθνόσημου και υπουργείων |date=November 2010 |publisher=[[Ministry of Culture and Sports (Greece)|Ministry of Culture and Sports]] |location=Athens |language=el |trans-title=Communication and design guide {{endash}} Applications for the national emblem and ministries |access-date=3 February 2019 |archive-url=https://web.archive.org/web/20191225100620/https://www.culture.gr/DocLib/ETHNOSIMO_GUIDELINES_wall[1].pdf |archive-date=25 December 2019 |url-status=dead |ref ={{harvid|Communication and design guide}}}}</ref> [[New York Review Books]] uses FF Meta for their covers.<ref>{{cite web |title=NYRB Classics |url=https://fontsinuse.com/uses/8015/nyrb-classics |website=Fonts in Use |date=14 November 2014 |access-date=29 July 2021}}</ref>

==Visually distinctive characteristics==
Characteristics of this typeface are:
{{original research|section|date=March 2019}}
[[Image:Meta-Schriftprobe.png|thumb|300px|Samples of FF Meta]]
;Upper case
*Angled letter ''M'', more resembling Futura or an upturned ''W'' than Helvetica or Gill Sans.
*Slanted upper terminal on the top right of ''E'', ''F'', and ''T''. E and T are asymmetrical.

;Lower case
*Round dot over the letter ''i'' and ''j''.
*Ends of the letter ''s'' are nearly horizontal
*Curved bottom of ''l'', making it clearly different from a 1 or upper-case I.
*Double-storey ''a'' with a very open aperture at the top.
*Not fully closed bottom loop in binocular ''g''.
*Bend to the left at the top of the letters ''b'', ''h'', ''k'', ''l''.
*Bend to the right at the top of the letter ''d''.
*A very distinctive ''y'' where the two strokes do not join smoothly.

A general feature of FF Meta is relatively open [[aperture (typography)|apertures]], in contrast to the more folded-up appearance of Helvetica. This is believed to promote legibility and make the letterforms more clearly different from one another.

==Development==
Development began in February 1985{{sfn|Sweet|1999|p=17}} when Deutsche Bundespost approached [[Sedley Place|Sedley Place Design]], where Spiekermann was working at the time, and commissioned a comprehensive corporate design program. As the typeface would be used repeatedly in small sizes, for identification rather than body copy, and printed quickly on potentially poor-quality paper stock, the brief called for a legible, neutral, space-saving, and distinguishable (in terms of weight) typeface, with special attention to creating unmistakable characters.{{sfn|Spiekermann|1987|p=6}} Whereas traditionally, typefaces are designed to be viewed beautifully large, the goal with this particular typeface was to produce a typeface which worked well for its primary application.{{sfn|Spiekermann|1987|p=7}}

Taking into account, research done on six font families and the constraints of the brief, the characteristics of what would become FF Meta began to take shape. The typeface would have to be sans-serif, narrow, with strokes thick enough to withstand uneven printing, curves, indentations, and flares to prevent optical illusions, open joins to combat over-inking, and clearly distinguishable glyphs. Its capitals and figures had to be versatile and clear, but not obtrusive. In addition to these demands, to meet Bundespost's needs, the family would also contain three fonts: regular, regular italic, and bold.{{sfn|Spiekermann|1987|p=7}} The typeface is particularly similar to [[Syntax (typeface)|Syntax]], one of Spiekermann's candidate typefaces.

After completing and digitizing the typesetting font, [[mockup]]s were generated for Bundespost's new forms and publication. However, despite positive interest from the German Minister of Telecommunications among others,{{sfn|Spiekermann|1987|p=9}} Bundespost decided not to implement{{sfn|Sweet|1999|p=17}} the new exclusive typeface for fear it would "cause unrest".{{sfn|Spiekermann|1987|p=9}} Bundespost, despite funding the project, continued to use a variety of different versions of Helvetica (before changing them to [[Frutiger (typeface)|Frutiger]]).<ref name="Issuu">{{cite web |title=FontFont Focus: FF Meta |url=https://issuu.com/fontshopsf/docs/focusffmeta_fsi__web |website=Issuu |date=25 August 2008 |publisher=FontShop |access-date=22 July 2020}}</ref> Spiekermann wrote an article on the abandoned design for [[Baseline (magazine)|Baseline magazine]] in 1986. At this time Meta was called PT55 (for the regular weight) and PT75 (bold).

== Releases ==
[[File:The Weather Channel logo 2005-present.svg|thumb|The Weather Channel logo, using FF Meta]]

Several years later, realizing that neither Bundespost nor Sedley Place Design would ever use the typeface, Spiekermann decided to continue working on it. He eventually published it, along with other abandoned typefaces, through his newly founded publishing label FontFont. The result was the release of FF Meta in 1991.{{sfn|Sweet|1999|p=17}} This version of FF Meta was created by re-digitizing the original outlines and digitizing them in [[Fontographer]] on a [[Macintosh 128K|Macintosh]]. This work was done by Spiekermann's interns [[Just van Rossum]] and [[Erik van Blokland]] between 1988 and 1989.{{sfn|Spiekermann|1987|p=9}}

* 1991 FF Meta family released containing normal, normal small caps, and bold.{{sfn|Peters|2005}}
* 1992 FF Meta 2 released as an expansion adding an italics weight, and small caps for bold.{{sfn|Peters|2005}}
* 1993 FF MetaPlus released featuring some fine tuning of characters, spacing, and kerning along with the introducing three new weights: book, medium, and black in roman, italics, roman small caps, and roman small caps italics except for black which lacked small caps.{{sfn|Peters|2005}}
* 1998 FF Meta reorganized and released with the following families: FF Meta Normal, FF Meta Book, FF Meta Medium, FF Meta Bold and FF Meta Black, all in roman, italic, small caps and italic small caps, which came with their respective expert and lining figures.{{sfn|Peters|2005}}
* Sometime before 2005 foreign language versions by [[Tagir Safayev]] and [[Olga Chayeva]],<ref>{{cite web | title = FF Meta at ParaType | url = http://www.paratype.com/pstore/fonts/FF-Meta.htm |work=ParaType Shop|publisher=ParaType|archive-url=https://web.archive.org/web/20080731200828/http://www.paratype.com/pstore/fonts/FF-Meta.htm|archive-date=2008-07-31|quote=Cyrillic versions were developed for ParaType in 2001 by Tagir Safayev and Olga Chayeva.}}</ref> a condensed family, and additional light weights were added as: FF Meta Light, FF Meta Thin, and FF Meta Hairline.{{sfn|Peters|2005}}
* 2005 FF Meta Headline<ref>{{cite web |last1=Schwartz |first1=Christian |author-link=Christian Schwartz |title=FF Meta Headline |url=http://www.christianschwartz.com/metahead.shtml |website=Schwartzco Inc. |access-date=5 July 2020}}</ref>
* 2007 A serif companion, entitled FF Meta Serif, was completed and released.<ref>{{cite web|last1=Hallmundur|first1=Aegir|title=Meta Serif review|url=http://typographica.org/typeface-reviews/ff-meta-serif/|website=Typographica|access-date=11 July 2015}}</ref>
* 2011 A Hebrew version was released.{{sfn|FontFont|2011}}
* 2013 [[Fira Sans]], a free derivative for [[Mozilla]]'s [[Firefox OS]].
* 2018 [[Fira (typeface)#FiraGO|FiraGO]], a multilingual extension of ''Fira Sans'' was released.

== Personnel ==
Writing in 1987, Spiekermann gave these credits for Meta as originally designed for the Bundespost.
* Original sketches, concept, and research for FF Meta by Erik Spiekermann and Michael Bitter at Sedley Place Design, Berlin.
* Design of the completed alphabets by [[Gerry Barney]] and Mike Pratley at [[Sedley Place]], London.{{sfn|Spiekermann|1987|p=9}}

==Notes==
{{Reflist|30em}}

==References==
* {{cite book
| last = Blackwell
| first = Lewis
| title = 20th Century Type
| publisher = Yale University Press
| year = 2004 | isbn = 0-300-10073-6}}
* {{cite book |last = Fiedl
|first = Frederich
|author2 = Nicholas Ott
|author3 = Bernard Stein
|title = Typography: An Encyclopedic Survey of Type Design and Techniques Through History
|publisher = Black Dog & Leventhal
|year = 1998
|isbn = 1-57912-023-7
|url = https://archive.org/details/typographyencycl00frie
}}
* {{cite book
| last = Macmillan
| first = Neil
| title = An A–Z of Type Designers
| publisher = Yale University Press
| year = 2006 | isbn = 0-300-11151-7}}
* {{cite book
| last = Sweet
| first = Fay
| title = MetaDesign : Design from the Word Up
| place = New York
| publisher = Watson-Guptill Publications
| year = 1999
| isbn = 0-8230-1212-3
| url = https://archive.org/details/metadesigndesign00swee
}}
* {{cite web
| title = New FontFont Release 55
| work = FontFont
| url = https://www.fontfont.com/news/new-release-ff55
| ref= CITEREFFontFont2011

| date = 8 August 2011
| access-date=4 July 2012}}
* {{cite web
| title = Meta-morphosis: How FF MetaPlus Became FF Meta
| url = http://fontfeed.com/archives/meta-morphosis-how-ff-metaplus-became-ff-meta/
| last = Peters
| first = Yves
| date = 2 October 2005

| access-date= 18 February 2010
}}
* {{Citation
| last = Spiekermann
| first = Erik
| title = Post Mortem or how I once designed a typeface for Europe's biggest company
| journal = Baseline
| issue = 9
| pages = 6–9
| year = 1987
| url = http://spiekermann.com/en/wp-content/uploads/2005/05/baseline0785_meta3.pdf
}}
* {{cite book
| last1 = Spiekermann
| first1 = Erik
| last2 = Ginger
| first2 = E. M.
| title = Stop Stealing Sheep & Find Out How Type Works
| place = Berkeley, California
| edition = Second
| publisher = Adobe Press
| year = 2003 | isbn = 0-201-70339-4
}}

==External links==
* [http://www.fontfont.com/fonts/meta Further information and in use examples]
* [http://metaserif.com/ Website about FF Meta Serif]

{{DEFAULTSORT:Ff Meta}}

[[Category:Humanist sans-serif typefaces|Meta]]
[[Category:Typefaces with text figures|Meta]]
[[Category:FontShop typefaces|Meta]]
[[Category:Digital typefaces|Meta]]
[[Category:Government typefaces|Meta]]
[[Category:Typefaces and fonts introduced in 1984|Meta]]
[[Category:Unified serif and sans-serif typeface families|Meta]]
[[Category:Typefaces designed by Erik Spiekermann|Meta]]

FF Dax

2025-03-12T02:28:31Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Humanist sans-serif typeface}}
{{Multiple issues|
{{More citations needed|date=November 2011}}
{{Notability|date=November 2024}}
}}
{{Infobox typeface
| name = FF Dax
| image = File:Daxx Sample.svg
| style = [[Sans-serif]]
| classifications = Humanist
| releasedate = 1995-1997
| creator = [[Hans Reichel]]
| foundry = [[FontFont]]
| sample = [[Image:Dax sample.png]]
}}

'''FF Dax''' is a humanist [[sans-serif]] [[typeface]] designed by [[Hans Reichel]], published by [[FontFont]] library. The typeface is popular in advertising and in marketing.<ref name="Hans Reichel Passes Away">{{cite web|last1=Peters|first1=Yves|title=Hans Reichel Passes Away At Age 62|url=http://fontfeed.com/archives/hans-reichel-passes-away-at-age-62/|website=FontFeed|publisher=[[FontShop International]]|accessdate=19 April 2017}}{{dl|date=November 2024}}</ref> It is a "spurless" sans-serif, similar to typefaces like [[Semplicità]] and some characters in [[Gill Sans]], where strokes end without terminals.<ref name="Hans Reichel Passes Away" /> This gives it a modernist, abstract feeling, detached from handwriting principles.<ref name="Overlooked Typefaces">{{cite web|last1=Shaw|first1=Paul|author-link=Paul Shaw (design historian)|title=Overlooked Typefaces|url=http://www.printmag.com/imprint/overlooked-typefaces/|website=Print magazine|date=10 February 2011 |accessdate=2 July 2015}}</ref> Other designs, Barmeno and Sari, more bulbous cousins of FF Dax, have also been designed by Reichel.<ref name="Hans Reichel Passes Away" />

In 2005, Hans Reichel reworked FF Dax into a cleaner, more mature text face called FF Daxline and FF Daxline Office Pro.

== Adoption ==
FF Dax is widely adopted in several advertising materials. It is also used as a branding font by a few organisations and companies.

The UPS Sans typeface, used in most of [[United Parcel Service]] branding since 2003, is a modified version of FF Dax. [[Morrisons|Wm Morrison]], the British supermarket chain uses FF Dax on most in-store promotional material, hanging product location signs, and points of interest around the store – such as special offers and two-for-one deals.

The typeface was adopted by [[David Cameron]] in 2005 as part of the branding for his campaign for leadership of the [[Conservative Party (UK)|UK Conservative Party]]. After Cameron was elected, the party was immediately rebranded in the style of the Cameron campaign, and Dax was used for a new version of the party logo and across all its subsequent advertising, leaflets and website, until being replaced by [[Lucida Sans]] in October 2006.

FF Dax is also used in the branding of the [[New Democratic Party (Canada)|New Democratic Party]] of Canada, the [[Matterhorn Gotthard Bahn]] of Switzerland, the [[Workers' Party of Belgium]] and the [[Progress Party (Norway)|Norwegian Progress Party]].

FF Dax is also used by the ''[[New Scientist]]'' magazine as its main header text for their publications, banners and ads.

Banks in Canada ([[Bank of Montreal]]) and the Philippines ([[Bank of the Philippine Islands]]) use FF Dax for marketing and publications.

FF Dax is used on the brand identity of [[Panadol]].

FF Dax is additionally used in the TV sitcom ''[[How I Met Your Mother]]'' for the title.

[[Air Malta]] adopted the typeface for their new logo.

[[Air Astana]] also used this font for their rebranded logo in 2015

[[Virgin Mobile]] also used the typeface for some parts of their logo.

[[Interpipe]], Ukrainian pipe and railway wheel manufacturer, also used the typeface for parts of their logo and all communication materials.

[[NuBank]], Brazilian startup credit card bank, also used it for part of their logo and whole typeface of their website, cards and advertising.

Turkish bank [[VakıfBank]] use FF Dax Medium Italic for their logo.

FF Dax is also the corporate typeface of [[Middlesex University]] and is used in its logo, in its publications and on its website.

FF Dax is also the corporate typeface of Finnish transportation company [[VR Group]], and is used in its publications and on its website.

FF Dax was also used by argentine TV station [[Telefe]] and all its affiliates between 2001 and 2002 as the corporate font.

==See also==
* [[Typography]]
* [[Font]]

==References==
{{reflist|30em}}

==External links==
*[http://www.daxo.de/ Hans Reichel's website]
*[http://www.fontfont.com/fonts/dax FontFont: FF Dax fonts]
*[http://www.fontshop.com/blog/newsletters/jul2005/ Introduction of FF Daxline]

[[Category:Humanist sans-serif typefaces]]
[[Category:FontShop typefaces]]
[[Category:Typefaces and fonts introduced in 1995]]

Twentieth Century (typeface)

2025-03-12T02:25:37Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{short description|Geometric sans-serif typeface}}
{{Infobox font
| name = Twentieth Century
| image = Twentieth_Century_a.svg
| style = [[Sans-serif]]
| aka = Airport, Tw Cen MT, [[Century Gothic]] (derivative)
| classifications = [[sans-serif#Geometric|Geometric]]
| releasedate = 1937
| creator = [[Sol Hess]]
| foundry = [[Lanston Monotype]]
| based_on = [[Futura (typeface)|Futura]]
}}

'''Twentieth Century''' is a [[sans-serif#Geometric|geometric]] [[sans-serif]] typeface designed by [[Sol Hess]] for [[Lanston Monotype]] in 1937. It was created as a competitor to the successful [[Futura (typeface)|Futura]] typeface for Monotype's [[hot metal typesetting]] system. Like Futura it has a single-story 'a' and a straight 'j' with no bend.

A very large font family, Twentieth Century is particularly known for a limited range of styles being bundled with many [[Microsoft]] products such as [[Microsoft Office|Office]].<ref>{{cite web|title=Installed files list for Office 2011|url=http://www.officeformachelp.com/office/install/installed-files-list-for-office-2011/|website=OfficeForMacHelp.com|accessdate=14 June 2015}}</ref> Numerous other variants exist, including versions for very small text and an [[Art Deco]]-influenced titling capitals design, Twentieth Century Poster, with rounded capitals. In addition, Twentieth Century served as an inspiration for ''[[Century Gothic]]'', designed by [[Monotype Corporation|Monotype]] in 1991.{{ref|quote3}}

==Casting history==
The various weights and widths were cut over a period of ten years:

* Twentieth Century (1937)
* Twentieth Century Bold Italic (1937)
* Twentieth Century Extrabold Italic (1937)
* Twentieth Century Extrabold Condensed Italic (1938)
* Twentieth Century Ultrabold (1941)
* Twentieth Century Ultrabold Condensed (1944)
* Twentieth Century Medium Condensed Italic (1947)
* Twentieth Century Ultrabold Italic (1947){{ref|quote1}}

==Foundry type copies==
The first American knock-off of [[Futura (typeface)|Futura]] was [[Baltimore Type Foundry|Baltimore Type Foundry's]] Airport. No information exists on how this was produced, but it resembles Futura so closely that it is thought to be [[Electrotyping|electrotyped]]. After Monotype introduced Twentieth Century, Baltotype began selling some weights of this face under the Airport name.{{ref|quote2}}

==Digital type copies==
There presently exist two modern releases, by Monotype and Lanston Type (LTC). Monotype's current release is much larger than that included with Microsoft products, and includes additional light, semi-bold, extra- and ultra-bold styles.<ref name="Twentieth Century MT">{{cite web|title=Twentieth Century MT|url=http://www.myfonts.com/fonts/mti/twentieth-century-mt/|website=MyFonts|publisher=Monotype|accessdate=1 October 2015}}</ref> Even less commonly seen are the quirky Art Deco-influenced display alphabet Twentieth Century Poster, intended to be complementary, and Twentieth Century Classified, a small print design with a very high [[x-height]].<ref name="Twentieth Century Poster MT">{{cite web|title=Twentieth Century Poster MT|url=http://www.myfonts.com/fonts/mti/twentieth-century-poster-mt/|website=MyFonts|publisher=Monotype|accessdate=1 October 2015}}</ref> This veers away from the strict geometry of the main design, featuring a more conventional double-story ‘a’, presumably to be more legible. A similar design was offered by Linotype's Spartan, which may be an influence.<ref>{{cite web|title=Twentieth Century|url=http://www.myfonts.com/fonts/mti/twentieth-century-mt/|website=MyFonts|publisher=Monotype|accessdate=14 June 2015}}</ref> Lanston's design is in a narrower range of styles, but includes a set of additional stylistic alternates and small capitals.<ref>{{cite web|title=LTC Twentieth Century|url=http://www.myfonts.com/fonts/lanston/ltc-twentieth-century/|website=MyFonts|publisher=Monotype|accessdate=14 June 2015}}</ref> LTC has also digitised other Hess sans-serif designs, such as Jefferson Gothic (a titling caps design similar to Twentieth Century Poster, but more condensed) and Tourist Gothic (an earlier grotesque design, to which Hess also added rounded caps).<ref name="LTC Jefferson Gothic">{{cite web|title=LTC Jefferson Gothic|url=http://www.myfonts.com/fonts/lanston/ltc-jefferson-gothic/|website=MyFonts|publisher=LTC|accessdate=1 October 2015}}</ref><ref name="LTC Tourist Gothic">{{cite web|title=LTC Tourist Gothic|url=http://www.myfonts.com/fonts/lanston/ltc-tourist-gothic/|website=MyFonts|publisher=LTC|accessdate=1 October 2015}}</ref> Twentieth Century Poster has also been revived under the name as Renard Moderne by the company Nick's Fonts, a release that includes small capitals as a lower case.<ref name="Renard Moderne">{{cite web|last1=Curtis|first1=Nick|title=Renard Moderne|url=http://www.myfonts.com/fonts/nicksfonts/renard-moderne-nf/|website=MyFonts|publisher=Nick's Fonts|accessdate=1 October 2015}}</ref>

Digitisations of the original design are sometimes marketed as Tw Cen MT, possibly due to archaic file name length restrictions.

==Footnotes==
{{reflist|30em}}
#{{note|quote1}}McGrew, Mac, ''American Metal Typefaces of the Twentieth Century,'' Oak Knoll Books, New Castle Delaware, 1993, {{ISBN|0-938768-34-4}}., p. 315.
#{{note|quote2}} McGrew, p. 9
#{{note|quote3}}[http://www.microsoft.com/typography/fonts/family.aspx?FID=29 Microsoft's description of ''Century Gothic'']

==External links==
* [https://archive.org/details/MonotypeGiantCaster12PageBrochure Specimen in original metal type]
* [https://web.archive.org/web/20150316221104/https://www.fontshop.com/people/stephen-coles/fontlists/futura-alternatives Futura Alternatives] - Stephen Coles' extremely broad round-up of it and other digital Futura competitors.
{{Monotype typefaces}}

{{DEFAULTSORT:Twentieth Century (Typeface)}}
[[Category:Geometric sans-serif typefaces]]
[[Category:Monotype typefaces]]
[[Category:Microsoft typefaces]]
[[Category:Typefaces and fonts introduced in 1937]]
[[Category:Typefaces designed by Sol Hess]]

Rockwell (typeface)

2025-03-12T02:22:55Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{Short description|Slab-serif font}}
{{More citations needed|date=December 2009}}
{{Infobox font
| name = Rockwell
| image = RockwellWM.png
| style = [[Serif]]
| classifications = [[Slab serif]]
| releasedate = 1934
| foundry = [[Monotype Corporation|Monotype]]
| based_on = Stymie Venus Egyptienne
}}

'''Rockwell''' is a [[slab serif]] typeface designed by the [[Monotype Corporation]] and released in 1934.<ref>{{cite book | page = 194 | isbn = 0-7137-0191-9 | title = Encyclopaedia of Type Faces | orig-year = 1953 | year = 1970 | edition = 4th |author1=W. Pincus Jaspert |author2=W. Turner Berry |author3=A.F. Johnson | publisher = Blandford Press | location = London }}</ref><ref name="Roberts2005">{{cite book|author=Lucienne Roberts|title=Drip-dry Shirts: The Evolution of the Graphic Designer|url=https://books.google.com/books?id=x2n7ufDeXf8C&pg=PA32|date=1 November 2005|publisher=AVA Publishing|isbn=978-2-940373-08-6|page=32}}</ref> The project was supervised by Monotype's engineering manager [[Frank Hinman Pierpont]]. This [[typeface]] is distinguished by a [[serif]] at the apex of the uppercase ''A'', while the lowercase ''a'' has two storeys. Because of its monoweighted stroke (meaning there is virtually no visible thick/thin transition in the strokes, so the letterforms are the same thickness all the way around),<ref>{{Cite web |title=Type Styles |url=http://www.multimedia502.com/projects/typestyle.html |access-date=2023-12-23 |website=www.multimedia502.com}}</ref> Rockwell is used primarily for [[display typeface|display]] or at small sizes rather than as a [[body text]]. Rockwell is based on an earlier, more condensed slab serif design cast by the [[Inland Type Foundry]] called Litho Antique.

Rockwell is a geometric slab-serif with a monoline construction, with all of its strokes appearing to be roughly the same width and its capital ''O'' roughly circular. This gives it a similar impression to common [[sans-serif]] designs of the period like [[Akzidenz Grotesk]], [[Franklin Gothic]], or [[Futura (typeface)|Futura]].<ref name="Sentinel: historical background">{{cite web|title=Sentinel: historical background|url=http://www.typography.com/fonts/sentinel/history/|publisher=Hoefler & Frere-Jones|access-date=15 July 2015}}</ref> Rockwell is influenced by a style of geometric slab serif that had become popular around the time, including the earlier [[Memphis (typeface)|Memphis]] and [[Beton (typeface)|Beton]], and less similarly [[Stymie (typeface)|Stymie]] and City.<ref name="The revival of slab-serif typefaces in the 20th century">{{cite web|last1=Tam|first1=Keith|title=The revival of slab-serif typefaces in the 20th century|url=http://keithtam.net/documents/slabserif.pdf|publisher=University of Reading (MA thesis)|access-date=3 March 2016}}</ref>

Rockwell has remained popular and been digitised, although a shadowed weight has not been.

[[Bitstream Inc.|Bitstream]] offers a lookalike/clone of Rockwell, under the name ''Geometric Slabserif 712.''<ref>{{cite web |title=Geometric Slabserif 712 - Webfont & Desktop font « MyFonts |url=https://www.myfonts.com/fonts/bitstream/geometric-slabserif-712/ |website=www.myfonts.com |access-date=3 March 2019}}</ref>

Vernon Adams designed the Rokkitt typeface, inspired by Rockwell.<ref>{{cite web|title=Rokkitt - Google Fonts|url=https://fonts.google.com/specimen/Rokkitt |website=fonts.google.com|access-date=12 May 2020}}</ref><ref>{{cite web|title=Rokkitt typeface|url=https://www.fontsquirrel.com/fonts/rokkitt |website=Font Squirrel|access-date=18 November 2020}}</ref>

==Usage==
The ''[[Guinness World Records]]'' used Rockwell in some of its early-1990s editions. Informational signage at [[Expo 86]] made extensive use of the Rockwell typeface.<ref>''General Report on the 1986 World Exposition''. Expo 86 Corporation, 1986, p. 115.</ref> [[Docklands Light Railway]] used a bold weight of this typeface in the late 1980s and early 1990s. The poetry publisher [[Tall Lighthouse]] also uses Rockwell in all of its books, as well as on its website.<ref>{{Cite web|url=https://tall-lighthouse.co.uk/|title=Tall Lighthouse | illuminating words}}</ref>

The government of [[Ohio]] used Rockwell in its previous logo.

Previous local government [[Strathclyde|Strathclyde Regional Council]] used the Rockwell font in its logo.<ref>{{Cite web|url=https://en.wikipedia.org/wiki/File:Strathclyde_Regional_Council_Logo.png|title=Strathclyde Regional Council Logo(other information states font usage in logo)}}</ref>

American fast food chain [[Arby's]] uses Rockwell font in its advertising, most notably in its slogan, “We Have The Meats”.

The 2024 film [[Challengers (film)|Challengers]] and its accompanying promotional material notably made extensive use of Rockwell.

==References==
{{Commons category|Rockwell (typeface)}}
{{reflist}}

{{Monotype typefaces}}
{{OS X typefaces}}

{{DEFAULTSORT:Rockwell (Typeface)}}
[[Category:Monotype typefaces]]
[[Category:Geometric slab-serif typefaces]]
[[Category:Typefaces and fonts introduced in 1934]]
[[Category:Display typefaces]]

Plantin (typeface)

2025-03-12T02:22:23Z

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{{Short description|Typeface}}
{{Infobox font
| image = Plantin font sample.png
| name = Plantin
| style = [[Serif]]
| classifications = [[Serif#Old-style|Old style serif]]
| creationdate = 1913
| creator = [[Robert Granjon]] [[Frank Hinman Pierpont]] [[Fritz Stelzer]]
| foundry = [[Monotype]]
}}

'''Plantin''' is an [[Serif#Old-style|old-style serif]] [[typeface]] created in 1913 by the British [[Monotype Corporation]] for their [[hot metal typesetting]] system. Named after the sixteenth-century printer [[Christophe Plantin]],<ref name="History of the Monotype Corporation">{{cite book|last1=Slinn|first1=Judy|last2=Carter|first2=Sebastian|last3=Southall|first3=Richard|author-link2=Sebastian Carter|title=History of the Monotype Corporation|pages=202–3 etc.}}</ref> it is loosely based on a Gros Cicero [[roman type]] cut in the 16th century by [[Robert Granjon]] held in the collection of the [[Plantin–Moretus Museum]] in [[Antwerp]].<ref>
{{cite web| url = http://brigitteschuster.com/media/documents/MonotypePlantin-AdigitalRevival.pdf| title=Monotype Plantin: A Digital Revival by Brigitte Schuster| last=Schuster| first=Brigitte | date=2010| publisher=[[Royal Academy of Art, The Hague]] (M.A. thesis) | access-date=23 May 2014}}</ref>

The intention behind the design of Plantin was to create a font with thicker letterforms than were often used at the time: early printing on absorbent [[book paper]] led to ink spread, but by 1913 innovations in smoothing and [[coated paper]] had led to reduced ink spread and made old types often look skeletal on paper.<ref name="20c">{{citation
| last = Carter | first = Sebastian
| pages = 28–29
| publisher = W. W. Norton & Company
| title = Twentieth Century Type Designers
| year = 1995}}.</ref> Monotype engineering manager [[Frank Hinman Pierpont]] visited the Plantin-Moretus Museum, where he acquired a printed specimen of historic types.<ref name="morison">{{cite book|last1=Morison|first1=Stanley|title=A Tally of Types|url=https://archive.org/details/tallyoftypes0000mori|url-access=registration|date=7 June 1973|publisher=CUP Archive|isbn=978-0-521-09786-4|pages=[https://archive.org/details/tallyoftypes0000mori/page/22 22]–24}}</ref>

Plantin was one of the first Monotype Corporation revivals that was not simply a copy of a typeface already popular in British printing; it has proved popular since its release and has been digitised. Monotype followed it with revivals of many other classic typefaces in the 1920s and 30s.<ref name="History of the Monotype Corporation" /> Plantin would later also be used as one of the main models for the creation of [[Times New Roman]] in the 1930s.<ref>{{citation
| last1 = Meggs | first1 = Philip B.
| last2 = Carter | first2 = Rob
| contribution = 29. Plantin
| isbn = 978-0-471-28429-1
| pages = 302–311
| publisher = John Wiley and Sons
| title = Typographic Specimens: The Great Typefaces
| year = 1993}}.</ref> The Plantin family includes regular, light and bold weights, along with corresponding italics.

==Inspiration==
[[File:Plantin-Moretus punches 1.jpg|thumb|Steel [[Punchcutting|punches]], the masters used to stamp [[Matrix (printing)|matrices]] used to cast metal type, at the [[Plantin-Moretus Museum]]. Its unique collection of original sixteenth-century matrices and punches inspired the Plantin design.]]
[[File:Antwerp Belgium Museum-Plantin-Moretus-05.jpg|thumb|left|The Plantin-Moretus Museum in [[Antwerp]], a visit to which provided source material for Plantin's design.]]
At the time Plantin was released, Monotype's [[hot metal typesetting]] system, which cast new type for each printing job, was developing a reputation for practicality in trade and mass-market printing, but the designs offered by Monotype were relatively basic choices, such as a [[Didone (typography)|"modern" face]], an [[Modernised Old Style (typeface)|"old style"]] and a [[Clarendon (typeface)|Clarendon]].<ref name="History of the Monotype Corporation" />

James Moran and [[John Dreyfus]] suggested that an inspiration for the design may have been a c. 1910 family from the [[Stevens, Shanks & Sons Ltd.|Shanks foundry]] known as "Plantin Old Style", advertised as highly legible.<ref name="Plantin Old Style : typeface synopsis issued by P M Shanks & Co Ltd., typefounders, London, c1910">{{cite web|title=Plantin Old Style : typeface synopsis issued by P M Shanks & Co Ltd., typefounders, London, c1910 (image: Mike Ashworth)|date=16 April 2019 |url=https://www.flickr.com/photos/36844288@N00/46906184434/in/photostream/|access-date=2022-12-02}}</ref> This was actually a bold design based on [[Caslon]], with no connection to Christophe Plantin or Granjon, but Dreyfus suggests it may have prompted Monotype to research Christophe Plantin and the collection of the Plantin-Moretus Museum.<ref name="Into Print">{{cite book|last1=Dreyfus|first1=John|title=Into Print: Selected Writings on Printing History, Typography and Book Production|date=1995|publisher=David R. Godine|location=Boston|isbn=9781567920451|pages=116–124|edition=1st hardcover}}</ref>

The Plantin-Moretus Museum was created in 1876 from Plantin's collection which had been preserved and added to by his successors in business. It is notable as the world's largest collection of sixteenth century typefaces.<ref name="The materials of typefounding">{{cite web|last1=Mosley|first1=James|author-link=James Mosley|title=The materials of typefounding|url=http://typefoundry.blogspot.co.uk/2006/01/materials-of-typefounding.html|website=Type Foundry|date=2006-01-06|access-date=14 August 2015|archive-url=https://archive.today/20240730130105/https://typefoundry.blogspot.com/2006/01/materials-of-typefounding.html|archive-date=2024-07-30|url-status=live}}</ref> Although Plantin commissioned types from Granjon, according to [[Hendrik Vervliet]] the specific type Pierpont's design was based on began to be used by the Plantin-Moretus Press only in the 18th century, after Plantin had died and his press had been inherited by the [[Jan Moretus|Moretus]] family.<ref name="Vervliet2008">{{cite book|author=Hendrik D. L. Vervliet|title=The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces|url=https://books.google.com/books?id=6sidSDlif48C&pg=PA226|year=2008|publisher=BRILL|isbn=978-90-04-16982-1|pages=226–7}}</ref> (It has been reported that Plantin did use the long letters of the type as replacement letters to cast a type by [[Garamond]] shorter height, but Vervliet suggests that these may have been a set of slightly different characters cut by Granjon separately.<ref name="Vervliet2008" /><ref name="20c"/><ref name="morison"/><ref name="Where Did Times New Roman Come From?">{{cite web|last1=Mann|first1=Meredith|title=Where Did Times New Roman Come From?|url=http://www.nypl.org/blog/2014/12/09/times-new-roman|publisher=[[New York Public Library]]|access-date=2 February 2016}}</ref>)

Plantin was designed and engraved into metal at the Monotype factory in [[Salfords]], [[Surrey]], which was led by Pierpont and draughtsman Fritz Stelzer. Both were recruits to Monotype from the German printing industry.

The choice to revive a French Renaissance design was unusual for the time, since most British fine printers of the period preferred either [[Caslon]] or revivals of the fifteenth-century style of [[Nicolas Jenson]] (recognisable from the tilted 'e'), following the lead of [[William Morris]]'s [[Golden Type]], both of which Monotype would also develop revivals of.<ref name="History of the Monotype Corporation" /> However, other revivals of Aldine/French renaissance typefaces followed from several hot metal typesetting companies in the following decades, including Monotype's own [[Poliphilus (typeface)|Poliphilus]], [[Bembo]] and [[Monotype Garamond|Garamond]], Linotype's [[Granjon (typeface)|Granjon]] and [[George W. Jones (printer)|Estienne]] and others, becoming very popular in book printing for body text.

==Design==
[[File:Old Style.jpg|thumb|left|Miller & Richard's [[Modernised Old Style (typeface)|Old Style]], a delicate reinterpretation of pre nineteenth-century printing styles that became popular in the late nineteenth century. While offering a version of it as one of their first faces, Monotype in creating Plantin aimed to offer a more solid design that would print clearly.]]
The design for Plantin preserved the large [[x-height]] of Granjon's designs, but shortened the [[Ascender (typography)|ascenders and descenders]] and enlarged the [[Counter (typography)|counters]] of the lowercase 'a' and 'e'.<ref name="morison"/> Not all the letters were Granjon's: the letters 'J', 'U' and 'W', not used in French in the sixteenth century, were not his, and a different 'a' in an eighteenth-century style had been substituted into the font by the time the specimen sheet was printed.<ref name="Vervliet2008" /><ref name="Matthew Carter">{{cite book|last1=Mosley|first1=James|chapter=Reviving the Classics: Matthew Carter and the Interpretation of Historical Models|editor1-last=Mosley|editor1-first=James|editor2-last=Re|editor2-first=Margaret|editor3-last=Drucker|editor3-first=Johanna|editor4-last=Carter|editor4-first=Matthew|title=Typographically Speaking: The Art of Matthew Carter|date=2003|publisher=Princeton Architectural Press|isbn=9781568984278|pages=31–34|chapter-url=https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA32|quote=Plantin was a recreation of one of the old types held at the Plantin-Moretus Museum in Antwerp, of which a specimen, printed in 1905, had been acquired by Pierpont on a visit. The type from which the specimen was printed was not only centuries old and worn almost beyond use, but it was contaminated with wrong-font letters (notably the letter ‘a’) and the italic did not even belong to the roman. The revival, derived by Monotype from an indirect and confused original, is as sound a piece of type-making as was ever created in the 20th century…behind the foggy image of the roman type lies the...'Gros Cicero' Roman of [[Robert Granjon]], acquired by the Plantin printing office after the death of its founder.}}</ref><ref name="Mosley Gros Cicero">{{cite web|last1=Mosley|first1=James|title=Comments on Typophile thread|url=http://www.typophile.com/node/53050|website=Typophile (archived)|archive-url=https://web.archive.org/web/20111013140635/http://www.typophile.com/node/53050|access-date=16 December 2016|archive-date=2011-10-13|quote=The consensus appears to be that not only the wrong-fount a in the cases at Antwerp but also the italic that Monotype adapted for their Plantin (which can be seen on that first page of the 1905 specimen) may be the work of Johann Michael Schmidt (died 1750), also known as J. M. Smit or Smid.}}</ref><ref>{{cite journal |last1=Lane |first1=John A. |author-link=John A. Lane|title=Arent Corsz Hogenacker (ca. 1579-1636): an account of his typefoundry and a note on his types Part two: the types |journal=[[Quaerendo]] |date=1995 |volume=25 |issue=3 |page=163 |doi=10.1163/157006995X00017 |quote=Most of these sixteenth-century types were originally cut without the letters J, U, and W, which were added in the seventeenth century.}}</ref>

The 1742 specimen of Claude Lamesle (notable for its printing quality) provides a specimen of the Granjon type in its original state.<ref name="Épreuves générales des caracteres">{{cite book|last1=Lamesle|first1=Claude|title=Épreuves générales des caracteres|date=1742|page=55|url=https://books.google.com/books?id=4gr11pmlvgoC}}</ref><ref name="Vervliet2008" /> Mosley has close-up images of some characters of the face.<ref name="Mosley Gros Cicero" />{{efn|A better-quality digitisation of the whole specimen is available but it does not include this leaf.<ref name="Épreuves générales des caracteres colour">{{cite book|last1=Lamesle|first1=Claude|title=Épreuves générales des caracteres|date=1742|url=https://books.google.com/books?id=Fy3g7OP-VV8C}}</ref>}}

==Reception and usage==
[[File:Plantin Fontshop.gif|thumb|A sample image of Plantin created by [[FontShop International|Fontshop]], showing infant styles and the condensed "News" and "Headline" styles sold for newspapers.]]
With its relatively robust, solid design compared to the [[Didone (typography)|Didone]] and "[[Modernised Old Style]]" faces popular in the early twentieth century (which Monotype already had made versions of), Plantin proved popular and was often particularly used by trade and newspaper printers using poor-quality paper in the metal type period and beyond. Monotype's advertising emphasised its popularity with advertisers, highlighting its use in the "Mrs Rawlins" series of adverts for washing starch.<ref name="Modern Publicity">{{cite journal|title=Monotype (advert)|journal=Modern Publicity|date=1930|page=187|url=http://magazines.iaddb.org/issue/MP/1930-01-01|access-date=15 March 2017}}</ref><ref name="Twenty Years of Advertising Typography">{{cite journal|last1=Warde|first1=Beatrice|title=Twenty Years of Advertising Typography|journal=Advertiser's Weekly|date=1932|page=130|url=http://magazines.iaddb.org/issue/ADW/1932-07-28/edition/1000/page/42?query=|access-date=15 March 2017}}</ref><ref name="Hackney">{{cite web|last1=Hackney|first1=Fiona Anne Seaton|title="They Opened Up a Whole New World": Feminine Modernity and the Feminine Imagination in Women's Magazines, 1919-1939|url=https://research.gold.ac.uk/7998/1/Redacted_History_thesis_Hackney.pdf|publisher=Goldsmith's College (PhD thesis)|access-date=15 March 2017}}</ref><ref name="Lethbridge2013">{{cite book|author=Lucy Lethbridge|title=Servants: A Downstairs View of Twentieth-century Britain|url=https://books.google.com/books?id=BY7ynqJmRKsC&pg=PA187|date=14 March 2013|publisher=A&C Black|isbn=978-1-4088-3407-7|pages=187–8}}</ref> As the basic font is relatively dark on the page, Monotype offered a 'light' version as well as a bold, which [[Hugh Williamson (book designer)|Hugh Williamson]] describes as "particularly suitable for bookwork."<ref name="Methods of Book Design">{{cite book|last1=Williamson|first1=Hugh|author-link=Hugh Williamson (book designer)|title=Methods of Book Design|date=1956 |publisher=Oxford University Press|url=https://archive.org/details/MethodsOfBookDesign/page/n95/mode/2up|page=81}}</ref>

During the [[interwar period]] the face was adopted and popularized by [[Francis Meynell]]'s Pelican Press and by C. W. Hobson's Cloister press, and also used occasionally by [[Cambridge University Press]].<ref name="morison"/> A custom version, "Nonesuch Plantin" was also cut for Meynell's [[Nonesuch Press]], one of the first [[Fine press|fine printers]] to use Monotype machines, with extended ascenders and descenders on the lower-case.<ref name="Poetry Books for the Trala">{{cite web|last1=Steeves|first1=Andrew|title=Poetry Books for the Trala|date=14 April 2011|url=http://gaspereaupress.blogspot.co.uk/2011/04/poetry-books-for-trala.html|publisher=Gaspereau Press|access-date=12 March 2017}}</ref> Type designer [[Walter Tracy]] noted that this changed the type's appearance to a surprising extent: "it look[s] not only more refined but as if it derived from another period: [[Pierre-Simon Fournier|Fournier's]], say [in the eighteenth century], not Granjon's."<ref name="Nonesuch Plantin">{{cite book|last1=Tracy|first1=Walter|title=Letters of Credit|pages=50–1}}</ref> It was appropriately used by the Bodley Head to print Meynell's autobiography.<ref name="Rosenblum1995">{{cite book|author=Joseph Rosenblum|title=A Bibliographic History of the Book: An Annotated Guide to the Literature|url=https://books.google.com/books?id=VhUG9Dd77g4C&pg=PA407|year=1995|publisher=Scarecrow Press|isbn=978-0-8108-3009-7|pages=407–8}}</ref> Monotype also created a condensed version, News Plantin, for ''The Observer'' in the late 1970s.<ref name="Small Print">{{cite journal|last1=Luna|first1=Paul|title=Small Print|journal=Designer|date=1986|quote=The first national to install a Lasercomp, it overcame the lack of suitable text faces by commissioning its own, a slightly condensed version of Plantin.}}</ref><ref name="History of the Monotype Corporation" /> An [[Font#Character variants|infant variety]] of the typeface called Plantin Infant also exists,<ref name="Plantin Infant Font ">{{cite web|title=Plantin Infant Font |url=https://www.myfonts.com/fonts/mti/plantin-infant/|access-date=14 January 2022}}</ref> with [[Font#Character variants|single-story versions]] of the letters 'a' and 'g' and a 'y' with two straight sides.

The font was used as the signature font for [[ABC News (United States)|ABC News]] from 1978 until 1999. In more recent usage, the magazine [[Monocle (2007 magazine)|''Monocle'']] is set entirely in Plantin and [[Helvetica]].<ref>{{cite web |url=http://fontfeed.com/archives/in-use-plantin-for-monocle |first=Stephen|last=Coles |title=In Use: Plantin for Monocle |date=February 13, 2009 |access-date=2009-12-23 |publisher=[[FSI FontShop International]] |work=The FontFeed}}</ref> The body text of all ''[[Magic: The Gathering]]'' cards is also set in Plantin.

==Designs inspired by Plantin==
[[File:Times ancestors.png|thumb|A comparison between Times New Roman and three typefaces originally considered as a basis for the ''Times'' project: [[Perpetua (typeface)|Perpetua]], [[Baskerville]], and Plantin. Times is most based on Plantin, but with taller letters and its appearance "modernised" by adding eighteenth- and nineteenth-century influences similar to Baskerville and Perpetua, in particular enhancing the stroke contrast.]]
Plantin was the basis for the general layout of Monotype's most successful typeface of all, Times New Roman.<ref name="Time and Times again">{{cite web|last1=Rhatigan|first1=Dan|title=Time and Times again|url=http://ultrasparky.org/archives/2011/09/time_and_times_.html|publisher=Monotype|access-date=28 July 2015}}</ref><ref name="Hutt Times Roman: a re-assessment">{{cite journal|last1=Hutt|first1=Allen|author-link=Allen Hutt|title=Times Roman: a re-assessment|journal=Journal of Typographic Research|date=1970|volume=4|issue=3|pages=259–270|url=http://visiblelanguagejournal.com/issue/15|access-date=5 March 2017}}</ref> Times is similar to Plantin but "sharpened" or "modernised", with increased contrast (particularly resembling designs from the eighteenth and nineteenth century) and greater "sparkle".<ref name="Anatomy of a Typeface">{{cite book|last1=Lawson|first1=Alexander|title=Anatomy of a Typeface|date=1990|publisher=David R. Godine|location=New York|isbn=9780879233334|pages=270–294|url=https://books.google.com/books?id=FiJ87ixLs0sC&pg=PA270|access-date=6 March 2016}}</ref><ref name="Changing the Times">{{cite web|last1=Morison|first1=Stanley|title=Changing the Times|url=http://www.eyemagazine.com/feature/article/stanley-morison-changing-the-times|website=Eye|access-date=28 July 2015}}</ref><ref name="Haley1992">{{cite book|author=Allan Haley|title=Typographic Milestones|url=https://books.google.com/books?id=dKeVor1olhkC&pg=PA106|date=15 September 1992|publisher=John Wiley & Sons|isbn=978-0-471-28894-7|page=106}}</ref> Allan Haley commented that Times New Roman "looks like Plantin on a diet."<ref name="ABC's of type">{{cite book |last1=Haley |first1=Allen |title=ABC's of type |date=1990 |publisher=Watson-Guptill Publications |isbn=9780823000531 |page=[https://archive.org/details/abcsoftype0000hale/page/86 86] |url=https://archive.org/details/abcsoftype0000hale/page/86 }}</ref>

As the Plantin design is in the public domain, adaptations and unofficial digitisations (including simple knock-offs) have been released. Galaxie Copernicus by Chester Jenkins and [[Kris Sowersby]] is a reinterpretation of Plantin.<ref name="Heck GC review">{{cite web |last1=Heck |first1=Bethany |title=Galaxie Copernicus review |url=https://fontreviewjournal.com/galaxie-copernicus/ |website=Font Review Journal |date=11 August 2017 |access-date=13 September 2019}}</ref><ref name="Village: Galaxie Copernicus about">{{cite web|title=Village: Galaxie Copernicus about|url=https://vllg.com/constellation/galaxie-copernicus/about|access-date=14 January 2022}}</ref> Sowersby followed it with a newspaper typeface, Tiempos, influenced by Times New Roman<ref name="Tiempos Design Information">{{cite web |last1=Sowersby |first1=Kris |title=Tiempos Design Information |url=https://klim.co.nz/blog/tiempos-design-information/ |publisher=Klim Type Foundry |access-date=21 January 2019}}</ref><ref name="Eye Reputations: Kris Sowersby">{{cite web |last1=Thomson |first1=Mark |last2=Sowersby |first2=Kris |title=Reputations: Kris Sowersby |url=http://www.eyemagazine.com/feature/article/reputations-kris-sowersby |website=Eye |access-date=12 September 2019}}</ref> and later, in mid-2023, released a digital revival of the metal Plantin 110 cut itself—rather than a reinterpretation—called Martina Plantijn.<ref name="Martina Plantijn Design Information">{{cite web |last1=Sowersby |first1=Kris |title=Martina Plantijn Design Information |url=https://klim.co.nz/blog/martina-plantijn-design-information/ |publisher=Klim Type Foundry |access-date=29 December 2023}}</ref> Fabric Serif by Sindre Bremnes and Frode Helland of Monokrom Type Foundry is another reinterpretation.<ref name="Fabric Serif in use - Fonts In Use">{{cite web|title=Fabric Serif in use - Fonts In Use|url=https://fontsinuse.com/typefaces/143513/fabric-serif|access-date=14 January 2022}}</ref><ref name="Monokrom Skriftforlag">{{cite web|title=Monokrom Skriftforlag|url=https://monokrom.no/fonts/fabricserif|access-date=14 January 2022}}</ref> Other similar designs include Musee by DSType<ref name="Musee">{{cite web|title=Musee|url=https://www.myfonts.com/fonts/dstype/musee/|access-date=14 January 2022}}</ref> and Erato by Hoftype.<ref name="Erato Font">{{cite web|title=Erato Font|url=https://www.myfonts.com/fonts/hoftype/erato/|access-date=14 January 2022}}</ref> In 2024 ''[[The Economist]]'' adopted a new typeface Economist Serif designed by Henrik Kubel and based on Plantin.<ref>{{Cite news |date=2024-02-07 |title=Why has The Economist changed its typeface? |url=https://www.economist.com/the-economist-explains/2024/02/07/why-has-the-economist-changed-its-typeface |access-date=2024-03-24 |url-access=subscription |url-status=live |work=The Economist |issn=0013-0613 |archive-url=https://archive.today/20240725082822/https://www.economist.com/the-economist-explains/2024/02/07/why-has-the-economist-changed-its-typeface |archive-date=2024-07-25}}</ref>

Aldine 721 is Bitstream's version of Plantin<ref name="Aldine 721 in use">{{cite web|title=Aldine 721 in use|url=https://fontsinuse.com/typefaces/218/aldine-721|access-date=14 January 2022}}</ref><ref name="Aldine 721 Font">{{cite web|title=Aldine 721 Font|url=https://www.myfonts.com/fonts/bitstream/aldine-721/|access-date=14 January 2022}}</ref> and Francisco Serial is a version by Softmaker.<ref name="Francisco Serial Font">{{cite web|title=Francisco Serial Font|url=https://www.myfonts.com/fonts/softmaker/francisco-serial/|access-date=14 January 2022}}</ref>

==References==
{{notelist}}
{{Reflist|30em}}

==External links==
*[https://www.myfonts.com/fonts/mti/plantin/ Plantin]

{{Monotype typefaces}}
{{Authority control}}

[[Category:Old style serif typefaces]]
[[Category:Linotype typefaces]]
[[Category:Typefaces with infant variants]]
[[Category:Typefaces and fonts introduced in 1913]]
[[Category:Monotype typefaces]]

Joanna (typeface)

2025-03-12T02:21:24Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{short description|Typeface designed by Eric Gill}}
{{Infobox font
| name = Joanna
| image = Joanna Nova sample image.png
| style = [[Serif]]
| creationdate = c. 1930
| releasedate = 1958
| classifications = Various; [[Slab serif|slab]]
| creator = [[Eric Gill]]
| foundry = [[Monotype Imaging|Monotype]]
| variations = Joanna Nova (shown) Joanna Sans
}}

'''Joanna''' is a [[serif]] [[typeface]] designed by [[Eric Gill]] (1882–1940) from 1930 to 1931 that was named for one of his daughters. Gill chose Joanna for setting ''[[An Essay on Typography]],'' a book by Gill on his thoughts on typography, typesetting and page design.<ref>{{Cite web|title = An Essay on Typography|url = http://www.godine.com/isbn.asp?isbn=0879239506|website = David R. Godine, Publisher|accessdate = 21 April 2015|url-status = dead|archiveurl = https://web.archive.org/web/20150316002435/http://www.godine.com/isbn.asp?isbn=0879239506|archivedate = 16 March 2015}}</ref> He described it as "a book face free from all fancy business".<ref name="Eric Gill: Monotype Recorder special issue" />

==Design==
Joanna is based on the traditional [[Serif#Old-style|old-style serif model]] of the Renaissance. However, the spare, sharp squared serifs and minimal contrast of strokes give the design a 20th-century modernist feeling, reminiscent of the [[Didone (typography)|Didone]] and [[slab serif]]s of the nineteenth century but far lighter than most typefaces of this genre. This is very similar to Gill's earlier typeface [[Solus (typeface)|Solus]], also rather light and monoline with horizontal serifs similar to Monotype's pre-existing [[Bodoni|Bodoni 135]] typeface.<ref name="Eric Gill: Monotype Recorder special issue" />{{efn|[[James Mosley]] describes Solus as "essentially a mechanistic type — a ‘light Egyptian’", a description also reached by [[Robert Harling (typographer)|Robert Harling]] and [[Vivian Ridler]].<ref name="The Non Solus Story" /><ref name="Three New Book Faces Ridler" /> [[Walter Tracy]] in contrast commented: "it is hard to accept the suggestion that the egyptian form was in Eric Gill's mind...[Solus] is really no more than a Perpetua-like roman unhappily fitted with a thickened version of the serifs of Monotype Bodoni 135, recommended to Gill by [[Stanley Morison]]."<ref name="Letters of Credit">{{cite book|last1=Tracy|first1=Walter|title=Letters of Credit|page=82}}</ref>}} (Solus was never particularly popular, perhaps because it did not have an italic.{{efn|Harling assesses it as having failed to appeal for lack of differentiation from Perpetua in small sizes, and lacking the 'aggressive qualities' of display-focused slab serifs in larger ones.<ref name="The Letter Forms and Type Designs of Eric Gill 51-8" />}})

Many of the letter forms of Joanna are characteristic of Gill's preferences, for example the lack of serif on the top left of the 'a', the splayed leg of the 'R' and handwriting-like italic 'g', with many similarities to his stonecarving and also to his other serif typefaces, Cockerel and [[Perpetua (typeface)|Perpetua]], for example in its handwriting-style italic 'g'.<ref name="The Non Solus Story">{{cite web|last1=Bates|first1=Keith|title=The Non Solus Story|url=http://www.k-type.com/non-solus-story/|publisher=K-Type|accessdate=21 July 2015}}</ref><ref name="ITC Golden Cockerel">{{cite web|title=ITC Golden Cockerel|url=https://www.myfonts.com/fonts/itc/golden-cockerel/|website=MyFonts|publisher=ITC|accessdate=30 August 2015}}</ref> The italics are more [[Upright italic|vertical]] than traditional, with only a slope of about 3°: indeed, in the original cut Gill did not bother to have italic capitals created, simply using the upright ones.<ref name="Mosley lecture 2015">{{cite speech
|title=Lecture on Gill's work
|first1 =James
|last1=Mosley
|event= 'Me & Mr Gill' talk
|location=Old Truman Brewery, London
|date=November 10, 2015
|url= http://www.eyemagazine.com/blog/post/noted-71
|access-date=
}}</ref><ref name="The Letter Forms and Type Designs of Eric Gill 51-8">{{cite book|last1=Harling|first1=notes by Robert|title=The Letter Forms and Type Designs of Eric Gill|date=1975|publisher=Published by Eva Svensson, and printed by the Westerham Press|location=Westerham, Kent|isbn=0-903696-04-5|pages=51–8|edition=[1st U.S. ed.].}}</ref>{{efn|This is actually the original form of italics: until the later sixteenth century, capitals remained upright. This makes sense given historical precedent, as italics derive from slanted handwriting but capital letters from upright [[Roman square capitals]]. A famous example of this style of italic with upright capitals is the work of [[Ludovico Vicentino degli Arrighi|Arrighi]] in Rome, which also inspired French printers of the sixteenth century.<ref name="Encyclopedia of Library and Information Science: Claude Garamond">{{cite book|last1=Dearden|first1=James|title=Encyclopedia of Library and Information Science: Claude Garamond|date=1973|publisher=Dekker|location=New York u.a.|isbn=978-0-8247-2109-1|pages=196–199|url=https://books.google.com/books?id=rXZnDZ2jHcwC&pg=PA196|accessdate=11 December 2015}}</ref>}} The 'f', too, does not descend below the baseline.

[[File:Antonio Blado Zappella 129, 1531.jpg|thumb|A book published by Antonio Blado in 1531, using italics as was normal in the period similarly to Joanna in its first uses: lower-case italics, upper-case upright capitals, relatively moderate slant of the italics. The modern concept of an italic using sloped capitals had not become widespread at this time.<ref>{{cite journal|last1=Vervliet|first1=Hendrik|title=Early Paris Italics: 1515-1545|journal=Journal of the Printing Historical Society|date=2005|issue=8|pages=5–55}}</ref>]]

==History==
[[File:PencilToPixel - 39 (8713317655).jpg|thumb|Gill's drawings for the italic]]
The typeface was originally designed for proprietary use by Gill's printing shop Hague & Gill, run with his son-in-law René Hague.<ref name="The Sonnets of William Shakespeare, Cassell & Company Ltd">{{cite web|last1=Hardwig|first1=Florian|title=The Sonnets of William Shakespeare, Cassell & Company Ltd|url=http://fontsinuse.com/uses/12573/the-sonnets-of-william-shakespeare-cassell-an|website=Fonts in Use|date=23 April 2016 |accessdate=20 October 2016}}</ref> The type was first produced in a small quantity by the [[Caslon Foundry]] for hand composition. In the metal type version, Gill used two sizes of capitals, one to ascender height and one below it that could be used as preferred depending on how strong the capitals were intended to appear.<ref name="Three New Book Faces Ridler" />

Later around 1937, [[Monotype Imaging|Monotype]] recut Joanna for their [[hot metal typesetting]] system for exclusive use by publisher [[J. M. Dent]]. It was eventually licensed for public release by Monotype in 1958, after Gill's death, when J.M. Dent's exclusivity expired. It was first shown in the Monotype Recorder in 1958, accompanied by an exhibition on his work.<ref name="Eric Gill: Monotype Recorder special issue">{{cite journal|title=Eric Gill: Monotype Recorder special issue|journal=Monotype Recorder|date=1958|volume=41|issue=3|url=http://www.metaltype.co.uk/downloads/mr/mr_41_3.pdf|accessdate=6 November 2015}}</ref><ref name="Three New Book Faces Ridler">{{cite journal|last1=Ridler|first1=Vivian|authorlink1=Vivian Ridler|title=Three New Book Faces|journal=Motif|issue=1|pages=76–9|quote=[Joanna's] most obvious characteristics are the comparatively even weight, slab serifs and generous width. Gill had already used the slab serif in Solus...the only other text type known to me in which the slab serif is used with any sense of style is Candida by Jakob Erbar...but apart from certain of the capitals, Candida suffers badly by the comparison...Joanna is a desirable type, even though the italic may be more mannered than the general public will readily accept.}}</ref>

Once released widely, prominent users included the [[Penguin Classics|Penguin Modern Classics]] series in their classic blue-grey covers of the 1960s, before they switched to [[Helvetica]].<ref name="Brave New World 1965 Penguin edition">{{cite web|last1=Hardwig|first1=Florian|title=Brave New World 1965 Penguin edition|url=http://fontsinuse.com/uses/3462/brave-new-world-1965-penguin-edition|website=Fonts In Use|date=22 March 2013 |accessdate=20 September 2015}}</ref> The original metal type, however, was Gill's property, and is now partly in the collection of the [[William Andrews Clark Memorial Library|Clark Library]] in Los Angeles.<ref>[http://www.oac.cdlib.org/findaid/ark:/13030/kt9m3nc2ghFinding Aid for the Collection on Eric Gill, 1887–2003.]</ref><ref name="Sallie Morris lecture">{{cite speech
|title=Lecture on Gill's typefaces
|first1 =Sallie
|last1=Morris
|author-link=
|event= 'Me & Mr Gill' talk
|location=Old Truman Brewery, London
|date=November 6, 2015
|url= http://www.reading.ac.uk/typography/pg-research/typ-pgrwhatisit/typ-pgrresearchstudentstopics.aspx
|access-date=
}}</ref>

Gill's friend and later bibliographer [[Robert Harling (typographer)|Robert Harling]] described it in a 1976 book on Gill's work as innovative in its reduced contrast: "the letter-forms have character and beauty, discipline and gaiety. No other alphabet of this century has managed to make typographical affectation so readable....defiant of almost every typographical canon of the day...Joanna Italic is gaily triumphant."<ref name="The Letter Forms and Type Designs of Eric Gill 51-8" />

===Joanna Nova===
Like several Monotype typefaces digitised in the early digital era, the original digital release was criticised for being too light compared to the real thing, though this effect may be compensated for when printing on poor-quality paper into which ink tends to absorb and spread.<ref>{{cite web|last1=Thomson|first1=Mark|title=Visions of Joanna|url=http://www.eyemagazine.com/feature/article/visions-of-joanna|website=Eye Magazine|accessdate=7 July 2015}}</ref><ref>{{cite web|last1=Matteson|first1=Steve|title=Type Q&A: Steve Matteson from Monotype|url=http://typecast.com/blog/type-qa-steve-matteson-from-monotype|publisher=Monotype|accessdate=4 July 2015|archive-date=22 February 2019|archive-url=https://web.archive.org/web/20190222195701/http://typecast.com/blog/type-qa-steve-matteson-from-monotype|url-status=dead}}</ref><ref>{{cite web|last1=Kobayashi|first1=Akira|title=Akira Kobayashi on FF Clifford|url=http://fontfeed.com/archives/akira-kobayashi-on-ff-clifford/|website=FontFeed|accessdate=1 July 2015}}</ref>

Monotype released in 2015 a more complete and fuller-bodied digitisation named Joanna Nova (shown), by Ben Jones.<ref>{{cite web|title=Details for Joanna Nova font family at Linotype.com|url=http://www.linotype.com/1568886/joanna-nova-family.html?site=details|publisher=Monotype GmbH|accessdate=31 October 2015}}</ref><ref name="Ben Jones: Restoring what Joanna lost">{{cite web |last1=Walters |first1=John |last2=Jones |first2=Ben |title=Ben Jones: Restoring what Joanna lost |url=https://www.monotype.com/resources/articles/ben-jones-restoring-what-joanna-lost/ |publisher=Monotype |accessdate=14 August 2018}}</ref>

All the Monotype versions are somewhat different to the original Caslon type made for Gill, that used in the first edition of ''An Essay on Typography'' (historian [[James Mosley]] considers it as superior to Monotype's, and [[Vivian Ridler]] also felt the Monotype version in some ways less characterful than the metal),<ref name="Three New Book Faces Ridler" /> and Jones described his goal as being to compromise between the different versions "to create a version of Joanna that appears in your mind when you think of Joanna."<ref name="Review: A Tally of Types">{{cite journal|last1=Mosley|first1=James|title=Review: A Tally of Types|journal=Journal of the Printing History Society|date=2001|volume=3, new series|pages=63–67|quote=Monotype Joanna is crudely drawn by comparison with the original type made for Gill - without any intervention from Morison so far as one can tell - by the Caslon foundry.|url=https://books.google.com/books?id=PUPhAAAAMAAJ}}</ref><ref name="Joanna Nova MyFonts">{{cite web|last1=Jones|first1=Ben|title=Joanna Nova|url=https://www.myfonts.com/fonts/mti/joanna-nova/|website=MyFonts|publisher=Monotype|accessdate=16 February 2016}}</ref>

The family includes 18 fonts in 9 weights and 2 weights, with complementary italics. Character set support includes W1G.

==Related typefaces==
{{Infobox font
| name = Joanna Sans
| image = Joanna Sans Nova sample image.svg
| style = [[Sans-serif]]
| date = 2015
| classifications = [[Humanist sans-serif|Humanist]]
| creator = Terrance Weinzierl
| foundry = [[Monotype Imaging|Monotype]]
| variations =
}}
===Joanna Hellenic (1998)===
Joanna Hellenic is a Greek version of Joanna designed by Hector Haralambous.

The family includes 7 fonts in 4 weights and 1 width, with complementary italics on all but the heaviest weight.

===Joanna Sans Nova (2015)===

Monotype released Joanna Nova in 2015 with a matching sans-serif design by Terrance Weinzierl, Joanna Sans Nova, intended to somewhat resemble [[Gill Sans]] but complement Joanna more closely, with a more normally slanted italic not solely inspired by either.<ref name="Joanna Sans Nova MT MyFonts">{{cite web|last1=Weinzierl|first1=Terrance|title=Joanna Sans Nova MT|url=http://www.myfonts.com/fonts/mti/joanna-sans-nova/|website=MyFonts|publisher=Monotype|accessdate=6 November 2015}}</ref>

The family includes 16 fonts in 8 weights and 2 weights, with complementary italics. Character set support includes W1G.

===FF Scala (1990)===
One of the typefaces most influenced by Joanna is [[FF Scala]], designed in 1990 by the Dutch type designer [[Martin Majoor]] and released by [[FontFont]]. It is similar in its geometric simplicity combined with the old-style letterform.<ref>{{cite web|url=http://www.martinmajoor.com/6_my_philosophy.html|title=Martin Majoor Type Design}}</ref> Majoor created a complementary sans-serif design, [[FF Scala Sans]]. The resulting [[font superfamily]] was one of the first such designs to be popular, and remains common in book printing.<ref>{{cite web|last1=Coles|first1=Stephen|title=Top Ten Typefaces Used by Book Design Winners|url=http://fontfeed.com/archives/top-ten-typefaces-used-by-book-design-winners/|archive-url=https://web.archive.org/web/20120228035307/http://fontfeed.com/archives/top-ten-typefaces-used-by-book-design-winners/|url-status=dead|archive-date=28 February 2012|website=FontFeed|accessdate=2 July 2015}}</ref>

Joanna is the corporate typeface of the United States' [[Department of Homeland Security]], while Scala is used on its seal.<ref>{{cite web|title=Seal and Signature usage guidelines|url=http://www.uscg.mil/auxiliary/publications/misc/DHS-Basic-Guide-Brand-Seal.pdf|website=DHS|publisher=US government|accessdate=7 July 2015}}</ref><ref>{{cite web|last1=Coles|first1=Stephen|title=Fonts in use: Scala|url=http://fontsinuse.com/uses/3700/seal-of-the-u-s-department-of-homeland-securi|website=Fonts in Use|date=16 April 2013 }}</ref>

==Notes==
{{notelist|30em}}

==Bibliography==
*Bringhurst, Robert. ''The Elements of Typographic Style.'' Hartley & Marks: 1992. {{ISBN|0-88179-033-8}}.
*Dodd, Robin. ''From Gutenberg to Open Type.'' Hartley & Marks: 2006. {{ISBN|0-88179-210-1}}.
*Friedl, 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}}.
*Kindserley, David. ''Mr. Eric Gill: Further Thoughts by an Apprentice.'' Cardozo Kindersley Editions: 1967, 1982. {{ISBN|0-9501946-5-4}}.

==References==
{{reflist|30em}}

==External links==
*[http://www.myfonts.com/fonts/mti/joanna-nova/ Joanna Nova]
*[http://www.myfonts.com/fonts/mti/joanna-sans-nova/ Joanna Sans Nova]
*[https://web.archive.org/web/20061203045853/http://www.fonts.com/FindFonts/HiddenGems/Joanna.htm Monotype Imaging's web page on the first Joanna digitisation; small caps in regular and semi-bold styles]
* [http://www.myfonts.com/fonts/k-type/non-solus/ Non Solus] (unofficial revival of Joanna's predecessor with added italic similar to Joanna's; no small caps, [http://www.k-type.com/fonts/non-solus/ medium roman weight available as trial])
* [http://digitalcollections.usfca.edu/cdm/pageflip/collection/p264101coll7/id/196/type/compoundobject/show/193/cpdtype/document/pftype/image#page/1/mode/2up First showing] (printed by Hague & Gill)
* [http://www.mwbixler.com/spec_htm/spbk_joanna.html Sample of Joanna in metal type]
* [http://digitalcollections.usfca.edu/cdm/ref/collection/p264101coll7/id/230 Flyer advertising the original release of Joanna]
* [http://www.metaltype.co.uk/downloads/mr/mr_41_3.pdf First showing] in ''Monotype Recorder'', 1958

{{Monotype typefaces}}
{{Eric Gill}}

[[Category:Slab serif typefaces]]
[[Category:Typefaces with text figures]]
[[Category:Monotype typefaces]]
[[Category:Old style serif typefaces]]
[[Category:Typefaces designed by Eric Gill]]

Bulmer (typeface)

2025-03-12T02:16:14Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{short description|Typeface}}
{{Infobox font
| name = Bulmer
| image = BulmerMT.svg
| style = [[Serif]]
| classifications = [[Serif#Transitional|Transitional]]
| creationdate = c. 1790
| creator = [[William Martin (typographer)|William Martin]] [[William Bulmer (printer)|William Bulmer]] [[Morris Fuller Benton]] (revival)
| foundry = [[American Type Founders]] [[Monotype Imaging|Monotype]] many others
}}

'''Bulmer''' is the name given to a [[serif]] [[typeface]] originally designed by [[Punchcutting|punchcutter]] William Martin around 1790 for the Shakespeare Press, run by [[William Bulmer (printer)|William Bulmer]] (1757–1830).<ref name="Macmillan2006">{{cite book|author=Neil Macmillan|title=An A-Z of Type Designers|url=https://books.google.com/books?id=jxV4qEolEo8C&pg=PA132|year=2006|publisher=Yale University Press|isbn=0-300-11151-7|pages=24, 46, 132, 140}}</ref> The types were used for printing the [[John Boydell|Boydell]] [[Boydell Shakespeare Gallery|Shakespeare]] folio edition.<ref name="Gentlemen's Magazine 1830">{{cite news|last1=Unsigned|title=Memoir of William Bulmer Esq. (with a portrait)|url=https://books.google.com/books?id=ZfdfAAAAcAAJ&pg=PA305|accessdate=23 October 2017|work=Gentlemen's Magazine|date=1830}}</ref>
==Design and history==
[[File:William-Bulmer-The-Chase-1796.jpg|thumb|[[William Somervile]]'s ''The Chase'', printed by William Bulmer in around 1796.]]
Bulmer is considered to be a late [[Serif#Transitional|"transitional"]] face. Faces in this style, which became most common in the mid to late eighteenth century, were more crisply engraved than earlier faces. William Martin's typefaces show strong influence of the [[Baskerville]] typeface of [[John Baskerville]] which popularised this style in England, but with more contrast, bolder, narrower and with sharper serifs.<ref name="English Vernacular" /> His brother Robert Martin had worked as Baskerville's foreman and William Martin probably worked for him too.<ref name="Lawson1990">{{cite book|author=Alexander S. Lawson|title=Anatomy of a Typeface|url=https://books.google.com/books?id=FiJ87ixLs0sC&pg=PA209|date=January 1990|publisher=David R. Godine Publisher|isbn=978-0-87923-333-4|pages=209–217}}</ref><ref name="Greek Printing Types in Britain : from the late eighteenth to the early twentieth / J.H. Bowman.">{{cite book|last1=Bowman|first1=J.H.|title=Greek Printing Types in Britain: from the late eighteenth to the early twentieth / J.H. Bowman.|date=1998|publisher=Typophilia|location=Thessaloniki|isbn=9789607285201|pages=99 etc.}}</ref><ref name="John Baskerville of Birmingham : letter-founder and printer">{{cite book|last1=Pardoe|first1=F.E.|title=John Baskerville of Birmingham : letter-founder and printer|url=https://archive.org/details/johnbaskervilleo0000pard|url-access=registration|date=1975|publisher=F. Muller|location=London|isbn=0584103549|page=[https://archive.org/details/johnbaskervilleo0000pard/page/166 166]}}</ref> They also show influence of the crisp new "modern" faces, now called [[Didone (typography)|Didones]], increasingly popular on the continent.<ref name="Updike1922">{{cite book|author=Daniel Berkeley Updike|title=Printing Types, Their History, Forms, and Use: A Study in Survivals|url=https://archive.org/details/printingtypesth00updigoog|year=1922|publisher=Harvard University Press|pages=[https://archive.org/details/printingtypesth00updigoog/page/n334 124]–5}}</ref><ref name="Reed1887">{{cite book|first=Talbot Baines|last=Reed|author-link=Talbot Baines Reed|title=A History of the Old English Letter Foundries: With Notes, Historical and Bibliographical, on the Rise and Progress of English Typography|url=https://archive.org/details/ahistoryoldengl00reedgoog|year=1887|publisher=E. Stock|pages=[https://archive.org/details/ahistoryoldengl00reedgoog/page/n378 330]–334}}</ref> The typeface used "modern" figures, a recent innovation, at nearly capital-height.<ref>{{cite journal|title=The New Types|journal=Printing|date=1941|publisher=Walden, Sons & Mott|quote=As it first appeared in 1923, Morris Benton’s version of the William Martin original faithfully reproduced the fonts used by Bulmer in setting the foreword to his ''Poems by Goldsmith and Parnell'' published in 1795. The figures in these fonts were in modern form but scarcely higher than the middles of the lowercase in height, a circumstance which proved a definite limitation in modern display for all of its attractiveness in a page by Bulmer.}}</ref> Although Bulmer wrote in his preface to his edition of ''Poems by Goldsmith and Parnell'' that Martin would in future be able to offer a specimen of his typefaces, he is not known to have ever issued one.<ref name="Goldsmith Parnell 1804">{{cite book|last1=Bulmer|first1=William|title=Poems By Goldsmith And Parnell|date=1804|publisher=W. Bulmer and Company, Shakspeare Printing Office, Cleveland-Row|location=London|quote=The whole of the Types, with which this work has been printed, are executed by Mr. William Martin...who is at this time forming a Foundry, by which he will shortly be enabled to offer to the world a Specimen of Types, that will in a very eminent degree unite utility, elegance, and beauty.|chapter-url=https://books.google.com/books?id=Z4oiAAAAMAAJ&pg=PR8|accessdate=23 April 2018|chapter=Advertisement}}</ref><ref name="Macmillan2006" /> However, they were also used by the [[Liverpool]] printer John McCreery and his successor G.F. Harris, who did issue a specimen book in 1807.<ref name="G. F. Harris specimen 1807">{{cite book|title=A specimen of the improved types of G.F. Harris, printer : (Successor to Mr. John M'Creery,) Houghton-Street, Liverpool|date=1807|publisher=G. F. Harris|location=Liverpool|url=https://archive.org/details/ldpd_11520007_000|accessdate=23 April 2018}}</ref>

The Bulmer typeface fell out of interest due to changing tastes in the early nineteenth century following the death of William Martin in 1815, but returned to interest in the twentieth century, when several revival versions were released. In this period, [[Daniel Berkeley Updike|D. B. Updike]] described Martin's types as "delicate and spirited"<ref name="Macmillan2006" /> and [[Stanley Morison]] described it as "a variation on the Baskerville theme".<ref name="Morison2009">{{cite book|author=Stanley Morison|title=The English Newspaper, 1622-1932: An Account of the Physical Development of Journals Printed in London|url=https://books.google.com/books?id=qvazd7oGxnEC&pg=PA201|date=1 October 2009|publisher=Cambridge University Press|isbn=978-0-521-12269-6|page=201}}</ref>

Bulmer's distinguishing characters are an uppercase '''R''' with a curved tail. Lowercase '''g''' has a small bowl and a curved ear; a heavier stroke weight on the lower right side of the bowl contributes to a sense of that character leaning backwards. Lowercase '''b''''s lower left corner is essentially symmetric to '''d'''. Uppercase italic characters '''J, K, N, T''' and '''Y''' have flourishes reminiscent of Baskerville's. The resulting face could show off the high quality of printing technology of the time: [[James Mosley]] has described Bulmer's editions: "The type was, however, only one ingredient in the ensemble which Bulmer managed to striking success...the good ink, the consistently good presswork and the superb [[Whatman plc|Whatman paper]] are combined in one of the few really successful English attempts at printing in the grand manner."<ref name="English Vernacular">{{cite journal|last1=Mosley|first1=James|author-link=James Mosley|title=English Vernacular|journal=Motif|date=1963|volume=11|pages=3–56|quote=For Martin to emulate [Baskerville's] style as closely as he did was a conservative move. His type is both bolder and narrower than Baskerville's, and the italic is looser and bulges curiously, but it bears a closer resemblance to its original than [earlier imitations by] either Fry's or Wilson's.}}</ref>

==Versions==
===Metal type===
[[Moveable type|Foundry type]] versions of Bulmer were made by the following manufacturers:<ref>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}}, p. 32</ref>

* [[American Type Founders]] (1923-8, [[Morris Fuller Benton]])<ref name="Macmillan2006" /><ref name="ATF 1934">{{cite book|title=Book of American Types: ATF Standard Faces|date=1934|publisher=American Type Founders|location=Jersey City, NJ|pages=[https://archive.org/details/ATFBookOfAmericanTypes1934/page/n14 60]-61, 192-196|url=https://archive.org/details/ATFBookOfAmericanTypes1934|accessdate=24 October 2017}}</ref>
* [[Intertype Corporation|Intertype]]
* [[Lanston Monotype]]
* [[Monotype Corporation|British Monotype]] (1937, for an edition of Dickens for the [[Nonesuch Press]] printed by R. and R. Clark).<ref name="Stanley Morison & D.B. Updike: Selected Correspondence on Monotype Garamonds">{{cite book|editor1-last=McKitterick|editor1-first=David|title=Stanley Morison & D.B. Updike: Selected Correspondence|date=1979|publisher=Scolar Press|page= xxvii}}</ref><ref name="Methods of Book Design">{{cite book|last1=Williamson|first1=Hugh|author-link=Hugh Williamson (book designer)|title=Methods of Book Design|date=1956|publisher=Oxford University Press|page=90|quote=The design was introduced in 1937 for the Nonesuch Press edition of the works of Dickens, and is available only in 11 and 12-point. Lining figures only are available.}}</ref><ref name="The Nonesuch Dickens Gorman">{{cite journal|last1=Gorman|first1=Michael|title=The Nonesuch Dickens: A set of books at the intersection of art and commerce|journal=Caxtonian|date=2012|volume=20|issue=10|pages=1–5|url=http://www.caxtonclub.org/reading/2012/oct12.pdf|accessdate=24 October 2017}}</ref>

===Digital versions===
A contemporary digital revival (shown above right), supervised by [[Robin Nicholas]] at [[Monotype Corporation|Monotype Imaging]], is based on the 1928 revival by [[Morris Fuller Benton]]. It features text and display [[optical size]]s and oldstyle and lining figures.<ref name="Typeface review: Monotype Bulmer and Bulmer Expert Set">{{cite journal |last1=Luna |first1=Paul |title=Typeface review: Monotype Bulmer and Bulmer Expert Set |journal=Bulletin of the Printing Historical Society |date=1995 |pages=30–31}}</ref>

==References==
*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 Encyclopædia of Type Faces.'' Blandford Press Lts.: 1953, 1983. {{ISBN|0-7137-1347-X}}.
*Lawson, Alexander S., ''[[Anatomy of a Typeface]]''. Godine: 1990. {{ISBN|978-0-87923-333-4}}.
*Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|0-300-11151-7}}.
*Updike, Daniel Berkley. ''Printing Types Their History, Forms and Use, Vol. II.'' Dover Publications, Inc.: 1937, 1980. {{ISBN|0-486-23929-2}}
{{Reflist}}

==External links==
{{Commons category|Bulmer}}
*[http://www.fonts.com/findfonts/detail.htm?pid=427423&grab_id=0&page_id=10164&query=Bulmer&SCOPE=Fonts Bulmer page on Monotype Imaging's website]
*[http://www.textism.com/textfaces/index.html?id=10 Textism page on Bulmer]
{{Monotype typefaces}}
[[Category:Transitional serif typefaces]]
[[Category:American Type Founders typefaces]]
[[Category:Monotype typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Typefaces with optical sizes]]
[[Category:Photocomposition typefaces]]
[[Category:Digital typefaces]]
[[Category:Typefaces designed by Morris Fuller Benton]]

Bell (typeface)

2025-03-12T02:14:20Z

2600:1700:E5D0:A9A0:FD92:282C:A9A2:3439:

{{distinguish|text=the sans-serif typefaces [[Bell Gothic]] and [[Bell Centennial]] developed for [[AT&T]], which are not related}}
{{Infobox font
| name = Bell
| image = BellMT.png
| style = [[Serif]]
| classifications = [[Serif#Transitional|Transitional]]<ref name="Transitional Faces">{{cite book|last1=Johnston|first1=Alastair|title=Transitional Faces: The Lives & Work of Richard Austin, type-cutter, and Richard Turner Austin, wood-engraver|date=2014|publisher=Poltroon Press|location=Berkeley|url=http://www.poltroonpress.com/book/transitional-faces-the-lives-work-of-richard-austin-type-cutter-and-richard-turner-austin-wood-engraver/|isbn=978-0918395320|access-date=8 February 2017}}</ref>
| releasedate = 1788
| foundry = British Letter Foundry
| creator = [[Richard Austin (punchcutter)|Richard Austin]]
}}
'''Bell''' is the name given to a [[serif]] typeface designed and cut in 1788 by the [[Punchcutting|punchcutter]] [[Richard Austin (punchcutter)|Richard Austin]] for the British Letter Foundry, operated by publisher [[John Bell (publisher)|John Bell]], and revived several times since.<ref name="BurnimHighfill1998">{{cite book|author1=Kalman A. Burnim|author2=Philip H. Highfill|title=John Bell, Patron of British Theatrical Portraiture: A Catalog of the Theatrical Portraits in His Editions of Bell's Shakespeare and Bell's British Theatre|url=https://books.google.com/books?id=129flIRW3QMC&pg=PA5|year=1998|publisher=SIU Press|isbn=978-0-8093-2123-0|page=5}}</ref><ref name="Specimen Mosley">{{cite book|first=James|last=Mosley|author-link=James Mosley|title=A Specimen of Printing Types & Various Ornaments 1796: Reproduced Together with the Sale Catalogue of the British Letter-Foundry 1797|url=https://archive.org/details/bub_gb_xpzgAAAAMAAJ|year=1796|publisher=Printing Historical Society|pages=[https://archive.org/details/bub_gb_xpzgAAAAMAAJ/page/n50 5]–12|isbn=9780900003103 }}</ref>

The Bell typeface has a precise appearance that features stylish contrasts between thick and thin strokes and [[ball terminal]]s on many letters; it was influenced by the radical [[Didone (typography)|Didone]] styles of type becoming popular on the continent, in particular the work of the [[Didot family]]. However, it is less severe in design, somewhat similar to the earlier [[Baskerville]] and slightly later [[Bulmer (typeface)|Bulmer]] typefaces.<ref name="The Evolution of the Modern-Face Roman">{{cite journal|last1=Johnson|first1=Alfred F.|authorlink1=Alfred F. Johnson|title=The Evolution of the Modern-Face Roman|journal=The Library|date=1930|volume=s4-XI|issue=3|pages=353–377|doi=10.1093/library/s4-XI.3.353}}</ref><ref name="Macmillan2006">{{cite book|author=Neil Macmillan|title=An A-Z of Type Designers|url=https://books.google.com/books?id=jxV4qEolEo8C&pg=PA38|year=2006|publisher=Yale University Press|isbn=0-300-11151-7|pages=38–9}}</ref><ref name="Morison2009 newspaper">{{cite book|author=Stanley Morison|title=The English Newspaper, 1622-1932: An Account of the Physical Development of Journals Printed in London|url=https://books.google.com/books?id=qvazd7oGxnEC&pg=PA185|date=1 October 2009|publisher=Cambridge University Press|isbn=978-0-521-12269-6|pages=185–201}}</ref> The figures are distinctive for being at fixed height, or lining, at approximately three-quarter the height of the capitals, in contrast to earlier numerals of [[Text figures|variable height]].{{efn|Austin's biographer Alastair Johnston describes these as "a profound innovation…perfectly to scale with the rest of the font" and cites William Caslon's large display "proscription letters" of the 1770s as the influence."<ref name="Transitional Faces" />}} The figures have a number of elaborate details reminiscent of the steely calligraphy of the period, and the slight inclination of some of them led [[Walter Tracy]] to suggest that Austin was following a written example.<ref name="Letters of Credit">{{cite book|last1=Tracy|first1=Walter|authorlink1=Walter Tracy|title=Letters of Credit|page=67}}</ref> In italic, like Baskerville, several letters have [[Swash (typography)|flourishes]].{{efn|Monotype has offered [[stylistic alternate]] capitals with and without swashes. The version bundled with Microsoft Office excludes these, for instance on the 'N', but they are included in professional releases.}}

After a short initial period of popularity, the face fell into disuse in Britain and Austin's later typefaces are quite different in style, although copies in the United States became popular around the early twentieth century with artisan printers. Its history was studied by the historian [[Stanley Morison]] in the late 1920s and early 1930s, whose employer, the [[Monotype Imaging|Monotype Corporation]], created a 1931 revival, particularly popular for printing on high-quality paper. Morison praised Austin for his "exceptional technical gift" and described his Bell typeface as "surpassing all previous English and continental type-cutting in precision [and maintaining] independence equally against Bodoni and [[John Baskerville|Baskerville]]".<ref name="Morison2009 Bell">{{cite book|author=Stanley Morison|title=John Bell, 1745-1831: A Memoir|url=https://books.google.com/books?id=tRK2d0IE0jkC&pg=PA15|date=19 November 2009|publisher=Cambridge University Press|isbn=978-0-521-14314-1|pages=15–25}}</ref>

Besides the digitisation of the Bell face by Monotype, an alternative professional adaptation of the Austin face in [[optical size]]s by [[Paul Barnes (designer)|Paul Barnes]] and others under the name of "Austin" is available sold by [[Commercial Type]].<ref name=Austin>{{cite web|title=Austin|url=https://commercialtype.com/typefaces/austin|publisher=Commercial Type|access-date=13 July 2015}}</ref> As of 2017, it is used by ''[[The Daily Telegraph]]'' among others.<ref name="New typefaces for The Daily Telegraph">{{cite web|last1=Barnes|first1=Paul|title=New typefaces for The Daily Telegraph|url=https://commercialtype.com/news/new_typefaces_for_the_daily_telegraph|publisher=Commercial Type|access-date=8 February 2017}}</ref><ref name="New release: Austin News by Paul Barnes">{{cite web|last1=Barnes|first1=Paul|title=New release: Austin News by Paul Barnes|url=https://commercialtype.com/news/new_release_austin_news|publisher=Commercial Type|access-date=8 February 2017}}</ref><ref name="Schwartzco Austin">{{cite web|last1=Schwartz|first1=Christian|title=Austin|url=http://www.christianschwartz.com/austin.shtml|website=Schwartzco|access-date=8 February 2017}}</ref> Austin's original [[Matrix (printing)|matrices]] came into the possession of [[Stephenson Blake]], and are now in the [[Type Museum]] collection in London.

== History ==
The innovative book and newspaper publisher John Bell, impressed by the sophistication and contrast found in contemporary French typefaces cut for [[Firmin Didot]], commissioned Austin to produce a new typeface to be sold by his British Letter Foundry.<ref name="Bell, John (1745–1831), printer and bookseller">{{cite ODNB|last1=Barker|first1=Hannah|title=Bell, John (1745–1831), printer and bookseller|date=2004 |doi=10.1093/ref:odnb/2014}}</ref> Austin was a former cutter of engraved letters who would develop a career as a punchcutter. Bell wanted a crisply serifed face, like [[Didot (typeface)|Didot]] in its crisp contrast of thick and thin strokes. The design is however, more traditional in style: Mosley writes that "the serifs, though sharply cut, are not the severe unbracketed strokes of the French type...a fusion of the new French style of roman with a flowing, cursive italic in the manner established by Baskerville".<ref name="Specimen Mosley" />

The result was later described by [[Stanley Morison]] as the first typeface developed in England to show effective harmony between the [[roman type|roman, or regular style]] and [[italic type|the italic]]. It achieved popularity in newspaper and magazine printing. It featured two innovations of the period which would become universal, the general abolition of the "[[long s]]" and lining figures that were all the same height. Austin's biographer Alastair Johnston has written that his typeface began "a glorious but short-lived" period for type design in England "of harmonious types that had the larger-on-the-body proportions of the ''[[Romain du Roi]]'', with the modelling of [[Baskerville]] but more colour and fine serifs".<ref name="Transitional Faces" />{{efn|The ''Romain du Roi'' was a custom typeface of new design created in the seventeenth century by the French government. Its advanced design moved on from conservative styles of typefounding in the style developed by [[Claude Garamond]] and others in the sixteenth century, which dominated printing styles until the mid-to-late eighteenth.}} He has suggested that the Bell type's development was influenced by the greater quality possible in printing by more general use of hot-pressing of paper, which previously had only been used in Baskerville's elite printing, and the growth of [[fine book printing]] in London in the period.<ref name="Transitional Faces" /> Historian [[James Mosley]] has also written in that in this period "the use of wove paper, hot-pressed [and] the cult of a simpler, more open page made the appearance of the type itself a more prominent feature of an edition, and one to which its promoters tended increasingly to draw attention."<ref name="Transitional Faces" /> Besides body text faces, the foundry sold ornamented and inline letters, some based on French examples.<ref name="Transitional Faces" />

The initial success of the face was short lived however, both due to business problems with the British Letter Foundry, which led first to Bell leaving it and then its sale in 1797, and later by 1808 a dramatic change in tastes in printing towards darker typefaces with greater extremes of thick and thin strokes. (Austin found the change distasteful, writing in 1819 that "a transition was made from one extreme to its opposite: thus instead of having letters somewhat too clumsy [in the eighteenth century], we now have them with hair lines so extremely thin as to render it impossible for them to preserve their delicacy... how can it be expected that types cut nearly as thin as the edge of a razor can retain their form for any reasonable length of time[?]".<ref name="Richard Austin's Address to Printers, 1819">{{cite web|last1=Mosley|first1=James|last2=Austin|first2=Richard|title=Richard Austin's Address to Printers, 1819|url=http://typefoundry.blogspot.com/2007/02/richard-austins-address-to-printers.html|website=Type Foundry (blog)|access-date=8 February 2017}}</ref>) While Austin went on to a successful career running his own foundry and selling punches to other companies, his later typefaces are different in style, some more "modern" in appearance. Some may have influenced the "Scotch Modern" style popular in the United States.<ref name="scotch_tf">{{cite web|last1=Mosley|first1=James|authorlink1=James Mosley|title=Scotch Roman|url=http://typefoundry.blogspot.com/2007/02/scotch-roman.html|website=Type Foundry (blog)|access-date=3 September 2016}}</ref> From the early nineteenth century onwards, the Bell typeface remained in the collection of various companies and finally Stephenson Blake, generally overlooked and little used.

[[File:Kennet and Avon Canal Navigation 1808.jpg|thumb|An 1808 share certificate for the [[Kennet and Avon Canal]], using the Bell type or one similar to it.]]
While Bell's type was seldom seen after 1800 in England, it went on to become a favourite in the United States. When the Boston publisher [[Henry Oscar Houghton|Henry Houghton]] went to Europe to purchase type for his [[Riverside Press]] in 1864 he purchased the Bell from its then-owners the [[Fann Street Foundry]], who were at the time offering it for sale under the name "Old Face".{{efn|The Bell typeface is not what is now called an "old face" or "old-style" serif font.}} Back in Boston the face was called ''copperplate'' and copied by [[electrotyping]].<ref>Provan, Archie, and Alexander S. Lawson, ''100 Type Histories (volume 1)'', National Composition Association, Arlington, Virginia, 1983, p. 22.</ref>{{efn|"Copperplate" is a reference to copperplate engraving. During the eighteenth century, at a time when type design was relatively conservative, different styles of letter were favoured by copperplate engravers who performed custom lettering, creating a divergence in style between print and lettering which Austin's work bridged.<ref name="odnb John Baskerville">{{cite web|last1=Mosley|first1=James|title=John Baskerville|url=http://www.oxforddnb.com/index/1/101001624/|website=[[Oxford Dictionary of National Biography]]|access-date=10 February 2017|archive-url=https://web.archive.org/web/20170211080709/http://www.oxforddnb.com/index/1/101001624/|archive-date=11 February 2017|url-status=dead}}</ref>}} In 1900, when [[Bruce Rogers (typographer)|Bruce Rogers]] found the face at the Riverside Press, he used it for book work under the name "Brimmer". [[Daniel Berkeley Updike]] used another font of this type at his [[Merrymount Press]] where it was called "Mountjoye".<ref name="McGrew, Mac 1993, p. 29">McGrew, Mac, ''American Metal Typefaces of the Twentieth Century,'' Oak Knoll Books, New Castle Delaware, 1993, {{ISBN|0-938768-34-4}}, p. 29.</ref> Morison, who corresponded extensively with Updike, was impressed with the typefaces' quality and after researching their history arranged for Monotype to develop a revival for Monotype's [[hot metal typesetting]] system, in collaboration with Stephenson Blake who held the original. The Monotype revival included a wide range of Austin's character variants, including swash versions of the italic '''A, J, N, Q, T, V,''' and '''Y.'''{{efn|Nonetheless, Johnston endorses Morison's biographer Barker's view that the Monotype revival is "not a perfect rendering" of the original design due to a rushed production schedule, so it could be used in Morison's book on the history of English newspapers.<ref name="Transitional Faces" />}} The designer [[Jan Tschichold]] favored the typeface Bell in much of his book design, and mentioned it in his book ''Typographische Gestaltung.''

== Foundry type ==
* '''Bell''' (1788, British Letter Foundry; not given this name at the time)
* '''Bell''' (1931, [[Monotype Corporation|English Monotype]])<ref name="Specimen Mosley" />
* '''Bell''' (1940, [[Lanston Monotype]], Monotype's American branch)<ref name="McGrew, Mac 1993, p. 29"/>
* '''Bell''' (1949 [[Stephenson Blake]])<ref>Macmillsn, Niel.''An A-Z of Type Designers''. Yale University Press, 2006 (pg. 38-39)</ref>

== Digital versions ==
Monotype's digital version was developed under the supervision of Robin Nicholas, and is based on the larger display style of Monotype's metal version. Another digital version, believed to be based on a smaller cut of the same metal type, is available from [[URW++]].<ref>{{cite web|last1=Mosley |first1=Professor James |title=Two versions of Bell (comments on Typophile thread) |url=http://typophile.com/node/61221/ |website=Typophile (archived) |access-date=13 July 2015 |url-status=dead |archiveurl=https://web.archive.org/web/20130515170748/http://typophile.com/node/61221/ |archivedate=May 15, 2013 }}</ref>

== References ==
{{reflist|30em}}
{{notelist|30em}}
*Blackwell, Lewis. ''20th Century Type.'' Yale University Press: 2004. {{ISBN|978-0-300-10073-0}}.
*Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. ''The Encyclopædia of Type Faces.'' Blandford Press Lts.: 1953, 1983. {{ISBN|978-0-7137-1347-3}}.
*Lawson, Alexander S., ''[[Anatomy of a Typeface]]''. Godine: 1990. {{ISBN|978-0-87923-333-4}}.
*Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. {{ISBN|978-0-300-11151-4}}.

== External links ==
{{Commons category|Bell (typeface)}}
* [https://archive.org/details/bub_gb_4-pbAAAAQAAJ British Letter Foundry specimen] (1789) - Austin's original work, cut in four sizes. Specimen in the collection of the [[Bodleian Library]].
* [https://books.google.com/books?id=xpzgAAAAMAAJ A Specimen of Printing Types & Various Ornaments] (1796/7) - the last specimen of the British Letter Foundry's catalogue and an auction catalogue created when it was put up for an auction in 1796, after Bell had left it. Introduction by [[James Mosley]] providing historical context. Specimen includes many distinguished ornamental characters and [[inline font]]s in the popular style of the period, as well as some engravings such as emblems and coats of arms.
*[https://web.archive.org/web/20090214025610/http://www.fonts.com/FindFonts/detail.htm?pid=243212 Monotype's page on Bell]
{{Monotype typefaces}}

[[Category:Transitional serif typefaces]]
[[Category:Letterpress typefaces]]
[[Category:Digital typefaces]]
[[Category:Monotype typefaces]]
[[Category:1788 introductions]]