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Take advantage of interface features: Get information from help tags: You don't always have to open lists or select collections or fonts to get information about them; instead, let help tags give you the details Figure Figure 13 Hover over a name in either the Collection or Font list and you'll see a help tag that provides useful information, such as the number of fonts in a Collection list or faces in a font. Select multiple items quickly: You can select more than one font in the list with the usual Mac approach: Shift-click for contiguous selections, Command-click for noncontiguous ones. This makes it easy to operate on more than one font at a time, whether you're dragging them into a collection or library, expanding them to see their typefaces, removing them, disabling them, or Less obvious is the fact that you can select multiple items in the Collection list. Or, if you want to view or search through all the fonts in your user-defined libraries, you can select as many of them as necessary.
And if their typefaces are available in two font formats, they might advertise 72 fonts. Each character—a letter, number, or punctuation mark—is referred to as a glyph. Helvetica and its knockoff , Arial, are likewise colorless, flavorless, and perfect for presenting dry, factual information.
Though designers have found clever ways to bring it to life in numerous applications, it has limited application for book typography. Helvetica Neue font, by D. Helvetica might be an ideal choice for a sidebar in an annual report. Times might be the perfect book font if your subject is epidemiology—but even then, you might consider a typeface that looks sophisticated, scholarly, or authoritative.
Font Categories: I Sought the Serif The typography world is full of font categories; Display typefaces, for example, are built for signage and headlines.
Some fonts defy categorization. But for book typography, the principal categories are serif and sans-serif. Serifs are those little lines at the ends of the strokes of the letters. Sans-serif fonts, as the name implies, lack these.
Serif typefaces are easier to read, and are usually considered a better choice for body copy. Serifs In the examples above, notice how the two bracketed serifs examples on the right are not symmetrical.
They lean subtly to the right to draw your eye through the text. The serifs on Adobe Garamond dip slightly below the baseline of the text. Some of the serifs extend higher than the overall height cap height of the typeface. Even at small sizes, minute details of typeface design register subconsciously with the reader. The brackets at the bottom and where the stroke joins the crossbar are taller in Agmena Pro. They create a subtle concavity to the sides of the vertical stroke.
Font Selection: Weight Matters When selecting a book font, consider what weights or styles a typeface is available in. Many include a bold, italic style. Others rely on your typesetting software to artificially embolden or slant the letters—which is not the same as true bold and true italic. Font Selection: Check out the Italics Sometimes a beautiful Roman font will have an italic version that appears to have come from a different planet. If you insert italic words into your text, they should harmonize with the surrounding words.
If the italic version appears to be a different size, width, or weight, italicized phrases can look awkward or create visual distractions in the text. Compare this selection of Roman fonts to their italic counterparts: Roman and Italic versions of book fonts Fonts like Perpetua and Centaur have beautiful italics, but they appear slightly smaller than their Roman versions.
I love to use Centaur as a book font, but I usually set the italic type a half-point larger than the Roman. Georgia Italic appears to be slightly larger than Georgia Roman. Eaves Italic appears narrower and more tightly spaced than Mrs.
Eaves Roman. Joanna Italic is hardly an italic at all; it has almost no slant to it and the letters are much narrower than the Roman version. Choose a book font where the italic version complements the regular version. Most typefaces come with the standard uppercase and lowercase characters plus basic punctuation, but a proper book font includes many more.
For example, choose a typeface with a good selection of ligatures. Good typefaces substitute a ligature that combines the two characters. Better typefaces have a wider selection of ligatures and smarter substitution algorithms.
Ligatures Compare the character set of Agmena Pro with the characters included in Georgia. Agmena contains big caps, small caps, accented versions of each, lining and oldstyle figures, numerators and denominators, a variety of ligatures, 4 different ampersands! Both are attractive, legible typefaces, but which would you use to typeset your book? You might feel more intimidated than empowered by all those options, but this is another reason why a professional typesetter working with good page layout software will produce better work than an amateur with a word processor.
Font Selection: Font Technologies Fonts are available in several formats. OpenType is king. Then I looked into the types used in Western offset-litho prints to see the digital Bembo types in use Bembo Book is more or less what I expected. While Bembo Book is considered the superior digitisation, the original continues to offer the advantages of two extra weights semi- and extra-bold and infant styles with simplified a and g characters resembling handwriting; its lighter appearance may also be of use on printing equipment with greater ink spread.
Cross-licensing has meant that it is sold by a range of vendors, often at very low prices.
As an example of this, Fontsite obtained the rights to resell a derivative of the original digitisation, using the alternative name Borgia and Bergamo, upgrading it by additional OpenType features such as small capitals and historical alternative characters. With a larger x-height taller lower-case letters than the print-oriented Bembo and influences of signpainting Downer's former profession , it was intended to be particularly clear for reading at distance, in displays and in signage.
Not explicitly influenced by Bembo but also influenced by Griffo is Minion by Slimbach.
Besides designs with similar inspiration, a number of unofficial releases and digitisations of Bembo have been made in the phototypesetting and digital periods, reflecting the lack of effective intellectual property protection for typefaces. The Cardo fonts, developed by David J. He released it publicly as an open-source font named 'ET Book' in September Heathrow and other British airports used a highly divergent adaptation of Bembo for many years. The National Gallery in London used Bembo, then its corporate font, as a plan for the carving of its name into its frontage.
The Yale face, developed by Matthew Carter as a corporate font for Yale University , is based on Griffo's work; Yale commissioned a custom font from Carter, a member of the university faculty, after being dissatisfied with digital versions of Bembo.
Monotype Bembo had been used for University printing at an earlier time, so there was a useful precedent. It may not be used for personal or business purposes, and it may not be distributed to non-Yale personnel. This was an ultra-premium electric golfball typewriter system, intended for producing copy to be photographically enlarged for small-scale printing projects, or for high-quality office documents. From Wikipedia, the free encyclopedia.
For the Italian poet, humanist, cardinal, and literary theorist, see Pietro Bembo. Bembo showing its diagonal axis strokes are thinnest to the left of top centre, simulating handwriting done by the right hand and e with a level stroke. Below is Monotype's contemporary design Centaur , based on a slightly earlier style of printing from the s, with a tilted e.
Both designs show classic old-style features, including top serifs with a moderate downward slope. Main article: Centaur typeface. Morison and his collaborator at Monotype Beatrice Warde were crucial promoters of this conclusion. Monotype's Bembo Book digitisation is one of the few digital releases to include both styles. The type was made lighter than the desired appearance on paper to take account of the fact that the ink would spread as it soaked into the paper. However, modern printing methods show less ink spread than metal type.
New York: Fordham University Press. Retrieved 28 December In aedibus Aldi: Provo, Utah: Brigham Young University.
Retrieved 26 June Aldus Manutius: Mercantile Empire of the Intellect. Los Angeles: Type and Typography. Laurence King Publishing. The Fleuron: Pietro Bembo: Lover, Linguist, Cardinal. McGill-Queen's University Press. Retrieved 11 January The New York Times. Retrieved 14 May Retrieved 4 May Arno Pro PDF. San Jose: Adobe Systems. Retrieved 14 August A View of Early Typography up to about Second edition ed. Hyphen Press. De Aetna was decisive in shaping the printers' alphabet.
The small letters are very well made to conform with the genuinely antique capitals by emphasis on long straight strokes and fine serifs and to harmonise in curvature with them. The strokes are thinner than those of Jenson and his school We have come to regard his small 'e' as an improvement on previous practice. The Price of Celebrity". Retrieved 3 December The palaeotypography of the French Renaissance. Selected papers on sixteenth-century typefaces. Koninklijke Brill NV.
Into Print. Berkeley [u. Hypnerotomachia Poliphili.
Aldine Press. Oxford Bibliographies Online Research Guide. Oxford University Press. George In Praise of Aldus Manutius: Type Design Information.
Retrieved 20 February Matthew Carter and the Interpretation of Historical Models". Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press. Retrieved 30 January Monotype Recorder. In Hansen, Anna Mette ed. The book as artefact, text and border. Amsterdam [u. The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces.
Aldo Manuzio Aldus Manutius: University of Reading. Retrieved 5 April A Tally of Types New with additions by several hands ed.
Cambridge University Press. The Chancery Types of Italy and France". In McKitterick, David John ed. Selected essays on the history of letter-forms in manuscript and print Paperback reissue, digitally printed version. Love in Print in the Sixteenth Century. In Dimmock, Matthew; Hadfield, Andrew eds. Literature and popular culture in early modern England.
Farnham, England: Hackel, Heidi; Kelly, Catherine eds. Reading women literacy, authorship, and culture in the Atlantic world, — University of Pennsylvania Press. Into Print: David R. The Dolphin. Limited Editions Club. Significant Historian obituary ".
The Alexander S.
Lawson Archive. During the 20th century two typographic historians have achieved notable stature and will be long remembered.
The first of these, Daniel Berkeley Updike of Boston, died in The second, Stanley Morison, died at his home in London on October 11, He was 78 years of age During the s when there was slight interest in the production of new "book" types, the Monotype firm—with Morison's guidance—embarked upon a program of classic type revivals which resulted in the cutting of such faces as Garamond, Bembo, Poliphilus, Baskerville, Bell, and Fournier.
These types remain in demand and are among the best of the historic revivals. Design Issues. The Library. Retrieved 7 May Newspaper World and Advertising Review. Retrieved 28 July Business History Conference.
Retrieved 19 December Anatomy of a typeface. Godine, p. The Seybold Report. A Portrait. British Museum. Forum Retrieved 26 December Retrieved 30 June Anatomy of a typeface 1st ed. Font Bureau. Archived from the original PDF on 11 June Klingspor Museum.
Calligraphy and paleography: His only contribution to type design has been the so-called Narrow Bembo Italic The Society of Scribes and Illuminators. At the instance of Stanley Morison, he [Fairbank] designed in the elegant compact typeface known as Narrow Bembo, a title he detested. Letters of Credit. Steve Matteson from Monotype". Retrieved 27 March I had hoped to create a good screen version of the Bembo Book typeface, a beautiful and very popular design for book publishing.
I was unhappy with my attempts to reconcile some of its unique qualities in the screen version and decided not to release it until it was really working well. Finding a workable solution would have delayed the general release so I'll get back to it in the future.
Retrieved 20 September Print magazine. Typefounders of Chicago. Stanley Morison. Retrieved 9 December The history and technique of lettering. Mineola, N. Dover Publications. A Tally of Types". Journal of the Printing History Society.
The surviving records of the progress of some of the classic typefaces demonstrate that their exemplary final quality was due to a relentless willingness on the part of 'the works' to make and remake the punches over and over again until the result was satisfactory.
The progression of series from the weak Poliphilus Modernised to the familiar Bembo is an object lesson in the success of this technique. That it was [engineering manager Frank] Pierpont himself who was central to this drive for quality is made abundantly clear by the abrupt changes that are seen after his retirement in Retrieved 11 August The Working Life of Elizabeth Friedlander review ".
Fine Press Book Association. Retrieved 30 April The Irish Times. Journal of the Printing Historical Society 8: In [Monotype engineer Frank] Pierpont made a version of the type of the Hypnerotomachia Poliphili printed by Aldus in for a publisher who planned to produce an English translation which in the end never materialised.
The result is an astonishingly close recreation of the original type Monotype has a page from the Hypnerotomachia reset in the new type, which is almost indistinguishable from the original. Morison scornfully wrote of Pierpont's "pathetic" pride in the achievement.
This, in Monotype's terms, was a rough" revival, staying faithful to all the distortions caused by the ink-squeeze and damaged letters of the printed page Monotype's Bembo, originally named "Poliphilus Modernised", is the "smooth" version of the same type in the form used a few years earlier by Aldus in the De Aetna of Pietro Bembo, a usage of which Morison mistakenly believed himself to be the discoverer.
The Monotype classics dominated the typographical landscape in which Matthew Carter [and I] grew up The Chestnut Press. Chestnut Press. PC Mag. Retrieved 16 September History of the Monotype Corporation. Retrieved 8 December Lawson, Anatomy of a Typeface David R. September Retrieved 19 September Type Revivals".
Blue Pencil. MX Design Conference Universidad Iberoamericana. Retrieved 19 February Type rules! The designer's guide to professional typography 3rd ed. Hoboken, NJ: Retrieved 5 May Pocket Essentials: The History and Principles of the Art. Octopus Books.