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New Alphabet was one of 23 digital typefaces acquired by the Museum of Modern Art in January 2011 for its Architecture and Design Collection. This collection of typefaces were some of the first acquired by MoMA, and were on display in a 2011–2012 exhibition called Standard Deviations: Types and Families in Contemporary Design , or Standard ...
A modern sans-serif and four blackletter typefaces (left to right): Textur(a), Rotunda, Schwabacher and Fraktur.. Fraktur (German: [fʁakˈtuːɐ̯] ⓘ) is a calligraphic hand of the Latin alphabet and any of several blackletter typefaces derived from this hand.
Two forms of the typeface exist; Transport Medium and Transport Heavy. Both have the same basic form, but Transport Heavy is boldface, to allow easier readability of black letters on white backgrounds, such as those used on non-primary roads, while Transport Medium is lighter, and is used for white letters on dark backgrounds, such as the green primary-route signs.
A revolving type case for wooden type in China, an illustration shown in a book published in 1313 by Wang Zhen Korean movable type from 1377 used for the Jikji. Although typically applied to printed, published, broadcast, and reproduced materials in contemporary times, all words, letters, symbols, and numbers written alongside the earliest naturalistic drawings by humans may be called typography.
Diagram of a cast metal sort.a face, b body or shank, c point size, 1 shoulder, 2 nick, 3 groove, 4 foot.. In professional typography, [a] the term typeface is not interchangeable with the word font (originally "fount" in British English, and pronounced "font"), because the term font has historically been defined as a given alphabet and its associated characters in a single size.
Serifs originated from the first official Greek writings on stone and in Latin alphabet with inscriptional lettering—words carved into stone in Roman antiquity.The explanation proposed by Father Edward Catich in his 1968 book The Origin of the Serif is now broadly but not universally accepted: the Roman letter outlines were first painted onto stone, and the stone carvers followed the brush ...
However, in the eighteenth and nineteenth century types and lettering in the Didone or modern serif style tended to a style with sharp contrast in stroke width and capital letters of near equal width, the opposite of the Roman capital model where capitals had widely varying width.
In typeface design, the overshoot of a round or pointed letter (like O or A) is the degree to which it extends higher or lower than a comparably sized "flat" letter (like X or H), to achieve an optical effect of being the same size; it compensates for inaccuracies in human visual perception. [1] [2] [3]
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