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The Bauhaus typeface design is based on Herbert Bayer's 1925 experimental Universal typeface and the Bauhaus aesthetic overall. The Bauhaus school sought to modernize, unify and standardize design into an idealistic form that would combine function with aesthetics. One aspect of their many proposed reforms was a series of related Bauhaus typefaces.
Samples of Display typefaces Typeface name Example 1 Example 2 Example 3 Action Is Designer: Jeff N. Levine Ad lib Designer: Freeman Craw Algerian Designer: Stephen Blake, Philip Kelly
The falling green code is a way of representing the activity of the simulated reality environment of the Matrix on screen by kinetic typography. All four Matrix movies, as well as the spin-off The Animatrix episodes, open with the code. It is a characteristic mark of the franchise, similar to the opening crawl featured in the Star Wars franchise.
Montserrat is a geometric sans-serif typeface designed by Argentine graphic designer Julieta Ulanovsky and released in 2011. It was inspired by posters, signs and painted windows from the first half of the twentieth century, seen in the historic Montserrat neighbourhood of Buenos Aires.
A number of common genres of display typeface. A display typeface is a typeface that is intended for use in display type (display copy) at large sizes for titles, headings, pull quotes, and other eye-catching elements, rather than for extended passages of body text.
Typeface Family Spacing Weights/Styles Target script Included from Can be installed on Example image Aharoni [6]: Sans Serif: Proportional: Bold: Hebrew: XP, Vista
Comic Sans Pro is an updated version of Comic Sans created by Terrance Weinzierl from Monotype Imaging. While retaining the original designs of the core characters, it expands the typeface by adding new italic variants, in addition to swashes, small capitals, extra ornaments and symbols including speech bubbles, onomatopoeia and dingbats, as well as text figures and other stylistic alternatives.
Much imitated was the Thorowgood "grotesque" face of the early 1830s. This was arrestingly bold and highly condensed, quite unlike the classical proportions of Caslon's design, but very suitable for poster typography and similar in aesthetic effect to the (generally wider) slab serif and "fat faces" of the period. It also added a lower-case.