![]() ![]() ![]() But Linotype also offers a number of CJK fonts that can be matched with Helvetica.Regarding discussion of using tools to achieve results, I would like to use the Ain Yiddishe Fonts script inside the Mellel II Hebrew word processing program for the MAC. Helvetica has also been extende to Georgian and a special "eText" version has been designed with larger xheight and opened counters for the use in small point sizes and on E-reader devices. Fortunately, Helvetica already has Greek and Cyrillic versions, and Helvetica World includes a specially-designed Hebrew Helvetica in its OpenType character set. Many customers ask us what good non-Latin typefaces can be mixed with Helvetica. 20 weights are also available in Cyrillic versions, and four are available in Greek versions. 20 weights are available in Central European versions, supporting the languages of Central and Eastern Europe. Today, the original Helvetica family consists of 34 different font weights. Helvetica World supports a number of languages and writing systems from all over the globe. This family is much smaller in terms of its number of fonts, but each font makes up for this in terms of language support. At the beginning of the 21st Century, Linotype again released an updated design of Helvetica, the Helvetica World typeface family. Stempel AG and Linotype re-designed and digitized Neue Helvetica and updated it into a cohesive font family. Over the years, the Helvetica family was expanded to include many different weights, but these were not as well coordinated with each other as they might have been. ![]() In 1960 the name was changed to Helvetica (an adaptation of Helvetia", the Latin name for Switzerland). The original typeface was called Neue Haas Grotesk, and was designed in 1957 by Max Miedinger for the Haas'sche Schriftgiesserei (Haas Type Foundry) in Switzerland. It lends an air of lucid efficiency to any typographic message with its clean, no-nonsense shapes. Helvetica is one of the most famous and popular typefaces in the world. Perfect for newspaper work, editorial design, materials intended to invoke an "old-timey" flavor, or just about anything in need of personality. Usage recommendations: Display type or text-setting. It features classy, thoughtful, and delicate swash capitals and rugged lowercase characters with a low x-height and gracefully long ascenders and descenders. What are its main characteristics and features? Pompeian Cursive is a typeface which functions as both a display face and a limited text face. Cooper is without a doubt my favorite type and lettering designer, and to bring a refined return to his original intentions is an immense gift. While a number of foundries have released interpretations of Cooper’s assorted typefaces, they stray from the original rather dramatically in parts. What was the inspiration for designing the font? While researching a biographic essay for Japan’s IDEA Magazine, I came across the original proofs and drawings for Pompeian Cursive. Pompeian Cursive has been intensively spaced and kerned for the finest setting for weddings, announcements, and general display work. By reviewing the few remaining original drawings for the type, as well as copious samples of Pompeian Cursive from both Cooper & BB&S' proofing process and period-specific type specimens, Wordshape presents the first digital version of this classic hybrid script/sans typeface, complete with all original alternate characters and ornaments. A lively set of non-lining numerals accompanied, as well as a few calligraphically-inspired flourishes for ornamenting the end of lines of type accompanied the typeface, as well. The typeface featured a limited number of alternate characters and a handful of graceful ligatures. Your own efforts through the years to boost the foundry into a place in the sun as an originator seem wasted.” Still, Cooper took up the task at hand, creating a delicate, sophisticated type design which he named Pompeian Cursive. In response to BB&S’s desire to emulate instead of innovate, Cooper wrote to Mcarthur, “I am desolated to see Barnhart’s hoist the black flag. In 1927, BB&S requested that Cooper create a script-like cursive typeface design in step with Lucien Bernhard’s Schoenschrift and ATF’s similarly-styled Liberty typeface. The history of this typeface: Oswald Cooper’s relationship with the Barnhart Brothers & Spindler foundry was one instigated under the auspices of creating new styles of type in lieu of following stylistic trends. ![]() A lively set of non-lining numerals accompanies, as well as a few calligraphically-inspired flourishes for ornament. Pompeian Cursive is a calligraphically-inspired display typeface featuring a limited number of alternate characters and a handful of graceful ligatures. ![]()
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