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GEORGIA Georgia is a transitional serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation, as the serif companion to the first Microsoft sans serif screen font, Verdana. Microsoft released the initial version of the font on November 1, 1996 as part of the core fonts for the Web collection. Later, it was bundled with Internet Explorer 4.0 supplemental font pack. Georgia is designed for clarity on a computer monitor even at small sizes, partially effective due to a large x-height. The typeface is named after a tabloid headline titled “Alien heads found in Georgia. The Georgia typeface is similar to Times New Roman, but with many subtle differences: Georgia is larger than Times at the same point size, and has a greater x-height at the same actual size; Times New Roman is slightly narrower, with a more vertical axis; and Georgia’s serifs are slightly wider and have blunter, flatter ends.
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G
ABCD EFGHIJKLMN O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ! @ # $ % ^ & * ( ) : ; ‘ “ , . ?
Georgia incorporates influences from Clarendon-style typefaces, especially in b, r, j, and c (uppercase and lowercase).[citation needed] Figures (numerals) are an exception: Georgia uses text (old-style) figures whereas Times New Roman has lining figures. Georgia was part of Microsoft’s core fonts for the Web package and is preinstalled by default on Apple Macintosh and Windows-based computers. It has found popular use as an alternative serif typeface to Times New Roman.
GEORGIA 3
MATTHEW CARTER
EA N
U
The typeface is based upon several Renaissance models. Rogers’ primary influence for the Roman was Nicholas Jenson’s 1475 Laertis, considered the model for the modern Roman alphabet. Centaur also shows the influence of types cut by Francesco Griffo in 1495 for a small book titledDe Aetna written by Pietro Bembo.
The 1929 typeface Bembo, is based primarily upon that specimen. Rogers later added the Roman lowercase, and the italic, based upon Ludovico Arrighi’s 1520 chancery face, was drawn by Frederic Warde, and is the typeface released for general use in 1929 by the Monotype Corporation Ltd.
Centaur is a Humanist Type Family originally drawn as titling capitals by Bruce Rogers in 1914 for the Metropolitan Museum of Art. 4
CENTAUR
C
BRUCE ROGERS
R
ABCD EFGH IJKLMNOPQ R ST UVW XY Z abcdef ghijklm nopqrstuvwxyz 0123456789!@ # $ % ^ & * ( ) : ;‘ “ , . ? 5
T
C O O P E R
ABCD EFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789!@# $%^&*():;‘“,.?
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Oswald Bruce Cooper Black is a heavily weighted, old style serif typeface designed by Oswald Bruce Cooperin 1921 and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface is drawn as an extra bold weight of Cooper Old Style. Though not based on a single historic model, Cooper Black exhibits influences of Art Nouveau, Art Deco, and the Machine Age. Cooper Black was a predominant lettering style popularized by Oswald Bruce Cooper in Chicago and the Midwest of America in the 1920s, given typographic form. An earlier weight of Cooper’s type designs, Cooper Old Style (later just “Cooper”) was released first, though Cooper Black was what BB&S foundry was after. Cooper Black was advertised as being “for far-sighted printers with near-sighted customers”, as well as “the Black Menace” by detractors.
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B L A C K
C
amb
“Cambria was designed by Dutch typographer Jelle Bosma in 2004, with Steve Matteson and Robin Nicholas.�
Cambria is part of the suite of fonts that comes with Microsoft Windows Vista, Windows 7,Microsoft Office 2007, Microsoft Office 2008 for Mac and Microsoft Office 2011 for Mac, specifically designed for on-screen reading and to be aesthetically pleasing when printed at small sizes. It is a transitional serif font. It has very even spacing and proportions. Diagonal and vertical hairlines and serifs are relatively strong, while horizontal serifs are small and intend to emphasize stroke endings rather than stand out themselves.
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Jel
bria
This principle is most noticeable in the italics where the lowercase characters are subdued in style. Cambria was designed by Dutch typographer Jelle Bosma in 2004, with Steve Matteson and Robin Nicholas. A completely unrelated font using the Cambria name was created by type designer Ian Koshnick in 1989 for his software publishing company, Cambria Publishing.
ABCD EFGHIJKLM NOPQRSTUVWXYZ a b c d e f g h i j k l m nopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9 ! @ #$%^&*():;‘“,.?
lle Bosma 9
BASK E R V I L L Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) inBirmingham, England.
ABCD EFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z ! @ # $ % ^ & * ( ) : ; ‘ “ , . ?
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LE Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot. The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Baskerville’s typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville’s ideals of perfection, where he chose simplicity and quiet refinement. His background as a writing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excellent choice to convey dignity and tradition.
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AT
S
E
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BOOKMAN
S
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z abcdefghijklmnopqrstuvwxyz 0123456789!@#$%^&*():;‘“,.? Bookman or Bookman Old Style is a serif typeface derived from Old Style Antique designed by Alexander Phemister in 1858 for Miller and Richard foundry.
OLD STYLE
Several American foundries copied the design, including the Bruce Type Foundry, and issued it under various names. In 1901, Bruce refitted their design, made a few other improvements, and rechristened it Bartlett Oldstyle. When Bruce was taken over by ATF shortly thereafter, they changed the name to Bookman Oldstyle.
Bookman was designed as an alternative to Caslon, with straighter serifs, making it more suitable for book and display applications. It maintains its legibility at small sizes, and can be used successfully for headlines and in advertising. In 1936, Chauncey H. Griffith of the American Linotype foundry developed a revival.
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CALIST
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 16
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GOUDY Old Style Goudy Old Style (also known as just Goudy) is an old-style classic serif typeface originally created by Frederic W. Goudy for American Type Founders (ATF) in 1915.
Suitable for both text and display applications, Goudy Old Style is a graceful, balanced design with a few eccentricities, including the upward-curved ear on the g and the diamond shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the sharply canted hyphen.
The uppercase italic Q has a strong calligraphic quality. Generally classified as a Garalde (sometimes called Aldine) face, certain of its attributes— most notably the gently curved, rounded serifs of certain glyphs—suggest a Venetian influence. Goudy Old Style is considered to be among the most legible and readable serif typefaces for use in print (offline) applications.
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R D A LK
FO
Folkard is a font based on hand lettering by British artist and calligrapher Charles Folkard. The font was developed by Dave Nalle of Scriptorium Fonts from samples of his characteristic hand lettering taken from book covers and sheet music which he illustrated and decorated. Folkard has swashed capital letters and several variant forms of a number of the letters.
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ABCDEFGHIJKLMNOPQRSTUVWXYZ 18
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The lowercase characters are distinguished by having characteristics similar to insular minusculelettering, while the upper case characters are a fanciful variant on traditional roman characters. Folkard has become popular as a font for book covers and merchandising, particularly in association with fairy and fantasy subject matter.
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R O C K W E L L
ABCD EFGHIJKLMNOP abcdefghijklmnop 0123456789!@#$%
Rockwell is a serif typeface belonging to the classification slab serif, or Egyptian, where the serifs are unbracketed and similar in weight to the horizontal strokes of the letters. The typeface was designed at the Monotype foundry’s in-house design studio in 1934.The project was supervised by Frank Hinman Pierpont. Slab serifs are similar in form and in typographic voice to realist sans-serifs like Akzidenz Grotesk or Franklin Gothic. Rockwell is geometric, its upper- and lowercase O more of a circle than an ellipse. A serif at the apex of uppercase A is distinct. The lowercase a is two-story, somewhat incongruous for a geometrically drawn typeface.
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ROCKWELL 21
PERPETUA
P
A B C D E F G H I J N O P Q R S T U V W abcdefghijklmnopqrstu 0123456789!@#$%^&*(
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P
Perpetua is a typeface that was designed by English sculptor,typeface designer,stonecutter and printmaker Eric Gill (1882–1940). Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville’s type designed in the last half of the 18th century), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs. Along with these characteristics, Perpetua bears the distinct personality of Eric Gill’s letterforms.
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MINION MINIO PR Minion is the name of a typeface designed by Robert Slimbach in 1990 for Adobe Systems. The name comes from the traditional naming system for type sizes, in which minion is between nonpareil and brevier. It is inspired by late Renaissance-era type. 24
ON RO PRO A B C D E F G H I J K L M N
O P Q R S T U V W X Y Z
An OpenType update of the original family, released in 2000. The font was designed based on Minion MM, but with redesigns, which include slight changes to the selection of instances, and also alteration of font metrics. The family comes with 3 (later 4, which adds Medium) weights each in roman and italic, 2 widths, and 4 optical sizes. The Black weight from Minion Black Expert was not included. Each font includes the expert glyphs and dingbats that were previously found in Minion Expert package (swashes available in italic fonts only), Cyrillic Glyphs from Minion Cyrillic. In addition, the font family supports Adobe CE, Adobe Western 2, Greek, Latin Extended, Vietnamese character sets.
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T A L A P
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Palatino is the name of a large typeface family that began as an old style serif typeface designed by Hermann Zapf initially released in 1948 by the Linotype foundry. In 1999, Zapf revised Palatino for Linotype and Microsoft, called Palatino Linotype. The revised family incorporated extended Latin, Greek, and Cyrillic character sets.
n n a m r
He
Under the collaboration of Zapf and Akira Kobayashi, the Palatino typeface family was expanded. Linotype released the Palatino nova, Palatino Sans, and Palatino Sans Informal families, expanding the Palatino typeface families to include humanist sansserif typefaces. Palatino nova was released in 2005, while the others were released in 2006.
f p Za
Named after 16th century Italian master of calligraphy Giambattista Palatino,[citation needed] Palatino is based on the humanist fonts of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this gives a calligraphic grace. But where the Renaissance faces tend to use smaller letters with longer vertical lines (ascenders and descenders) with lighter strokes, Palatino has larger proportions, and is considered to be a much easier to read typeface. 27
TI
M
ES N
EW
RO
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AN
Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent at the English branch of Monotype.It was commissioned afterStanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated.The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. As the old type used by the newspaper had been called Times Old Roman, Morison’s revision A a B C became Times New Roman b 0 D and made its debut in the 1 c d 2 3 October 1932 issue Tim 3 e 4 of The Times news5 es paper.Times Old Ne Roman is in fact w Ro derived from ma commonly used Rom a n
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phrase, “I am (X) times old, Roman”. This indicated a person’s age. After one year, the design was released for commercial sale. The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused the newspaper to switch font five times since 1972. However, all the new fonts have been variants of the original New Roman font. Some experts believe that the design was based on an earlier original work of William Starling Burgess. This theory remains controversial. Because of its ubiquity, the typeface has been influential in the subsequent development of a number of serif typefaces both before and after the start of the digital-font era. One notable example is Georgia, shown below on the right, which has very similar stroke shapes to Times New Roman but wider serifs. E Although no longer used by The Times, Times New F G f Roman is still widely used in book typography, H g 5 particularly in mass-market paperbacks in 6 h i I J 7 K the United States. Especially due to its 8 j k L 9 M l adoption in Microsoft products, ! N m @ O it has become one of the n an # P $ o p Q most ubiquitous type% R q faces in history. S ^
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S A
B C Sylfaen is a multi-script serif font D E family designed by John Hudson FGH and W. Ross Mills of Tiro TypeI J K works, and Geraldine Wade of L M N Monotype Typography. The name Sylfaen is a Welsh word meaning O P Q foundation. In 1997, Tiro was hired R S T U by Microsoft Typography to consult on VWX the production of support materials for OpenType font development.
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S
YLFAEN
XYZ Part of this project was producing a multiabcdef script font used for displaying glyphs g h i j in the Web Resource for Internak l m n tional Typography (WRIT) database, o p q r s which was a tool for establishing character and glyph requirements t u v w for given languages, geographical arx y z eas or scripts (or combinations there-
of). The project included support for Latin, IPA,Cyrillic, Greek, Armenian, Georgian, and Ethiopian characters.
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THANK THANK YOU source : en.wikipedia.org/wiki/serif 32
Designed by : Debora Septavia Kristanti