Stick to the basics: New Times Roman, Verdana or Garamond, or Calibri, Helvetica or Arial if you prefer a sans serif typeface.
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I pay some attention to the visual elements (Garamond font, justified paragraphs), but I know teachers who put extreme care into the design of their syllabus-as-aesthetic-object.
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In what is considered by many to be the first modern livre d'artiste (artist's book), the artist's rose-sanguine marks echo the look and spirit of Verlaine's words, which were printed on cream-colored pages in a fluid, Renaissance font designed by Claude Garamond.
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Nevertheless, the overwhelming reaction from applicants seems to be one of unease at the idea of a non-sentient being dictating their career prospects, frustration at the fact that their elegant prose and careful font choice (of Garamond) can produce no effect on a digital reader, and anger at how much better their HR executive friends' charcoal drawings are than their own, what with all that newly liberated time for classes.
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Garamond French Ministry of Culture and Communication. The first book Garamond published was called, "Pia et Religiosa Meditatio" by David Chambellan.
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Apple Garamond was used in most of Apple's marketing. Since the introduction of the Macintosh in 1984, Apple adopted a new corporate font called Apple Garamond. It was a variation of the classic Garamond typeface, both narrower and having a taller x-height. Specifically, ITC Garamond (created by Tony Stan in 1977) was condensed to 80% of its normal width.
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Several early revivals of Jannon's type were made under the name of 'Garamond'. 'Garamond' fonts actually based on Jannon's work include American Type Founders' Garamond, later reissued by Linotype as Garamond No. 3, Monotype Garamond, the version included with Microsoft Office, and Frederic Goudy's Garamont (following the most common spelling of Garamond's name in his lifetime). The mistake was finally disproved in 1926 by Beatrice Warde (writing under the pseudonym of "Paul Beaujon"), based on the work of Paillard and her discovery of material printed by Jannon himself in London and Paris libraries. A former librarian at American Type Founders, she had been privately told by the company's archivist Henry Lewis Bullen (perhaps aware of Paillard's work) that he doubted his company's "Garamond" was really from the sixteenth century, noting that he could not find it used in a book from the period.
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Jacques Nathan Garamond (26 March 1910 – 25 February 2001) was a French graphic designer.
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With him, he brought his printing material, including his Greek type made by Garamond.
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A piece of cast metal type, Garamond style long s i ligature. See also: Sort.
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The typeface was virtually synonymous with Apple for almost two decades and formed a large part of the company's brand recognition. It was used not only in conjunction with the logo, but also in manuals and ads and to label products with model names. Apple has not released the true Apple Garamond font. ITC briefly sold ITC Garamond Narrow—Apple Garamond without the custom hinting—as part of its Apple Font Pack in the 1990s.
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For example, Adobe Garamond Pro's swash design is based not on the printing of Claude Garamond himself but on designs by his younger contemporary Robert Granjon. The original Caslon italic had swashes only on the letters JQTY; others have been added since by revivals of his designs.
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Among old-style typefaces, some releases of Caslon, such as Adobe Caslon, and Garamond, including Adobe Garamond Pro and EB Garamond, have swash designs. Old-style typefaces which include swashes but do not follow a specific historical model include Minion by Robert Slimbach and Nexus by Martin Majoor. Among transitional typefaces, Baskerville's original design has swashes on J, N, Q and T. Some revivals remove these, while others may add more. Mrs. Eaves has a particularly large number.
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Garamond type revival by Robert Slimbach. The svelte French style reached its fullest refinement in the roman types attributed to the best-known figure of French typography--Claude Garamond (also Garamont). In 1541 Robert Estienne, printer to the king, helped Garamond obtain commissions to cut the sequence of Greek fonts for King Francis I of France, known as the "grecs du roi". A number of roman faces used in Garamond's publishing activities can be positively attributed to him as punch- cutter.
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From the dates of their appearance, and their similarity to romans used by Estienne, Christoffel Plantijn and the printer André Wechel, the types known as "Canon de Garamond" and "Petit Canon de Garamond" shown on a specimen sheet issued by the Egenolff-Berner foundry in 1592 are generally accepted as Claude Garamond's final roman types.
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Garamond may have apprenticed with Antoine Augereau and was perhaps also trained by Simon de Colines. He later worked with Geoffroy Tory, whose interests in humanist typography and the ancient Greek capital letterforms, or majuscules, may have informed Garamond's work. Garamond came to prominence around 1540, when three of his Greek typefaces (now called the Grecs du roi (1541)) were requested for a royally-ordered book series by Robert Estienne. Garamond based these types, now known as the Grecs du roi, on the handwriting of Angelo Vergecio, the King's Librarian at Fontainebleau.
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In 1957, Garamond received a gold medal at the Milan Triennale. In 1964 he participated in the Kassel Documenta III. Garamond was a professor at the International School and professor at the École supérieure d'arts graphiques Penninghen. His art is held by major institutions such as the Museum of Modern Art and the Smithsonian American Art Museum.
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Claude Garamond Claude Garamont (–1561), known commonly as Claude Garamond, was a French type designer, publisher and punch-cutter based in Paris. Garamond worked as an engraver of punches, the masters used to stamp matrices, the moulds used to cast metal type. He worked in the tradition now called old- style serif design, which produced letters with a relatively organic structure resembling handwriting with a pen but with a slightly more structured and upright design. Considered one of the leading type designers of all time, he is recognised to this day for the elegance of his typefaces.
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Egelhoff-Berner brought out a specimen in 1592 of types by Garamond and others, which would later be a source for many Garamond revivals. The only major collection of original Garamond material in the Latin alphabet is that collected soon after his death by Christophe Plantin, based in Antwerp. This collection of punches matrices now forms a major part of the collection of the Plantin-Moretus Museum in Antwerp, together with many other typefaces collected by Plantin from other typefounders of the period. The collection has been used extensively for research, for example by historians Harry Carter and H. D. L. Vervliet.
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Comparison of uppercase text weight Adobe Garamond with uppercase Adobe Garamond Titling. In typography, titling capitals are a variant of uppercase designed for heading and titles. The stroke width is reduced for use at larger point sizes where the stroke weight used in smaller text sizes would be too heavy. Titling faces are often made to complement text faces intended for book typesetting.
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Many old-style serif typefaces are collectively known as Garamond, named after the designer. Garamond was one of the first independent punchcutters, specialising in type design and punch-cutting as a service to others rather than working in house for a specific printer. His career therefore helped to define the future of commercial printing with typefounding as a distinct industry to printing books.
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The three traditional styles of serif typefaces used for body text: old-style, transitional and Didone, represented by Garamond, Baskerville and Didot.Serif, or Roman, typefaces are named for the features at the ends of their strokes. Times New Roman and Garamond are common examples of serif typefaces. Serif fonts are probably the most used class in printed materials, including most books, newspapers and magazines.
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In 2004, Adobe released Garamond Premier Pro, a new take on the Garamond designs, which Slimbach had been working on for 15 years, since he first completed Adobe Garamond in 1989. Outside of work for public use, Slimbach has designed Adobe's corporate font, Adobe Clean Sans and Adobe Clean Serif, which are used by Adobe in branding and user interfaces. He also designed Adobe Hand B, based on his handwriting, for use in Acrobat's digital signature feature. Slimbach has notable skills in several fields other than type design: he went to college on a gymnastics scholarship, and he is an accomplished calligrapher and photographer.
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McGill University's wordmark is the word "McGill" in a custom font derived from Garamond. It is thus not possible to reproduce the wordmark using standard printing fonts.
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Garamond, a Garalde typeface Also called Aldine, this group is named in homage to Claude Garamond and Aldus Manutius. In general, the garaldes have finer proportions than the humanists, and a stronger contrast between downstroke and upstroke. The weight of the garaldes are distributed according to an oblique axis. In France, under King Francis I, the garaldes were the tool which supported the official fixing of grammar and orthography.
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It is revealed that Pomeroy had died in his sleep when Tom left New London and Garamond has taken his place. Garamond arrests the pair, but Childermass frees them and tells them to escape to a Green Storm settlement. It is revealed that Childermass is the mother of Bevis Pod. Tom, flying the Jenny Haniver, is intercepted on his way to Tienjing and brought to Batmunkh Gompa, where he is interrogated by Naga.
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It is revealed that Pomeroy had died in his sleep when Tom left New London and Garamond has taken his place. Garamond arrests the pair, but Childermass frees them and tells them to escape to a Green Storm settlement. It is revealed that Childermass is the mother of Bevis Pod. Tom, flying the Jenny Haniver, is intercepted on his way to Tienjing and brought to Batmunkh Gompa, where he is interrogated by Naga.
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Simoncini SA was a manufacturer of linecaster matrices established by Italian type designer Francesco Simoncini shortly after the Second World War. Simoncini had worked with the Ludwig & Mayer foundry before becoming the founder and managing director of his own firm in Bologna, Italy. In 1956, he was invited by Giulio Einaudi to design a new typeface for his publishing house. Einaudi wanted a new face based on Garamond, and the result was Simoncini Garamond, loosely based on the original.
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For at least 18 years, Apple's corporate typeface was a custom variant of the ITC Garamond typeface called Apple Garamond. It was used alongside the Apple logo for product names on computers, in many ads and printed materials, and on the company's website. Starting in 2001, Apple gradually shifted towards using Myriad in its marketing. Starting with iPhone 7 in 2016, Apple switched the typeface of the word mark "iPhone" to San Francisco on products and its website.
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While at ATF she was intrigued by Bullen's comment that he was sure the "Garamond" type his company was reviving, supposedly the work of sixteenth-century engraver Claude Garamond, was actually the work of someone else, noting that he had never seen it in a book of the period. In 1925, Beatrice saw that the future of typographic and book design was set in London with the new Monotype Composing Machine. As a result, she moved to Europe in 1925.
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The Originals program was established in 1989, when Sumner Stone hired font designers Carol Twombly and Robert Slimbach. This period saw the growth of desktop publishing, at a point when printing and design was becoming more accessible. Adobe already had contracts to digitise and sell fonts by companies such as ITC, but felt that many of these designs had a somewhat dated appearance. Early typefaces released included Utopia and Adobe Garamond, a reinterpretation of the Roman types of Claude Garamond and the italics of Robert Granjon.
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If the game is completed, Garamond outwits the witch and she is destroyed. He then rescues the ladies of Valhalla, but he falls in love with a peasant girl named Lisa and chooses her as his queen.
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An open-source interpretation of Johnston's original by Justin Howes and Greg Fleming. Including a number of alternate glyphs such as a Garamond-inspired W (used on old signs at West Brompton station), ligatures and a characteristic arrow design.
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However, other revivals of Aldine/French renaissance typefaces followed from several hot metal typesetting companies in the following decades, including Monotype's own Poliphilus, Bembo and Garamond, Linotype's Granjon and Estienne and others, becoming very popular in book printing for body text.
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Lining figures are called for in all-capitals settings (hence the alternative name titling figures), and may work better in tables and spreadsheets. Although many traditional fonts included a complete set of each kind of numbers, early digital fonts (except those used by professional printers) included only one or the other. Modern OpenType fonts generally include both, and being able to switch via `lnum` and `onum` feature tags. The few common digital fonts that default to using text figures include Candara, Constantia, Corbel, Hoefler Text, Georgia, Junicode, some variations of Garamond (such as the open-source EB Garamond), and FF Scala.
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Estienne did, however, oversee the work of the best punchcutters of the time such as Claude Garamond and Guillaume Le Bé. Under Estienne, Garamond designed the Greek type used by the King of France which was used to print the first edition of Roman History. Consequently, Estienne was the first printer granted permission to use the grecs du roi or Greek types of the king. In the 1530s Estienne's printing represents the first use of apostrophes and grave and acute accents in France. Moreover, Estienne was known as one of the printers responsible for adapting the Aldine roman type in France.
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Serif fonts are often classified into three subcategories: Old Style, Transitional, and Didone (or Modern), representative examples of which are Garamond, Baskerville, and Bodoni respectively. Old Style typefaces are influenced by early Italian lettering design.Carter, Day, and Meggs. Typographic Design: Form and Communication.
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Apt to confusion: (1) i + j, (2) ligature ij, (3) y with diaeresis, (4) y in Garamond Logo of the Rijksmuseum in Amsterdam The name of a railway station IJ here is written as one letter. Here, IJ is written as Y.
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Popular roman typefaces include Bembo, Baskerville, Caslon, Jenson, Times New Roman and Garamond. The name roman is customarily applied uncapitalized distinguishing early Italian typefaces of the Renaissance period and most subsequent upright types based on them, in contrast to Roman letters dating from classical antiquity.Bringhurst.Nesbitt.
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A comparison between (1) Adobe Garamond Pro, (2) Junicode, (3) Adobe Caslon Pro The designs of the Junicode roman characters are based on a 17th-century typeface design used at the Oxford University Press, also known as Clarendon Press. Peter Baker based the Junicode roman design on those used in George Hickes' Linguarum Vett. Septentrionalium Thesaurus (1703–1705), naming the typeface Junicode ("Junius Unicode") after Franciscus Junius, who had commissioned the original typeface used for the Anglo-Saxon texts in that volume, "Pica Saxon". The designs represent an intermediate stage between earlier 16th century typefaces (such as Garamond) and later 18th century typefaces (such as Caslon).
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Granjon is an old-style serif typeface designed by George W. Jones in the period 1928–1929 for the British branch of the Linotype company, and based on the Garamond typeface that was used in a book printed by the Parisian Jean Poupy in 1592. The roman design was from Claude Garamond and the italic version was from Robert Granjon. Because several other Garamonds were on the market in the 1920s, Jones decided to name his type Granjon. Jones, a master printer based in London, had been engaged by Linotype to improve the quality of their typeface range through the development of revivals of notable type designs of the past.
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Ramde, Dinesh (April 7, 2010). "Century Gothic a font of wisdom". Twincities.com. Retrieved 2014-04-01. Along with the serif typeface Garamond, Century Gothic is one of the two typefaces that PrintWise, an initiative of the U.S. government's General Services Administration, recommends U.S. government workers use for printed documents.
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The commercial concludes with a portentous voiceover, accompanied by scrolling black text (in Apple's early signature "Garamond" typeface); the hazy, whitish-blue aftermath of the cataclysmic event serves as the background. It reads: The screen fades to black as the voiceover ends, and the rainbow Apple logo appears.
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As a self-taught signpainter, Beukeboom was one of the few who have achieved artistic status in the typically "lesser and short-lived," almost extinct trade of signpainting. His most original creation may be his personal interpretation of the French Renaissance typographic model, Garamond. He died in December 2017.
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Many engravers were active over this time, including Garamond himself, Granjon, Guillaume Le Bé, Antoine Augereau, Simon de Colines, Pierre Haultin and others, creating typefaces not just in the Latin alphabet, but also in Greek and Hebrew for scholarly use. This period saw the creation of a pool of high- quality punches and matrices that would supply the French printing industry, to a large extent, for the next two centuries. Despite Garamond's eminence, he was never particularly financially successful, perhaps due to a surfeit of competition and piracy in the Parisian book industry of the time. In 1545, Garamond entered the publishing trade in a partnership with Jean Barbé, a Parisian bookseller.
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Biblical Interpretation in the Sixteenth and Seventeenth Centuries (PDF), p. 10. He was also a business partner of the typographer Claude Garamond,Allan Haley, Typographic Milestones (1992), p. 27. and collector of manuscripts, particularly of patristic works. His position close to Francis I of France gave him access to monastic libraries.
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The University Press, Cambridge, and Doubleday Page, New York, 1926. This volume includes the essay by Beatrice Warde (using the male pseudonym Paul Beaujon) on the historically inaccurate attribution of Jean Jannon's types to Claude Garamond. # Edited by Stanley Morison. The University Press, Cambridge, and Doubleday Page, New York, 1928.
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The Print Shop of the Cherokee Nation 1828-1834, with a Chronology; 4 x 6.5 inches, 105 pages, 2005. Edition of 74. Hand-bound, letterpress printed on handmade cotton paper using 11-point Garamond types, including muslin spine with handmade paper covered boards. Brannon modeled the binding style after three circa 1830 books.
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These then became universal across the UK. See Road signs in the United Kingdom. The font Bembo in metal type. Ascenders such as the "f" stand far above the cap line. In many fonts intended for body text, such as Bembo and Garamond, ascenders rise above the cap height of the capital letters.
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The young King Garamond II has conquered his wicked uncle, the Lord of Infinity, and now the kingdom of Valhalla is ruled by its rightful heir. However, when Garamond decides to marry, all the eligible ladies in Valhalla are abducted by Queen Eve, an evil ruler of another kingdom and a devotee of Infinity, and imprisoned in her fortress tower as part of her plan to claim the kingdom of Valhalla as her own. The King begins his quest to free the ladies of Valhalla, one of whom will become his bride, and to make sure Eve would never bother them again. There are four episodes: The Edge of Eveswood, The Village of Evesland, The Fortress Courtyard, and the Fortress Tower.
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Since 2010, First Things has used Sabon for the page text in its print edition. A variety of digital releases of Sabon exist with different prices and licensing, sold by both Adobe and Linotype. Fontsite released a version under the name Savoy, while Bitstream released a less faithful version under the name of Classical Garamond.
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Khoury has translated Chamutal Bar-Yosef’s poetry from Hebrew to Arabic: Chamutal Bar-Yoseph_Lieu douloureux _Poèmes, Traduits de l’hébreu en Français par Colette Salem en Arabe par Naïm Araidi, Nidaa Khoury et Mahmoud Abassi Éditions Caractères 2012, composé en Arial et Garamond, a été achevé d’imprimer en- 2013, Imprimé en France (published in France in 2013).
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Jorge José Emiliano dos Santos was born on 19 March 1954 in Rio de Janeiro.Ivan Maurício: 90 MINUTOS DE SABEDORIA: A FILOSOFIA DO FUTEBOL EM FRASES INESQUECIVEIS, Editora Garamond, 2002, , p. 114 () He was raised in Copacabana. He learned at the age of 13 to officiate football games from watching pick-up games on the beach.
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Casaubon learns that in addition to a respected publishing house, Garamond also owns Manuzio, a vanity publisher that charges incompetent authors large sums of money to print their work.Rendered "Manutius" in the English translation, a reference to the 15th century printer Aldus Manutius Garamond has the idea to begin two lines of occult books, one for serious publishing and the other to be published by Manutius to attract more vanity authors. Belbo, Diotallevi and Casaubon become submerged in occult manuscripts that draw flimsy connections between historical events, and have the idea to develop their own as a game. Using Belbo's personal computer, with Abulafia and Ardenti's manuscript as a foundation, the three create what they call "The Plan" using a program that rearranges text at random to produce an intricate web of conspiracy theories.
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Matrices created by Jean Jannon around 1640. The Garamond typeface installed with most Microsoft software is based on these designs. In the manufacture of metal type used in letterpress printing, a matrix (from the Latin meaning womb or a female breeding animal) is the mould used to cast a letter, known as a sort. Matrices for printing types were made of copper.
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Jacques Sabon (born in Lyon, 1535; died in Frankfurt-am-Main, ca.1580-1590Sources vary, giving date of death as 1580 or 1590) was a French typefounder. He worked with Christian Egenolff in Frankfurt in 1555 and Christophe Plantin of Antwerp in 1565. He is associated with the forms of roman type which were being developed by Claude Garamond and others.
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He has also designed trademarks, packaging, book design, illustrations, posters and corporate identities. He has done commercial work for companies such as Mazda, Air France and Telefunken. In 1952, Nathan Garamond became a founding member of the Alliance Graphique Internationale (AGI). His wife Cathy was an active supporter of AGI and was appointed as one of its officers for life.
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Adobe's Myriad was used in Apple's marketing 2003–2017. In 2003, Apple gradually started using a variant of the Adobe Myriad font family in its marketing and packaging. As new revisions of its products were released, the text changed from the serif Apple Garamond to the sans-serif Myriad Apple. The family's bolds were used for headlines, and other weights accordingly.
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In the marketing of the Newton/Notepad/MessagePad PDA (starting in 1992), Apple used Gill Sans instead of the regular Apple Garamond. Gill Sans Regular was used in the logo, for the model name on the computer, on the keyboard and in advertisement materials, though it was not used as a screen font (except as part of the Newton logo).
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Ibarra did not design, engrave, or cast types, contrary to what is often assumed. The error is probably based on the documents in his edition of Don Quixote of the Royal Academy, for which they made a new cast (but not a new design). Ibarra's printing used various foundries of his time, especially games Gerónimo Gil, the Smelter Rangel (used by the Gazette, and really a game of Garamond), types of Lleida Eudald Pradell with casting Madrid, a game of Garamond, and the celebrated and reviled italic cast which composed the Sallust, abierta created by the academic and writer Murcia Espinosa de los Monteros, who owned a foundry in Madrid. In the early twentieth century, Madrid smelter Gans held a revival called Ibarra from several of these castings, which was the starting point for other recent redesigns.
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A specimen of the font family Sabon Next created by FontShop, showing the range of weights and stylistic alternates. Jean-François Porchez designed the revival of Sabon known as Sabon Next. Sabon Next is based upon Tschichold's 1967 Sabon design for the Stempel foundry and Porchez' study of original Garamond and Le Bé models. The family consists of 6 weights, without Greek and Cyrillic support.
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Bitstream condensed the font, subtly adjusted the stroke widths, and performed the hinting required to create the font, which was delivered to Apple as the Postscript font "apgaram". In cases where the Apple logo was accompanied by text, it was always set in Apple Garamond. Aside from the company name, most of Apple's advertising and marketing slogans, such as "Think different.", used the font as well.
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Petit texte' type intended for body text, created by Garamond. Estienne's 1550 edition of the New Testament was typeset with Garamond's grecs du roi. The result is one of the most sophisticated pieces of printing in the history of metal type, quite unlike Garamond's structured, upright designs in the Latin alphabet. Garamond's original punches for the Grecs du roi type, which remain owned by the French government.
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The result is an immensely complicated set of type, including a vast variety of alternate letters and ligatures to simulate the flexibility of handwriting. Garamond worked for a variety of employers on commission, creating punches for publishers and the government. Garamond's typefaces were popular abroad, and replaced Griffo's original roman type at the Aldine Press in Venice. He also worked as a publisher and bookseller.
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Georges Peignot continues the production of fixed spaces, causing significant growth in sales, and launches studies for new typefaces. The quality of fonts puts foundry G. Peignot et Fils at the forefront. In 12 years, Georges Peignot creates many typefaces: Grasset, Auriol, Cochin, Garamond-Peignot, Bellery-Desfontaines, Naudin, Guy-Arnoux. He also publishes a Specimen, great typefaces catalog (still highly sought, 600 pages, 2 volumes).
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King Rat is an urban fantasy novel by British writer China Miéville, published in 1998. Unlike his Bas-Lag novels, it is set in London during the late 1990s. It follows the life of Saul Garamond after the death of his father and his meeting with King Rat. As King Rat takes Saul under his wing, the young man is quickly embroiled in a centuries-old rivalry.
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This more personal form of type became widely popular in Europe. Typefaces based on his work include Monotype Poliphilus roman, Bembo Book roman, Bembo Titling, Morris Fuller Benton's Cloister Old Style italic, Jack Yan's JY Aetna roman, Bitstream Aldine 401 roman, and Franko Luin's Griffo Classico roman and italic; more distant descendants include the romans of Claude Garamond, Giovanni Mardersteig's Dante, Robert Slimbach's Minion and Matthew Carter's Yale Typeface.
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While Belbo seeks inner peace, Casaubon's quest is of knowledge. The uncertainty of scientific knowledge and human experience is explored in his character, as he participates in various extra- natural events. His narratives abandon his strict realism and become increasingly inclined towards the supernatural as the novel progresses. Mr. Garamond, whose primary business is selling dreams (through his vanity press outlet), comes to believe the fantasy world his authors weave.
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While his italics have been considered less impressive than his roman typefaces, he was one of the early printers to establish the modern tradition that the italic capitals should slope as the lower case does, rather than remain upright as Roman square capitals do. Although Garamond himself remains an eminent figure in French printing of the sixteenth century, historical research over the last century has increasingly placed his work in context. Garamond was one figure among many at a time when new typefaces were rapidly produced in sixteenth- century France, and these type designers operated within a pre-existing tradition defined by the work of figures such as Aldus Manutius who were active over the preceding half-century. The period from 1520 to around 1560, encompassing Garamond's career as an artisan, was an extremely busy period for typeface creation, with a wide range of fonts created, some apparently for exclusive use by a specific printer, others sold or traded between them.
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Adobe Garamond, an example of an old-style serif. Old-style typefaces date back to 1465, shortly after Johannes Gutenberg's adoption of the movable type printing press. Early printers in Italy created types that broke with Gutenberg's blackletter printing, creating upright and later italic styles inspired by Renaissance calligraphy. Old-style serif fonts have remained popular for setting body text because of their organic appearance and excellent readability on rough book paper.
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Adobe Garamond Pro to illustrate the concepts of baseline, x-height, body size, descent and ascent. Most scripts share the notion of a baseline: an imaginary horizontal line on which characters rest. In some scripts, parts of glyphs lie below the baseline. The descent spans the distance between the baseline and the lowest descending glyph in a typeface, and the part of a glyph that descends below the baseline has the name descender.
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Title page of the Hexameron, copied by Vergecio Angelo Vergecio (, ; 1505–1569) was a Greek copyist from Crete active in Venice and France. He became a royal scribe for Francis I of France and his successors, was responsible for copying over fifty Greek manuscripts, and played a role in the dissemination of Greek among the humanist circles in France. His handwriting formed the basis of the grecs du roi typeface designed by Claude Garamond.
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The Graphic Work of George Biddle with Catalogue Raisonné. Baltimore, Maryland: Garamond/Pridemark Press, 1979 George Biddle achieved a lot of goals that helped other artists make their way. His work serves as a "kind of index to the many style and themes which occupied artists in the first half of the 20th century". When Biddle volunteered to go to the war, it changed his whole life and how he saw the world.
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Evangelium Sanctum Domini Nostri Jesu Christi in Arabic, 1590, with Arabic types of Robert Grandjon, Typographia Medicea, Rome. Robert Granjon (1513-November 16, 1589/March 1590) was a French type designer and printer. He worked in Paris, Lyon, Frankfurt, Antwerp, and Rome for various printers. He is best known for having introduced the typeface Civilité and for his italic type form, the design of which in modern days is used in Garamond Italic.
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Fred Smeijers, whose TEFF Renard typeface is based on his work, felt that basing a typeface on his work produced a "solid and sturdy variant of the Garamond style" and that he was "one of the first to make roman display types that were explicitly conceived as such." DTL's founder Frank E. Blokland received a doctorate on the spacing and proportions of early metal type, including van den Keere's, from Leiden University in 2016.
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Security stickers on the back cover of a U.S. passport. On the front cover, a representation of the Great Seal of the United States is at the center. "PASSPORT" (in all capital letters) appears above the representation of the Great Seal, and "United States of America" appears below (in Garamond italic on non-biometric passports, and Minion italic on post-biometric passports). An official passport has "OFFICIAL" (in all capital letters) above "PASSPORT".
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Text figures in various fonts: Adobe Garamond, Adobe Caslon, Theano Didot and Essonnes Text. Note the ascending 3, 4 and 5 in the two latter fonts. In text figures, the shape and positioning of the numerals vary as those of lowercase letters do. In the most common scheme, 0, 1, and 2 are of x-height, having neither ascenders nor descenders; 6 and 8 have ascenders; and 3, 4, 5, 7, and 9 have descenders.
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Marzi McCarty is an art school dropout working at Santa Cruz coffeeshop Genius Loci. She draws a comic book called The Strange Adventures of Rangergirl, featuring the eponymous heroine fighting the evil Outlaw in a Weird West setting. College student Jonathan rents a room in Genius Loci in order to study the murals inside. They are the last works of Garamond Ray, an artist who disappeared during the 1989 Loma Prieta earthquake.
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Scholars suggest that Estienne's trouble with his published Bibles and the Catholic Church led him to publish more authors of Latin Classics as a buffer. Many of Estienne's published classics, especially the Greek editions (which were printed with typefaces made by Claude Garamond), were famous for their typographical elegance.; The editiones principes issued from Estienne's press were eight in number. He began with the Historia ecclesiastica (1544) and ended with Appian (1551).
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Myriad is a humanist sans-serif typeface designed by Robert Slimbach and Carol Twombly for Adobe Systems. Myriad was intended as a neutral, general-purpose typeface that could fulfill a range of uses and have a form easily expandable by computer-aided design to a large range of weights and widths. Myriad is known for its usage by Apple Inc., replacing Apple Garamond as Apple's corporate font from April 29, 2002 to January 24, 2017.
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His birth name was Jacques Nathan. During the Second World War, he changed his last name to Garamond, and used his actual name of Nathan as a middle name. He studied at the École nationale supérieure des arts décoratifs, and served as Director of Contemporary Architecture prior to commencing his career as a designer. After the war, he became a graphic artist, whose work included the posters for a 1949 UNESCO exposition on the Rights of Man.
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The articles of the Zeit and, especially the leading articles on the first page, are traditionally longer and more detailed than the ones of a daily newspaper. However, in the past few years many articles have been noticeably shorter and include more pictures. Since the redesign by Mario Garcia in January 1998, the headlines have been printed in Tiemann-Antiqua. The running texts are printed in Garamond, a font that is very frequently used in books.
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He has designed custom typefaces for customers such as Beyoncé Knowles, Costa Crocieres, France Télécom, Peugeot, RATP (Public Transport in Paris). For the Linotype Library Platinum collection, he did Sabon Next, a revival of Sabon, itself Jan Tschichold's revival of Garamond. Porchez has been a visiting lecturer at the MA typeface design MATD program at the Reading University (United Kingdom) and regularly conducts type design workshops all over the world. He also contributes regularly to conferences and international publications.
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Bullen's friend Herbert Bingham suggested that he had experienced a breakdown due to overwork. Robert Nelson of ATF took pity on him and he returned to ATF in 1908. Bullen became ATF's advertising manager and informal corporate historian, he was responsible for producing type specimen books, machinery and material catalogs and pamphlets. He also successfully marketed the concept of "type families," offering further weights than roman and italic and introduced classic revivals of Garamond, Caslon, Cloister, and Bodoni.
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When Marzi insults him, he realizes her influence has made him significantly more human: he gloats, has insight, and takes offense. Each too weak to defeat the other, they vow to have a showdown, and the Outlaw leaves. Marzi and Lindsey enter the realm beyond the door to save Jonathan and find out how to defeat the Outlaw. Outfitted as Rangergirl and her sidekick, they find the painter Garamond Ray in a saloon, along with Jonathan's unconscious body.
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Type designers strive for clarity and beauty in individual letterforms, as well as character in a font. Old fonts such as Bodoni, Caslon, and Garamond have been in wide use for centuries, with only slight modifications. Advances in print capabilities, new ways of viewing the written word, and changing aesthetics have led to refinements of classic typefaces as well as the introduction of entirely new designs. In the early nineteenth century, sans serif typefaces were first created.
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Saul Garamond returns to the flat he shares with his father in London late one evening, skipping on greetings and heading straight to bed. In the morning he is awakened by police pounding on the door, come to arrest him. It appears he is the lone suspect in his father's murder case. After spending most of a day being interrogated and in a holding cell, Saul finds he has a mysterious visitor, who introduces himself as King Rat.
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The matrices came to be attributed to Claude Garamond (d. 1561), a revered punchcutter of the sixteenth century who was known to have made punches for the government in the Greek alphabet, albeit a century before the Imprimerie was established. The attribution came to be considered certain by the Imprimerie's director Arthur Christian. Doubt began to be raised by historian Jean Paillard in 1914, but he died in the First World War soon after publishing his conclusions and his work remained little-read.
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In 1995, the date line on the title page was changed from "Christmas" to "December." For the redesign in 2003, Bruce Campbell, known for his work on The Library of America, was engaged. Among other changes, the gold-framing on the cover was restored and the typeface was changed from Bulmer to Garamond Susan Levy The Lakeside Classics: A Christmas Gift that Keeps on Coming The Caxtonian 20.12 December 2012. The company did not keep detailed records on how many copies were printed.
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Sabon is an old-style serif typeface designed by the German-born typographer and designer Jan Tschichold (1902–1974) in the period 1964–1967. It was released jointly by the Linotype, Monotype, and Stempel type foundries in 1967. The design of the roman is based on types by Claude Garamond (), particularly a specimen printed by the Frankfurt printer Konrad Berner. Berner had married the widow of a fellow printer Jacques Sabon, the source of the face's name, who had bought some of Garamond's type after his death.
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Among the most famous punchcutters, Robert Granjon began as the apprentice to a jeweller, although Claude Garamond wrote of cutting type since his childhood. Also Christoffel van Dijck was trained as a goldsmith in Frankenthal. In the eighteenth century, William Caslon took up the craft from engraving ornamental designs on firearms and bookbinders' tools. A less common background was that of Miklós Tótfalusi Kis, who began his career as a schoolmaster before paying to learn punchcutting while in the Netherlands to print a Hungarian bible.
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Tom and Wren meet Wolf on Harrowbarrow, a burrowing Traction City, which takes them closer to London. With Wolf accompanying them, they fly the Jenny Haniver over the Green Storm border, and finally reaching the debris field of London. There they discover that the survivors of MEDUSA have rebuilt a society in London, led by Tom's old boss and now Mayor Chudleigh Pomeroy. Garamond, the paranoid head of security, convinces Pomeroy to keep them there as he suspects that they may inform others of London's survival.
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Currency Symbols is a Unicode block containing characters for representing unique monetary signs. Many currency signs can be found in other unicode blocks, especially when the currency symbol is unique to a country that uses a script not generally used outside that country. The display of Unicode currency symbols among various typefaces is inconsistent, more so than other characters in the repertoire. The French franc sign (U+20A3) is typically displayed as a struck-through F, but various versions of Garamond display it as an Fr ligature.
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Ardenti mysteriously vanishes after meeting with Belbo and Casaubon. Casaubon has a romance with a Brazilian woman named Amparo and moves to Brazil to be with her. He meets Agliè, an elderly man who implies that he is the mystical Comte de Saint-Germain and has a vast knowledge of the occult. Casaubon's relationship with Amparo falls apart after attending an Umbanda rite and he returns to Milan, where he is hired by Belbo's employer, Mr. GaramondA reference to French publisher Claude Garamond as a researcher.
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New York, William Morrow and Company, Inc, 1984: pg. 186. All of Apple's packaging for the Apple II series looked similar, featuring much clean white space and showing the Apple rainbow logo prominently.A gallery of Apple IIGS packaging from DigiBarn For several years up until the late 1980s, Apple used the Motter Tektura font for packaging, until changing to the Apple Garamond font. Apple ran the first advertisement for the Apple II, a two-page spread ad titled "Introducing Apple II", in BYTE in July 1977.
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William Barnes Steveni's book Unknown Sweden James William Barnes Steveni (born 1859:Michael Skinner: What we did for the Russians, page 186ff, Lulu, Garamond 2008Sofia Andreevna Tolstaya: My life, page 781. Ottawa 2010The Online Books Page: William Barnes Steveni in Kingston upon Hull,rellyseeker.nz: James William Barnes STEVENI Great Britain; died 1944 in Bromsgrove, Great Britain) was a British journalist and author. From 1887 he lived in Russia's capital Petersburg (after 1914 named Petrograd), where he taught English language and met Leo Tolstoy, for example.
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He is credited with the design of Italic and Greek fonts and of a Roman face for St. Augustine's Sylvius (1531), from which the Garamond types were derived. Compared to Henri Estienne's Romans, Colines spaced the letters more generally and altered some letters to be thinner. In 1529–1531 and in 1536, Louis Blaubloom, also known as Cyanaeus, helped Colines print more editions of the many books Colines was printing. In 1537, Colines started to collaborate with his step-son François Estienne in writing and printing schoolbooks.
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During the Renaissance period in France, Claude Garamond was partially responsible for the adoption of Roman typeface that eventually supplanted the more commonly used Gothic (blackletter). Roman typeface also was based on hand-lettering styles.Roman type The development of Roman typeface can be traced back to Greek lapidary letters. Greek lapidary letters were carved into stone and "one of the first formal uses of Western letterforms"; after that, Roman lapidary letterforms evolved into the monumental capitals, which laid the foundation for Western typographical design, especially serif typefaces.
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Tom and Wren meet Wolf on Harrowbarrow, a burrowing Traction City, which takes them closer to London. With Wolf accompanying them, they fly the Jenny Haniver over the Green Storm border, and finally reaching the debris field of London. There they discover that the survivors of MEDUSA have rebuilt a society in London, led by Tom's old boss and now Mayor Chudleigh Pomeroy. Garamond, the paranoid head of security, convinces Pomeroy to keep them there as he suspects that they may inform others of London's survival.
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His previous book, The Two Hendricks: Unraveling a Mohawk Mystery (Cambridge, MA: Harvard University Press, 2010), was awarded the Dixon Ryan Fox Prize by the New York Historical Association in 2009 and the Herbert H. Lehman Prize from the New York Academy of History in 2014. He is also co-author, with James Henretta, Rebecca Edwards, and Robert Self, of the textbook America’s History (Macmillan/Bedford St. Martin’s), the 9th edition of which was published in 2017. He is represented by the Garamond Agency.
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Before this, the Acts were usually found at the end. Furthermore, typographer and printing historian Stanley Morison claimed that Estienne's 1532 folio Bible contained, "what is probably the finest use ever made of [the Garamond] letter." Estienne wrote his Bibles in a grand folio format that was intended for nobility and the wealthy rather than for university students or faculty. Though in 1543, his style shifted to that of sextodecimo format, printing Bibles in Latin, Greek, and Hebrew, which would have been intended for students and professors.
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The italics are based on types designed by a contemporary of Garamond's, Robert Granjon. It is effectively a Garamond revival, though a different name was chosen as many other modern typefaces already carry this name. A classic typeface for body text, Sabon's longstanding popularity has transcended its origin as a commission to fit a tight set of business requirements. Tschichold was commissioned by a coalition of German printers to create a typeface that could be printed identically on Linotype, Monotype or letterpress equipment, simplifying the process of planning lines and pagination when printing a book.
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The italic and bold styles were to take up exactly as much space as the roman, a feature imposed by the duplexing system of Linotype hot metal typesetting machines of the period. Finally, the new font was to be five per cent narrower than their existing Monotype Garamond, in order to save space and money.Cf. S. Garfield, Just My Type, p.251. Sabon's name was therefore considered appropriate: a Frenchman who had moved to Frankfurt, he had played a role in bringing Garamond's type into use in German printing four hundred years before.
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The Dell Computer Company used Friz Quadrata for its first logo from 1984 to 1990. The font can be seen in Blizzard Entertainment's 2002 RTS Warcraft III and 2004 MMORPG World of Warcraft to display character names and item information, as well as in the logo of the MOBA video game League of Legends. A modified version is in the video-game series Fate. It was the primary typeface for Shadowrun role-playing game books from 1989 to 2013, except for the game's fourth edition in 2005, which employed Garamond Premier.
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Antoine Augereau (1485-1534) was a Renaissance printer, bookseller and punchcutter in Paris. He was one of the first French punchcutters to produce Roman type, at a time where other French printers were mostly using blackletter. He worked for Robert Estienne, who was one of the earliest Parisian printers to print Roman type, in the style of Aldus Manutius. He was a contemporary of other eminent French printers, such as Simon de Colines and Geoffroy Tory, while Claude Garamond, whose roman type became the most influential in Europe, apprenticed with him around the year 1510.
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Hester, Shrike, Zero and Pennyroyal make their way to Batmunkh Gompa to reunite with Naga, who has been evacuated to there. They are told of the destruction of traction cities and Tienjing alike, which Shrike deduces is the work of the Stalker Fang. Zero intends to talk to Popjoy as he built the Stalker Fang and may know how to disable her for good. Wren discovers Tom's letter and attempts to follow him with Theo, but they are stopped by Garamond, who believes they are Green Storm agents and are escaping to betray New London.
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In November 1561, following his death, his equipment, punches, and matrices were inventoried and sold off to purchasers including Guillaume Le Bé, Christophe Plantin, and André Wechel.Garamond French Ministry of Culture and Communication. His wife was forced to sell his punches, which caused the typefaces of Garamond to become widely used for two centuries, but often with attributions becoming highly confused. The chaotic sales caused problems, and Le Bé's son wrote to Plantin's successor Moretus offering to trade matrices so they could both have complementary type in a range of sizes.
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Long s + i ligature in a Garamond typeface. Wooden movable types with ligatures (from left to right) fl, ft, ff, fi; in 20 Cicero = 240 Didot points ≈ 90.2328 mm In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph. An example is the character æ as used in English, in which the letters a and e are joined. The common ampersand (&) developed from a ligature in which the handwritten Latin letters e and t (spelling et, Latin for and) were combined.
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Hester, Shrike, Zero and Pennyroyal make their way to Batmunkh Gompa to reunite with Naga, who has been evacuated to there. They are told of the destruction of traction cities and Tienjing alike, which Shrike deduces is the work of the Stalker Fang. Zero intends to talk to Popjoy as he built the Stalker Fang and may know how to disable her for good. Wren discovers Tom's letter and attempts to follow him with Theo, but they are stopped by Garamond, who believes they are Green Storm agents and are escaping to betray New London.
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Valhalla and the Fortress of Eve, also known as Valhalla 3, is an adventure game developed and released by Vulcan Software in 1995 for the Amiga. It was later ported to PC Windows in 2004 and to the BlackBerry mobile in 2013. It is a sequel to 1994's Valhalla and the Lord of Infinity and 1995's Valhalla: Before the War in which the protagonist King Garamond II has to rescue the kidnapped ladies from an evil witch Eve's castle and find himself a woman of his dreams.
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In 1554, Andreas Wechelus took over the printing office of his father, Chrétien Wechel, on Saint-Jean-de-Beauvais Street. He continued the editorial work initiated by his father and printed texts in Greek, notably the works of Xenophon and Lucian), as well as those of humanists like Jean-Antoine de Baïf and Pierre de Ronsard. In all likelihood, Wechelus was a supporter of the Reformation, but his friends were German Lutherans, rather than French Calvinists.G. Guilleminot-Chrétien, "Le testament de Claude Garamond," in Le livre et l'historien: études offertes en l'honneur du Professeur Henri-Jean Martin (Genève: Droz, 1997), 133–39.
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What in effect happened was that the digital artwork for this value was omitted from the material sent to Cartor for Booklet Panes DP411 and DP416 as well. Rather than ask Royal Mail for it, the printer tried to match the Jeffery Matthews typeface but made the wrong choice (The printer chose a Garamond one), although the letter “P” was correct. The error wasn’t picked up at the proof stage and was spotted only after the finished product samples were delivered. A “suitable process” was put into place to avoid a repetition of this kind of mistake.
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Produced by the Spanish producers DaBruk and released on the record label Vale Music/Universal he released two singles, Promised Myself and Big in Japan. In 2008 he obtained the Garamond Prize for the best dance production album, in Madrid. During the 2008 tour José Galisteo sang in more than one hundred Spanish cities and also some European cities like Lyon, Paris or Bern. In November 2009 he launched his second studio album Luces y Sombras produced by DaBruk, Andreas Rickstrand (Sweden), Tony Sanchez-Ohlsson, and Kareem Junior (French DJ and producer), including 13 electro-pop songs and 3 remixes.
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So odd it has been suggested it may have been the result of faulty casting of type, it was nonetheless often copied in French imitations by Garamond and his contemporaries. The final release of Monotype's revival did not follow this, although it was available by special order. Monotype also did not copy the curving capital Y used by Manutius in the tradition of the Greek letter upsilon which had been used in some versions of Poliphilus and Blado, although not in the digitisation of Poliphilus. Nesbitt has described the capitals as "a composite design in the spirit of [Griffo's] type".
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The purpose of the week-long visit was to conduct joint leadership training with South African learners, sport assistants, educators and volunteers.KwaZulu Natal Department of Sport and Recreation - United Kingdom and South Africa School Linkage Programme In 2008, St. Mary's was visited by Ina Cronje, Minister of Education, Kwa-Zulu Natal.Wharfedale Observer - Menston school is host to African visitors Bambisanani Enterprises, a social enterprise was established in 2009. Zulu students have to produce and source local products, such as indigenous crafts to be sold in the UK. The Bambisanani Partnership uses the typefaces Garamond and Helvetica Neue. St. Mary's International Links mosaic, 2009.
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He is not known to have cut any italic types, which were not popular in the Netherlands during the 1570s. Besides his own types, he justified matrices (setting their spacing) from other engravers, cut replacement characters for some of Plantin's types with shorter ascenders and descenders to allow tighter linespacing, and in 1572 compiled an inventory for Plantin of the types Plantin owned. Van den Keere also owned matrices for type by other engravers, at the end of his life owning three roman types by Claude Garamond, two romans by Ameet Tavernier, and six italics and a music type by Robert Granjon.
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Belbo discusses the plan with Agliè and claims to be in possession of a Templar map of the telluric currents; Agliè demands to be allowed to see it and is refused. Agliè comes to think he is the head of a spiritual brotherhood that includes Garamond, Ardenti, and many of the Diabolical authors, and forces Belbo to come to Paris with him. Casaubon goes to Belbo's apartment and reads his personal files on his computer. Believing Agliè and his associates intend to meet at the museum where Foucault's Pendulum is housed, Casaubon follows them to Paris.
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A Monotype caster The first two firms mentioned above produced a long list of fonts, which were identified by names and serial numbers. That type design eventually acquired a very good name and the "Monotype" brand was synonymous with high quality and reliability.Hudy Slinn, Sebastian Carter, Richard Southill: The History of the Monotype corporation, Printing Historical Society, London, Vanburg Press Woodstock, 2014, In their name much typographic research on historical character designs from the early years of typography has been carried out. Many of the letters were produced as "revivals" , including characters in Garamond, Baskerville, Bodoni, Bembo, Caslon and many other typefaces.
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Because of its ubiquity, it is generally no longer considered a ligature, but a logogram. Like many other ligatures, it has at times been considered a letter (e.g., in early Modern English); in English it is pronounced "and", not "et", except in the case of &c;, pronounced "et cetera". In most fonts, it does not immediately resemble the two letters used to form it, although certain typefaces use designs in the form of a ligature (examples including the original versions of Futura and Univers, Trebuchet MS, and Civilité (known in modern times as the italic of Garamond).
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Examples of contemporary Garalde old-style typefaces are Bembo, Garamond, Galliard, Granjon, Goudy Old Style, Minion, Palatino, Renard, Sabon, and Scala. Contemporary typefaces with Venetian old style characteristics include Cloister, Adobe Jenson, the Golden Type, Hightower Text, Centaur, Goudy's Italian Old Style and Berkeley Old Style and ITC Legacy. Several of these blend in Garalde influences to fit modern expectations, especially placing single-sided serifs on the "M"; Cloister is an exception. Artists in the "Dutch taste" style include Hendrik van den Keere, Nicolaas Briot, Christoffel van Dijck, Miklós Tótfalusi Kis and the Janson and Ehrhardt types based on his work and Caslon, especially the larger sizes.
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Didone fonts with swashes include Surveyor and ITC Bodoni. Helvetica Flair, a redesign of the sans-serif font Helvetica with swashes Sans-serif fonts with swashes are rarer, but some were released in the Art Deco and Streamline Moderne style of the 1930s, including for Tempo and Semplicità. Classiq by Yamaoka Yasuhiro, based on Garamond, contains swash italic designs, as do Goudy's Sans Serif Light Italic and Mr Eaves by Zuzana Licko, a sans-serif derivative of her serif family Mrs Eaves. Helvetica Flair, a redesign of Helvetica with swashes by Phil Martin, is considered a hallmark of 1970s design, and has never been issued digitally.
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Berthold at MyFonts The production premises were on Wilhelmstrasse No. 1 until 1868, and then on Mehringdamm 43. In 1979 the factory moved to another location between Teltow Canal and Wiesenweg in Lichterfelde. The H. Berthold foundry's most celebrated family of typefaces is arguably Akzidenz-Grotesk (released 1898), an early sans-serif which prefigured by half a century the release of enormously popular neo-grotesque faces such as Helvetica. In 1950, type designer Günter Gerhard Lange embarked upon a long affiliation with the company, for which he designed various original typefaces, including Concorde and Imago, and oversaw the foundry's revivals of classic faces such as Garamond, Caslon, Baskerville, and Bodoni.
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Medium x-heights are found on fonts intended for body text, allowing more balance and contrast between upper- and lower-case letters and a brighter page. They then increase again for optical sizes of font designed for small print, such as captions, so that they can be clearly read printed small. An image of some common fonts on one line, comparing their usage and x-heights. High x-heights on display typefaces were particularly common in designs in the 1960s and 70s, when International Typeface Corporation released popular variations of older designs with boosted x-heights; notable examples of this trend include Avant Garde Gothic and ITC Garamond.
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In early printed Greek from around 1500, many ligatures fashioned after contemporary manuscript hands continued to be used. Important models for this early typesetting practice were the designs of Aldus Manutius in Venice, and those of Claude Garamond in Paris, who created the influential Grecs du roi typeface in 1541. However, the use of ligatures gradually declined during the 17th and 18th centuries and became mostly obsolete in modern typesetting. Among the ligatures that remained in use the longest are the ligature Ȣ for ου, which resembles an o with an u on top, and the abbreviation ϗ for ('and'), which resembles a κ with a downward stroke on the right.
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The company was founded to design, license and market typefaces for filmsetting and computer set types internationally. The company issued both new designs and revivals of older or classic faces, invariably re-cut to be suitable for digital typesetting use and produced in families of different weights. Although it is claimed that the designers took care to preserve the style and character of the original typefaces, several ITC revivals, such as ITC Bookman and ITC Garamond in particular, have received criticism that the end result was related in name only to the original faces. Among the company's notable type designers was Ed Benguiat, the creator of Tiffany and Benguiat fonts.
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Although Robert Estienne was printing Bibles in Latin as early as 1528, he printed his first Greek New Testament in 1546. Despite its similarity to the works of Erasmus, Estienne did not credit Erasmus and rather claimed to be influenced by ancient codices. The first two are beautiful Greek texts, called O mirifica. The third and most significant is known as the Editio Regia or the "Royal Edition", published in 1550 for King Henri II. It is significant because the Greek font made by Garamond became the most used Greek font for European printers and it combined over 15 Greek sources with annotations in the margins.
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All of this was to promote "a general, high, critical standard in the public at large". As Alan Hutt wrote in 1969: :She was an original typographical scholar of the first rank (the 'Paul Beaujon' Garamond and other studies in The Fleuron and The Monotype Recorder); she was a practicing typographer of sure taste and a calligrapher of elegance; for over 30 years she was a brilliant editor of the Recorder and the Monotype Newsletter, as part of her devoted service to The Monotype Corporation as its publicity manager; she was Stanley Morison's inseparable and incomparable lieutenant in the great work of Britain's typographical renaissance; she was beyond peer as a public expositor, and propagandist for, good typography.
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Adobe Originals logo Adobe Garamond, one of the program's first fonts The Adobe Originals program is a series of digital typefaces created by Adobe Systems from 1989 for professional use, intended to be of extremely high design quality while offering a large feature set across many languages. Many are strongly influenced by research into classic designs from the past and calligraphy. Adobe Originals fonts are sold separately or with Adobe products such as InDesign. Adobe Originals fonts tend to offer an extensive feature set through the OpenType font format, such as optical sizes, automatic ligature insertion, small capitals, swashes, text and lining figures and kerning pair sets to fine-tune character spacing.
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All printers have in recent years been given a technical brief on printing Machin stamps from Royal Mail and Cartor would have had the same brief. To reduce the risk of any mistakes the brief would set the standard for every element of the stamp including the typeface to be used for the value. The standard typeface used currently throughout the Machin Series is the Jeffery Matthews drawn typeface. This error 5p Garamond typeface value made an appearance on the 5p Deep Ash Pink value of the Classic Album Covers pane of 7 January 2010, as well as the 54p Rust value from the same book, though it has since been corrected on all other printings.
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The Williams Caslon Text digitisation includes stylistic alternate characters allowing the user to choose whether to use Caslon's original characters, which have many flourishes in italic, or simplified "modernist" letterforms such as a J without crossbar and open-form italic h. According to book designer Hugh Williamson, a second decline in Caslon's popularity in Britain did, however, set in during the twentieth century due to the arrival of revivals of other old-style and transitional designs from Monotype and Linotype. These included Bembo, Garamond, Plantin, Baskerville and Times New Roman. Caslon type again entered a new technology with phototypesetting, mostly in the 1960s and 1970s, and then again with digital typesetting technology.
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This version was used to print Manutius' famous illustrated volume Hypnerotomachia Poliphili. Griffo's roman typeface, with several replacements of the capitals, continued to be used by Manutius's company until the 1550s, when a refresh of its equipment brought in French typefaces which had been created by Garamond, Pierre Haultin and Robert Granjon under its influence. UCLA curators, who maintain a large collection of Manutius's printing, have described this as a "wholesale change ... the press followed precedent; popular in France, [these] types rapidly spread over western Europe". Ultimately, old-style fonts like all of these fell out of use with the arrival of the much more geometric Didone types of the eighteenth and nineteenth centuries.
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Recent books include a new textual edition of Shakespeare's Pericles in two volumes, with over a hundred engravings by Simon Brett; a selection from Richard Barham's The Ingoldsby Legends, illustrated with unpublished wood engravings by the Dalziel brothers, engraved in the 1870s; and an edition of the odes of John Keats, with engravings by Andy English. The press's text types include Bembo, Poliphilus and Blado, Joanna, Van Dijck, Garamond, and Antigone (Greek); the press also has a large collection of printer's flowers and borders, including the Curwen Press collection of Monotype ornaments. The Elsteds were awarded the Robert R. Reid Award for lifetime achievement or extraordinary contributions to the book arts in Canada by the Alcuin Society in 2015.
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Marshall bought matrices for this type which survive at Oxford University Press, probably from Abraham van Dijck, or possibly another source in the Netherlands; if they did come from van Dijck his foundry was apparently able to replace them with another set of matrices, since the type is advertised on the 1681 specimen. On the 1681 specimen a number of other types are also by Granjon, with one titling and one roman by Claude Garamond and another titling by Hendrik van den Keere. According to Marshall Amsterdam typefounders were able to buy earlier types from Frankfurt. Several digital fonts based on van Dijck's work have been published, including DTL Elzevir (1992) by Dutch Type Library.
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The lower case i and j have diagonally-placed square dots or tittles, a motif that in some digitisations is repeated in the full stop, commas, apostrophes and other punctuation marks. Johnston's design process considered a variety of eccentricities, such as a capital-form 'q' in the lower-case and a single-storey 'a' like that later seen on Futura, before ultimately discarding them in favour of a clean, simplified design. However, many early versions of Johnston's "alphabet" included a Garamond-style W formed of two crossed 'V's, and some early renderings as hand-lettering showed variation. Unlike many sans-serifs of the period, Johnston's design (while not slender) is not particularly bold.
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A number of fonts have also been provided with iMovie, iLife, iDVD and other Apple applications in hidden folders, for the sole use of these applications. The reason why these fonts are hidden is unknown, with licensing issues suggested as the cause. However, one may easily install them for use by all applications by copying them out of their Library directories and installing them as with any third-party font, although one should always check that the license for the fonts allows them to be used outside the given software. Notable hidden fonts on macOS include Bank Gothic, Bodoni, Century Gothic, Century Schoolbook, Garamond, several cuts of Lucida and Monotype Twentieth Century.
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Granjon was popular in the metal type era and Beatrice Warde described it as her favourite revival of French renaissance typefaces in her famous 1926 article on the topic; it was also praised by former Linotype designer Walter Tracy. (Many of the Garamond revivals of the 1920s were later shown to be actually based on the types of Jean Jannon; Granjon was an exception to this. Warde commented "It would seem that Garamond's name, having so long been used on a design he never cut, is now by stern justice left off a face which is undoubtedly his.") Jones developed a companion bold named Bernhard, named for sixteenth-century engraver Bernard Salomon.
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Front page of The Guardian from 2001, showing the old design of the paper when in broadsheet format. This design was used from 1988 to 2005 On 12 February 1988, The Guardian had a significant redesign; as well as improving the quality of its printers' ink, it also changed its masthead to a juxtaposition of an italic Garamond "The", with a bold Helvetica "Guardian", that remained in use until the 2005 redesign. In 1992, The Guardian relaunched its features section as G2, a tabloid-format supplement. This innovation was widely copied by the other "quality" broadsheets and ultimately led to the rise of "compact" papers and The Guardian move to the Berliner format.
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Beatrice Warde spent time investigating the origins of the Garamond design of type, and published the results in The Fleuron in 1926 under the pen-name "Paul Beaujon". Her conclusion that many typefaces previously attributed to Claude Garamont were in fact made ninety years later by Jean Jannon was a lasting contribution to scholarship. Warde later recalled she had amused herself imagining her 'Paul Beaujon' persona to be "a man of long grey beard, four grandchildren, a great interest in antique furniture and a rather vague address in Montparnasse." She noted that the deception confused, but was not immediately suspected by other historians, who were surprised to read a work by Frenchman in idiomatic English and mocking received wisdom by quoting from The Hunting of the Snark.
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In his early life, he had lived in Leipzig and in the 1920s had devised a "universal alphabet" for German, improving its non-phonetic spellings and promoting the replacement of the jumble of fonts with a simple sans serif. Tschichold had become more interested in classical book design as his career progressed, and Sabon is a relatively faithful, organic book typeface strongly rooted in tradition. The name "Sabon" was proposed by Stanley Morison, an influential British Monotype artistic advisor and historian of printing. Different drawings were used for machining the larger sizes. Tschichold used an Egenolff-Berner specimen sheet from 1592 to provide initial models to work from, choosing a Garamond face for the roman letters and a Granjon face for the italics.
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The Floods are traveling to Harbor Heights to start a new school for the children and, for Mr. Flood, a job designing umbrellas, as he was an engineer but had a "great disappointment" when a bridge he built collapsed. Corby must handle the annoying, smarmy Lieutenant who is overly interested in her older sister, cope with the antics of her four older brothers, and figure out the connection between the Brotherhood of Clowns and a sad, mournful tune – and she must make it back to the ship after getting shipped to a strange and foreign place wearing a bumblebee costume. Also some (if not all) the characters names are taken from names of Fonts such as Garamond, Franklin Gothic, Times Roman and Palatino.
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410px In typography, the x-height, or corpus size, is the distance between the baseline and the mean line of lower-case letters in a typeface. Typically, this is the height of the letter x in the font (the source of the term), as well as the letters v, w, and z. (Curved letters such as a, c, e, m, n, o, r, s, and u tend to exceed the x-height slightly, due to overshoot.) One of the most important dimensions of a font, x-height is used to define how high lower-case letters without ascenders are compared to the cap height of upper- case letters. Regular and caption styles of two open-source typefaces, PT Sans and EB Garamond.
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In France, his work inspired many French printers and punchcutters such as Robert Estienne and Claude Garamond from 1530 onwards, even though the typeface of De Aetna with its original capitals was apparently used in only about twelve books between 1496 and 1499. Historian Beatrice Warde suggested in the 1920s that its influence may have been due to the high quality of printing shown in the original De Aetna volume, perhaps created as a small pilot project. De Aetna was printed using a mixture of alternate characters, perhaps as an experiment, which included a lower-case p in the same style as the capital letter with a flat top. In 1499, Griffo recut the capitals, changing the appearance of the typeface slightly.
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Bulmer, a transitional typeface The transitional, realist, or réales are the typical typefaces of the traditional period, particularly embodying the rational spirit of the Enlightenment. Contrast between main and connecting strokes is marked even more than in the first two groups, weight is distributed now according to a quasi-vertical axis. The realists are the result of the wish of Louis XIV to invent new typographical forms, on the one hand to find a successor of the Garamond, on the other hand to compete in quality with the different printers of Europe. The term realist is unrelated to the artistic movement realism, and derives from the Spanish for "royal", because of a typeface cast by Christophe Plantin for King Philip II of Spain.
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Founded in 1997 by Herbert Verhey and Bas Kwakman as Tortuca Private Press, the name was changed to Tortuca, literature and arts prior to the publication of the first magazine in 1997 [Tortuca 1, Autumn MCMXCVI] and extending the board of editors with musicians, artists and writers. The pocketbook-size shaped magazine has no illustrations on the cover (only the colour changes per issue) and well balanced and coherent typography in the interior with use of the typefaces Bodoni and Garamond. Apart from prose (short stories) and poetry, Tortuca contains a wide variety of art: from pencil-sketches and photography to designs for curtains and technical drawings. Every issue has a special item like a leporello with selfportraits of Aad Donker on a long strip of paper [Tortuca 8, MCMXCIX, p.
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Gone were the recessed metal ID badges (showing the Apple logo and name, with "//e" beside it) replaced with a simpler "Apple IIe" silk screened on the case lid in the Apple Garamond font. A smaller Apple logo badge remained, which was moved to the right side of the case. Internally, a (reduced in size) Extended 80-Columns Card was factory pre-installed, making it come standard with 128 KB RAM and Double-Hi-Res graphics enabled. The motherboard has a reduced chip count by merging the two system ROM chips into one and used higher-density memory chips so its 64 KB RAM could be made up of two (64 Kbx4) chips rather than eight (64 Kbx1) chips, bringing the count down to a total of 24 chips.
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Didone fonts began to decline in popularity for general use, especially in the English-speaking world, around the end of the nineteenth century. The rise of the slab serif and sans-serif genres displaced fat faces from much display use, while the revival of interest in "old-style" designs reduced its use in body text. This trend, influenced by the Arts and Crafts movement and antiquarian-minded printers such as William Morris, rejected austere, classical designs of type, ultimately in favour of gentler designs. Some of these were revivals of typefaces from between the Renaissance and the late eighteenth century such as revivals (with varying levels of faithfulness to the originals) of the work of Nicolas Jenson, William Caslon's "Caslon" typefaces and others such as Bembo and Garamond.
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Schifanoia Firenze has tried to maintain the standards of bookwork set by Gutenberg, Nicholas Jensen, Aldus, Claude Garamond, Bodoni, and modern designers such as Jan Tschischold, Hans Mardersteig, Bruce Rogers, and Frederick Warde. The search for fine printing paper led Chaudhuri to the high narrow valley of Pescia in Tuscany where fifteenth-century methods are still being followed in the paper mill of Cartiere Enrico Magnani. The exquisite Japanese Kozo bark paper and the Gampi vellum are used for special reserve copies, which are bound by famous designer binders in full Morocco leather. Some of these examples can be seen at the National Art Library, Victoria; the Albert Museum in London; and in the British Library. Chaudhuri’s graphic work, large prints and photographic images, have been exhibited in Florence, London, and Paris.
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Young Benton was then commissioned to finish Lewis Buddy's Elbert Hubbard inspired Roycroft, another successful introduction. While Phinney often used free-lance designers, like Will Bradley, T.M. Cleland, Walter Dorwin Teague, Frederic Goudy, and Oz Cooper, the bulk of ATF's catalog through the 1930s was the creation of Morris Fuller Benton. Though he never became well known, even within the printing industry, Benton enjoyed a record of successful type introductions unparalleled by anyone, much to the profit of ATF. Benton, though he did not invent either idea, was the most successful designer of revivals of historical type designs (such as his re-cutting of Bodoni and Garamond) and he perfected the creation of "type families" (such as Century or most successfully Cheltenham) where a basic face would be offered in italic, light, bold, extended and condensed variations.
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For historic material, established text typefaces frequently are chosen according to a scheme of historical genre acquired by a long process of accretion, with considerable overlap among historical periods. Contemporary books are more likely to be set with state-of-the-art "text romans" or "book romans" typefaces with serifs and design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and Claude Garamond. With their more specialized requirements, newspapers and magazines rely on compact, tightly fitted styles of text typefaces with serifs specially designed for the task, which offer maximum flexibility, readability, legibility, and efficient use of page space. Sans serif text typefaces (without serifs) often are used for introductory paragraphs, incidental text, and whole short articles.
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The Next logo used from 1991 to 2007 Until circa 1991 Next used a lower case Courier-style typeface in black against a white background for its logo. This was replaced by the capitalised NEXT logo in a Roman-serif style type face. There were some variations of this such as the logo with each letter of NEXT in an individual square and in some stores in 2005/2006 had the Next logo in a varying blue & black background with "X's" printed on them, as opposed to the black background. In addition, some variations in typeface occurred during the logo's use – including similar fonts that had serifs positioned above the "T" crossbar, similar to Garamond and others that had more in common with Times New Roman. In 2007 a new next logo was introduced, although the previous logo continued to be used until stock was exhausted.
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John A. Lane comments that his roman types "must be accepted as a major innovation...[they] influenced the seventeenth-century Dutch types that in turn influenced types in England and elsewhere" although Leon Voet felt that they "never quite equaled the elegance of his French models". As influences on his types, Vervliet suggests an earlier type cut by Maarten de Keyser, and Lane some more recent types by Ameet Tavernier, Robert Granjon and Pierre Haultin. His body text type in contrast is very similar to earlier types by engravers such as Claude Garamond and Granjon, who also worked for Plantin. Van den Keere's Spanish-style "rotunda" Gothic Van den Keere also cut a rotunda gothic type, apparently based on Spanish lettering and intended for a book to be sent to Spain, a Civilité and in Lane's view probably a set of Gothic capitals used as initials with an interlaced () design.
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This developed the influence of French typefounding such as the typefaces engraved by Claude Garamond with a smooth, even structure and 'e' with a level cross-stroke, by increasing the stroke width, boosting the x-height (height of lower-case letters) and reducing the length of the descenders to achieve a noticeably darker colour on the page. Kis's surviving matrices were first acquired by Stempel, and are now held in the collection of the Druckmuseum (Museum of Printing), Darmstadt. They were earlier often called the Janson designs, after the Dutch printer Anton Janson, based in Leipzig, who it was once believed might have created them, and Linotype's revival of the same designs in a less condensed form accordingly is named Janson. Kis's identity as the maker of the typefaces was rediscovered by comparison with type from Hungarian archive sources (including an autobiography) on which his name was identified.
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Sabon was developed in the early 1960s for a group of German printers who sought a "harmonized" or uniform font that would look the same whether set by hand or on a Monotype or Linotype hot metal typesetting machine. They were quite specific about the sort of font that might fit the bill, rejecting the modern and fashionable in favour of solid 16th century tradition - something modelled on the work sixteenth-century engravers Claude Garamond and Robert Granjon. The requirement that all weights have the same width was influenced by the 'duplex' system of lead casting on the Linotype system: each Linotype-matrix can cast two different characters: roman or italic, roman or bold, which must have the same width. It also meant that the typeface then only required one set of copyfitting data (rather than three) when compositors had to estimate the length of a text prior to actual typesetting (a common practice before computer-assisted typesetting).
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Headington's solo piano pieces were strongly influenced by Debussy, Ravel and Chopin. His song-cycle, The Healing Fountain, was written in tribute to Benjamin Britten, and Headington ranked it as his finest achievement. His Piano Concerto of 1991 was also recorded by ASV (with Gordon Fergus-Thompson as soloist) as part of a posthumous collection released in 1997. A music writer, his published works are: The Orchestra and Its Instruments (Bodley Head 1965) A History of Western Music (Bodley Head 1974, revised 2nd edition 1980, also Schirmer US edition and Paladin paperback) Illustrated Dictionary of Musical Terms (Bodley Head 1980, also Hamlyn paperback, Harper Row in US, Dutch translation Gaade Amerongen) The Performing World of the Musician (Hamish Hamilton 1981) Britten (Eyre Methuen 1981, US edition Holmes & Meier) and later rewritten for Omnibus Press Listener's Guide to Chamber Music (1982 Quarto Books New York, also Blandford Press UK) Opera: A History (Bodley Head 1987 Arrow paperback 1991) Sweet Sleep (Garamond & in US Clarkson Potter) - this is an anthology of lullabies.
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The Granjon font on which Pierpont's design was based was listed as one of the types used by the Plantin-Moretus Press beginning in the 17th century, long after Plantin had died and his press had been inherited by the Moretus family. (It has been reported that Plantin himself had used a few letters of the font to supplement another font, a Garamond, but H. D. L. Vervliet (2008) suggests that these may have been a set of slightly different custom sorts cut by Granjon.) Plantin was designed and engraved into metal at the Monotype factory in Salfords, Surrey, which was led by Pierpont and draughtsman Fritz Stelzer. Both were recruits to Monotype from the German printing industry. The choice to revive a French renaissance design was unusual for the time, since most British fine printers of the period preferred either Caslon or revivals of the fifteenth-century style of Nicolas Jenson (recognisable from the tilted 'e'), following the lead of William Morris's Golden Type, both of which Monotype would also develop revivals of.
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