The terminals of the "N," the "r" and the "s" were exaggerated into swashes so extravagant they almost wrapped around themselves.
|
|
They looked almost delicate, with swashes of pink and yellow depicting the sunlight falling on flower petals, but they were big, hulking things.
|
|
Pink princesses grow with swashes of pink on their leaves, and only when a grower is careful to propagate the parts that are most highly variegated.
|
|
At 1AM, LEDEF and TonePadron go b2b for a chaotic set that starts with demonic vocal samples over booming half-time kicks and violent swashes of noise.
|
|
When typing, Snapchatters will see the option to switch between the existing small and big text option, as well as new Glow neon lettering and Rainbow that swashes color gradients across your words.
|
|
A: The Third and Final Report of Throbbing Gristle where, for example, the pathos of inane lads' chatter on "Valley of the Shadow of Death" and timeless children's babble on "Hometime" was heightened by atmospheric noise and eerie ambient swashes.
|
|
It is considered to be a highly conflicted design, as Helvetica is seen as a spare and rational typeface and swashes are ostentatious: font designer Mark Simonson described it as "almost sacrilegious". Martin would later recall being accused of "typographic incest" by one German writer for creating it. Flamboyant swashes in the Zapfino typeface As swashes are based on period handwriting, script typefaces with swashes are common, and include Zapf Chancery and Zapfino, both by Hermann Zapf. Some historical revivals add optional swashes to designs that did not originally have them to produce a more varied design.
|
|
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.
|
|
Surveyor's most notable feature is its extremely wide range of weights and styles, designed to provide many options for complex publications such as magazines. The typeface is created in weights from light to black, with italic styles offering designs with or without swashes. Swashes themselves are controlled programmatically so that they only appear where there is space for them, so words that are fully capitalised only have swashes at the start. It is also sold in three different optical sizes, for text printed in different sizes from small to large.
|
|
Calvin. Swash capitals are used throughout and on many letters at the end of words too. This use would probably now be considered excessive. Most typefaces with swashes are serif fonts, among which (if present) they are often found solely in italics. Advanced digital fonts often supply two italic designs: one with swashes and a more restrained standard italic.
|
|
The italic was distributed by Letraset with a matching set of swashes. As a result, this often became sold or used without the regular or roman style of this revival.
|
|
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.
|
|
OpenType features include small caps, case forms, ligatures, special ligatures, alternates, stylistic sets, swashes, caps figures, oldstyle figures, tabular figures, fractions, superscript/subscript, superior/inferior figures, ordinals/superior letters and figures, and ornaments.
|
|
Caslon 540 in a digital version of the Letraset revival, showing some swashes and alternate characters. This 2006 creation by P22 is based on the pages produced by Benjamin Franklin circa 1750. It has a distressed appearance.
|
|
The family includes font weights with complementary italics. OpenType features include case forms, ligatures, special ligatures, alternates, swashes, caps figures, oldstyle figures, semi oldstyle figures, tabular figures, fractions, superscript/subscript, superior/inferior figures, ordinals/superior letters and figures, and ornaments.
|
|
Syntax, originally released by D. Stempel AG in 1969. A humanist sans serif. Humanist sans-serif typefaces take inspiration from traditional letterforms, such as Roman square capitals, traditional serif fonts and calligraphy. Many have true italics rather than an oblique, ligatures and even swashes in italic.
|
|
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.
|
|
Different glyph shapes from Roman type are usually usedanother influence from calligraphyand upper-case letters may have swashes, flourishes inspired by ornate calligraphy. An alternative is oblique type, in which the type is slanted but the letterforms do not change shape: this less elaborate approach is used by many sans-serif typefaces.
|
|
The novel is written with playful malapropisms: Barnes takes unusual English words and uses them with utterly different meanings. Characters wear swashes, in which they keep their dueling pismires; and meet in small drinking establishments known as taborets and stupors. One character is named Pell Grant. Many of the place names, such as the Isought Gap, are philosophical references.
|
|
Each of the family are categorized in following family collections: Classic, Basic, Office. Classic family includes all 8 font weights, with roman, italic, small caps roman, small caps italic, expert, expert italic in each weight. It includes hanging proportional, hanging monospaced, lining proportional, lining monospaced figures; and additional f-ligatures. Expert fonts include arrows, swashes, fraction figures, alternate styles, mathematic symbols, ornaments.
|
|
The script, while clever, often seems too cute and show-biz snazzy, not emotional enough." Lisa Schwarzbaum, reviewing for Entertainment Weekly, remarked that "this trip down The Road to El Dorado proceeds under the speed limit all the way. Our Tulio and Miguel aren't big enough, nor strong enough, nor funny enough to buckle any swashes. They're as lost to us as the lost city into which they stumble.
|
|
A specimen of the original version of Souvenir on ATF's 1923 specimen book. In 1967 Ed Benguiat licensed the design from ATF and re-drew the face for the Photo-Lettering Corporation. When the International Typeface Corporation (ITC) was formed in 1971 it not only issued this design as ITC Souvenir but hired Benguiat to draw additional weights. He even added swashes for each variant, thus increasing its attractiveness.
|
|
XeTeX can use any fonts installed in the operating system without configuring TeX font metrics, and can make direct use of advanced typographic features of OpenType, AAT and Graphite technologies such as alternative glyphs and swashes, optional or historic ligatures, and variable font weights. Support for OpenType local typographic conventions (`locl` tag) is also present. XeTeX even allows raw OpenType feature tags to be passed to the font. Microtypography is also supported.
|
|
Each 37-metre-long unit is composed of five articulated sections and has a capacity of 242 passengers (80 seated). They are painted Transilien night blue with coloured swashes on the doors. The first car was delivered by road in November 2005 and 12 cars were ready to be put in service in November 2006. The stock has a maximum speed of 100 km/h, but is not operated that fast on the line.
|
|
Modern revivals have added features, such as italics with extra or no swashes and bold weights, that were not present in Baskerville's original work. Baskerville is used widely in documents issued by the University of Birmingham (UK) and Castleton University (Vermont, USA). A modified version of Baskerville is also prominently used in the Canadian government's corporate identity program—namely, in the 'Canada' wordmark. Another modified version of Baskerville is used by Northeastern University (USA), and the ABRSM.
|
|
He designed Kennerley out of dissatisfaction with the Caslon typefaces then in use in fine art printing; he felt these had an uneven colour on the page due to the thickness of the capital letters being much greater than that of the lower case. Goudy described the design as very loosely based on the 'Fell Types', a set of type in the Dutch style collected by Bishop John Fell of Oxford for the Oxford University Press, although he conceded that "comparison of my type with the Fell letter will disclose little more than an identity of spirit" and Walter Tracy found the claim of influence implausible. It has also been compared in some details, notably the tilted understroke on the 'e', to the type of late 15th century Venetian printer Nicolas Jenson by Walter Tracy and others; American Type Founders' historian Henry Lewis Bullen somewhat cruelly described it as "a spoilt Jenson". The italic is somewhat florid, with swashes on some letters, and additional swashes were available for other capitals.
|
|
Swashes marked with red color Minion Pro in capital letters in regular (1), italic (2) and swash (3) style A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph. The use of swash characters dates back to at least the 16th century, as they can be seen in Ludovico Vicentino degli Arrighi's La Operina, which is dated 1522. As with italic type in general, they were inspired by the conventions of period handwriting.
|
|
The swash capitals and lower-case 'g', 'k' and 'z' of the open-source "Linden Hill" font, based on Goudy's Deepdene and created by Barry Schwarz. Deepdene has been digitised and released by several organisations and software companies. P22's digitisation under their LTC imprint perhaps uniquely includes the swash capitals and small caps in italics. The open-source "League of Movable Type" project has released an open-source digitisation, "Linden Hill", by Barry Schwartz, in regular and italic with swashes but without bold weights.
|
|
Panorama is a line layout and text composition engine to render text in various worldwide languages made by Bitstream Inc.. Panorama uses Font Fusion as the base to support rendering of the text. The engine allows the user to manage different text formatting aspects like spacing, alignment, style effects (bold, embossed, outline, drop shadows etc.). Panorama provides support for OpenType font tables leading to automatic character substitution for ligatures, swashes, scientific figures, etc. Panorama supports three anti- aliasing modes - monochrome, grayscale, and LCD optimized (Horizontal and Vertical).
|
|
Another common question facing revivals is what to do with some letters such as 'N' in italics. On faithful revivals such as the Storm digitisation (shown at top right) they have a swash, but this may be thought too distracting for general use or to space poorly in all-caps text. Accordingly, many revivals substitute (or offer as an alternate) capitals without swashes. Dieter Hofrichter, who assisted Günter Gerhard Lange in designing a Baskerville revival for Berthold around 1980, commented: > We went to Birmingham where we saw original prints by Baskerville.
|
|
Allegro is a serif typeface intended for display use. It was designed by Hans Bohn for the Ludwig & Mayer type foundry of Frankfurt, and released in 1936. Allegro is inspired by the Didone style dating from around the start of the nineteenth century onwards, that emphasised alternation of very thick and very thin strokes. However, it emphasises this through breaks in the letter where thin strokes would normally be found, producing an effect similar to stencilled lettering, with a slight inclination suggesting handwriting and ball terminals and swashes suggesting music.
|
|
Comic Sans Pro is an improved and expanded version created by Terrance Weinzierl from Monotype Imaging. While retaining the original classic design of the core characters, it adds new italic variants of the original fonts, swashes, small capitals, extra ornaments and symbols including speech bubbles, onomatopoeia and dingbats, as well as text figures and other stylistic alternates. Originally appearing as part of Ascender 2010 Font Pack as Comic Sans 2010, it was first released on April Fools' Day, causing some to initially assume it was a joke. The italic fonts later appeared in Windows 8.
|
|
Goudy Sans is a sans-serif typeface designed by Frederic Goudy around 1929–1931 and published by Lanston Monotype. Unlike many sans-serifs, which often have an unadorned appearance with a geometric or industrial aesthetic, Goudy Sans has a more organic and decorative structure resembling painted lettering, with flared stroke ends and an avoidance of straight lines, typifying Goudy's taste towards designs with an organic feel. Goudy added several complementary decorative alternate characters. Goudy drew a complementary italic with letterforms inspired by handwriting, decorative features such as swashes and curls, again with a number of decorative alternates.
|
|
Stylized raccoon skin as depicted on the Raccoon Priests gorget found at Spiro Mounds In the mythology of the indigenous peoples of the Americas, the raccoon is the subject of folk tales. Stories such as "How raccoons catch so many crayfish" from the Tuscarora centered on its skills at foraging. In other tales, the raccoon played the role of the trickster which outsmarts other animals, like coyotes and wolves. Among others, the Dakota Sioux believe the raccoon has natural spirit powers, since its mask resembled the facial paintings, two-fingered swashes of black and white, used during rituals to connect to spirit beings.
|
|
It was released in several weights and with alternate characters such as swashes, which digitisations have mostly not included.See, for instance, this specimen, which has one Q in the 6 and 8-point sizes and another in 10pt. Memphis has an Egyptian name, in reference to the fact that early slab serifs were often called "Egyptians" as an exoticism by nineteenth-century typefounders. Memphis and other similar designs were popular in printing during the hot metal typesetting period and several foundries brought out similar designs or direct imitations such as Karnak and Stymie in the United States and Rosmini from Nebiolo in Italy, and (more loosely) Rockwell from Monotype.
|
|
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.
|
|
The Q, T v, w, and z all have flourishes or swashes in the original design, something not all revivals follow. The italic J has a crossbar and a rotated casting was used by Caslon in many sizes on his specimens to form the pound sign. However, Caslon created different designs of letter at different sizes: his larger sizes follow the lead of a type he sold cut in the previous century by Joseph Moxon, with more fine detail and sharper contrast in stroke weight, in the "Dutch taste" style. Caslon's larger-size roman fonts have two serifs on the 'C', while his smaller-size versions have one half-arrow serif only at top right.
|
|
In the early 1990s, the Adobe Systems type group introduced the idea of expert set fonts, which had a standardized set of additional glyphs, including small caps, old style figures, and additional superior letters, fractions and ligatures not found in the main fonts for the typeface. Supplemental fonts have also included alternate letters such as swashes, dingbats, and alternate character sets, complementing the regular fonts under the same family.Typophile.com However, with introduction of font formats such as OpenType, those supplemental glyphs were merged into the main fonts, relying on specific software capabilities to access the alternate glyphs. Since Apple's and Microsoft's operating systems supported different character sets in the platform related fonts, some foundries used expert fonts in a different way.
|
|
LTC Caslon is a digitisation of the Lanston Type Company's 14 point size Caslon 337 of 1915 (itself a revival of the original Caslon types). This family include fonts in regular and bold weights, with fractions, ligatures, small caps (regular and regular italic only), swashes (regular italic weight only), and Central European characters. A notable feature is that like some hot metal releases of Caslon, two separate options for descenders are provided for all styles: long descenders (creating a more elegant designs) or short (allowing tighter linespacing). To celebrate its release, LTC included in early sales a CD of music by The William Caslon Experience, a downtempo electronic act, along with a limited edition upright italic design, 'LTC Caslon Remix'.
|
|
Released by Font Bureau, it includes bold and bold italic designs, and a complete feature set across all weights, including bold small caps and swash italic alternates as well as optional shorter descenders and a 'modernist' italic option to turn off swashes on lower-case letters and reduce the slant on the 'A' for a more spare appearance. It is currently used in Boston magazine and by Foreign Affairs. A notable feature of Caslon's structure is its widely splayed 'T', which can space awkwardly with an 'h' afterwards. Accordingly, an emerging tradition among digital releases is to offer a 'Th' ligature, inspired by the tradition of ligatures in calligraphy, though itself not a historical type ligature, to achieve tighter letterspacing.
|
|
Hoefler Text incorporates then-advanced features which have since become standard practice for font designers, such as automatic ligature insertion, real small capitals, optional old style figures and optional insertion of characters such as true superscript and subscript characters, the historical round and long s, engraved capitals and swashes. Hoefler Text also has a matching ornament font containing arabesque motifs. It was, until OpenType made alternate characters more common, one of only a few system fonts that contained old style, or ranging, figures, which are designed to harmonize with body text. Hoefler & Frere-Jones have expanded Hoefler Text to include additional typographic features, and the current commercial release now includes three weights (an additional bold weight beside the regular and black included with Macs) and two sets of engraved capitals, as well as the more slender display variant Hoefler Titling.
|
|
In 2013, the iconic status of Chicago's album art was featured in a New York art museum exhibit, which centered upon ninety-five album covers completely selected from John Berg's career portfolio of hundreds. Having overseen the design of approximately fourteen Chicago album covers across more than twenty years, Berg stated that this artistic success resulted from the combination of Chicago's "unique situation" and his position in "the best possible job at the best possible time to have that job, at the center of the graphic universe". Berg won the 1976 Grammy Award for Best Album Package for Chicago X, one of four Grammy Awards he won in his lifetime. The book titled Type and Image: The Language of Graphic Design described the logo as "a warm vernacular form, executed in thick script letters with Victorian swashes in the tradition of sports teams and orange crate labels".
|
|