Overview
Times New Roman (TNR) is a serif typeface commissioned by the newspaper The Times in 1931 and created by Victor Lardent, an artist from the advertising department of the newspaper. The typeface was supervised by Stanley Morison, who adopted an older typeface named Plantin as the basis, but ‘made revisions for legibility and economy of space’(). Morrison also intended it to be read and not seen, consequently, without doubt, his intention has been realized.
Analysis
• Legibility
Counters: open counters
x-heights: moderate (68%)
Width and weight: Times New Roman is a transitional serif1 typeface with medium width (x=106%) and moderate weight (tk=18%, tn=7%). A number of letters were designed to be more consistent and more harmonious
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More readable than legible, as the thick and thin transitions can cause issues, especially at larger sizes.
• Aesthetics
Times New Roman is known mostly for its cleanness of readability, it is quite beautiful in its simplicity. A traditional, conservative, invisible, masculine, practical typeface. This may be the voice of the painting Son of Man. Strong ethos in business or other uses where readability and traditional are values. Low ethos with those who are sick of its overuse, such as many typographers and graphic designers.
Axis: as a transitional typeface, Times New Roman has an axis that inclined to the left. However, more vertical when compared to an Old Style typeface such as Garamond.
Serif and terminals: Times New Roman is a modern typeface with serifs that are much straighter like machine print. The curled serif at the tips of lowercase ‘a’ is especially graceful, and the use of both the curved and sharp points in the number ‘5’ are just two of the small details that make Times New Roman the typeface equivalent of the quite girl next door: beautiful with an understated elegance that can often go
As time passed, the Elder Futhark Symbols changed into a more easier writing script style.
By being educated at a young age in literacy, I included it in my pottery and also working for newspaper companies strengthened my form of expression. Working in the South Carolina Republican and then later on The Edgefield Hive as a typesetter, it was a good experience helping my literacy skills but I didn’t feel fully indulged. I did it because I had to but also to learn. By understand typography, I was able to understand the science of the anatomy of type. They taught me the use of size, spacing, and placement of typography in order to show hierarchy, direction and attraction. I became to understanding that type is a collective of shapes and strokes. Master Abner 's newspaper did not get a lot of publicity and hit a crisis, which led him to cease publication of the newspapers. Master Abner then moved to Columbia, South Carolina, in 1832. He decided to leave me back in Edgefield and...
Concordia University, in response to an assignment proposed by Nathalie Dumont’s Dart 280 class. I devoted a month of work to this project in February of 2014. The assignment was called Helvetica No More in which we were asked to create a poster for Rainer Erich Scheichelbauer’s typographic talk at the Design Lecture Series at Concordia University. The lecture was on the overuse of the typeface Helvetica and how design is meant to be created to explore new ideas. The poster that I produced illustrates breaking the norm of
This new technology is not without its shortcomings. First, the printing press used limited materials. Next, as Mumford notes, the advent of print led calligraphers and manuscript copyists out of work. Furthermore, as Graff finds, it created “typographical fixity”—material once printed cannot be changed. Finally, mass production was dependent and limited to large markets (Mumford, 95)....
Hardships from hostile experiences can lead to the degradation of one's mental and physical state, breaking down their humanity. Wilfred Owen's struggles with the Great War has led to his detailed insights on the state of war, conveying his first-hand experiences as a front-line soldier. 'Dulce et Decorum Est' and 'Insensibility' displays these ideas and exposes the harsh and inhumane reality of war. From the imagery and metaphors, Owen's ideas about the deterioration of human nature resonates with the reader of the repercussions of war.
T F 8. Style attributes include fonts and font sizes, number formats, and borders and
Both passages concern the same topic, the Okefenokee Swamp. Yet, through the use of various techniques, the depictions of the swamp are entirely different. While Passage 1 relies on simplicity and admiration to publicize the swamp, Passage 2 uses explicitness and disgust to emphasize the discomfort the swamp brings to visitors.
The origin of this font can be traced back to the 1920’s when a German typeface designer, Paul Renner, created it. A German professor of the Bauhaus school, Jakob Erbar created the first geometric sans-serif typeface. It was designed for pure functionality, which was based on a circle, square and triangle. After this, Renner decided to improve on the typeface and improved it to be the font we know today.
7. Jean, Georges. Writing- The Story of Alphabets and Scripts. New York: Harry N. Abrams, Inc., 1992.
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The design is highly abstract, and almost exclusively makes use of type to build the design, forgoing shapes or images. The typography
Peter Saville was greatly influenced by Herbert Spencer’s Pioneers of Modern Typography along with Jan Tschichold, a propagandist for New Typography. Saville recalls wanting to share his self-instigated education in art and design history, by way of appropriating the dynamic visual language of futurism and modernism, and reusing those forms in his work with the aim of using design as 'an enhancement to
He tried to, “make use of the experience and stylistic developments of the 20th century in order to work out an independent alphabet meeting modern typographical needs”("Type Gallery – Avenir"). This typeface is described as a geometric sans-serif typeface with a human touch. It is not completely geometric because it has thicker vertical strokes than its horizontal counterparts, as well as shortened accender’s. The x-height is also taller than other typefaces, which some consider to be a strength. Also the letter o in this typeface is very distinctive, as it is not a perfect circle. There are three weights that come with this typeface, as well as a roman and oblique version, but no italic version. What makes this typeface so unique is that each variation is designed for a different purpose, creating versatility. For example, “the Light and Book weights are similar, but Book is most appropriate for text blocks while the Light is better for adding a contrasting element (perhaps a heading) to a heavier weight. These weight selections also allow for optimal results under varied printing conditions”(Blake). Avenir’s characteristics and appearance make it great for using in texts and headlines and effective
This paper will argue that the industrial revolution allowed for the proliferation of fonts in the 19th century for two main reasons. First, there was an unprecedented need for new and eye-catching lettering to grab the attention of consumers a new variety of choices on the market. Secondly, the creation of new fonts was more affordable than ever due to the advancements in technology during the industrial revolution.
o Modern crisp fonts have been used in the main body of the text so