Is Every Typeface A Revival

This publication was initiated during a Type Design brief at Zurich University of the Arts. Students were tasked to select an typeface published before 1999, to which they had a strong emotional connection, either positive or negative. Parallel to articulating personal emotions, students also collected information about the designer, type foundry, historical context and technology of production that led to the creation of the typeface. Then they proposed a contemporary redesign or revival. The design methodology was flexible, allowing for a range of approaches: from a classic revival in which the designers used their skills to digitize a typeface that was unavailable (or available in poor quality only), to a different design interpretation of the typeface. It was also possible to use the historical typeface as a mere formal or conceptual inspiration for a new creation. In different ways, then, the students investigated the definition, role and limitation of a revival typeface today. Their research and design processes are reflected in the texts which the students present in this publication, along with specimen pages for their typeface. The texts grew out of a two-weeks writing class at Zurich University of the Arts called Designers as Writers. Considering a broad range of writing practices pursued by designers long before (and also while), academic thesis writing took hold at art schools, from Jan Tschichold, Anna Simons and Hildegard Korger to Adrian Frutiger and Otl Aicher, from Hans-Rudolf Lutz and Fiona Ross to Zuzana Licko, Dexter Sinister, Alphabettes and more, the students familiarized themselves with (various combinations of) four basic approaches to writing: autobiographical, programmatic, historiographical and theoretical. These approaches informed daily writing exercises and staged impromptu readings in the evening, and eventually they also informed, to various degrees, the texts about the typefaces.

An illuminating account of the design inspirations and technical transformations that have shaped the digital typefaces of the 21st century In this fascinating tour through typographic history, Paul Shaw provides a visually rich exploration of digital type revival. Many typefaces from the pre-digital past have been reinvented for use on computers and mobile devices, while other new font designs are revivals of letterforms, drawn from inscriptions, calligraphic manuals, posters, and book jackets. Revival Type deftly introduces these fonts, many of which are widely used, and engagingly tells their stories. Examples include translations of letterforms not previously used as type, direct revivals of metal and wood typefaces, and looser interpretations of older fonts. Among these are variations on classic designs by John Baskerville, Giambattista Bodoni, William Caslon, Firmin Didot, Claude Garamont, Robert Granjon, and Nicolas Jenson, as well as typefaces inspired by less familiar designers, including Richard Austin, Philippe Grandjean, and Eudald Pradell. Updates and revisions of 20th-century classics such as Palatino, Meridien, DIN, Metro, and Neue Haas Grotesk (Helvetica) are also discussed. Handsomely illustrated with annotated examples, archival material depicting classic designs, and full character sets of modern typefaces, Revival Type is an essential introduction for designers and design enthusiasts into the process of reinterpreting historical type.

An indispensable guide to hundreds of important modern versions of earlier typefaces, presenting clear and concise discussions of origins, permutations, and contemporary digital availability. For typographers, revival type forms an integral part of their font repertoire. Older classics such as Baskerville, Garamond, and Bodoni are imbedded fonts in standard operating system collections and continue to serve their users well, being the trusted go-to tools of the best professional designers. Yet all revivals are digital interpretations of lost originals. In almost every case, there is, and has to be, considerable selection, revising, and re-formatting involved. The nature of such work is little understood or appreciated. The definition, application, and use of type revivals has been neglected until now. No one selecting a typeface, or using type, should be without Jerry Kelly's Type Revivals.

The Handbook of Software for Engineers and Scientists is a single-volume, ready reference for the practicing engineer and scientist in industry, government, and academia as well as the novice computer user. It provides the most up-to-date information in a variety of areas such as common platforms and operating systems, applications programs, networking, and many other problem-solving tools necessary to effectively use computers on a daily basis. Specific platforms and environments thoroughly discussed include MS-DOS®, Microsoft® WindowsTM, the Macintosh® and its various systems, UNIXTM, DEC VAXTM, IBM® mainframes, OS/2®, WindowsTM NT, and NeXTSTEPTM. Word processing, desktop publishing, spreadsheets, databases, integrated packages, computer presentation systems, groupware, and a number of useful utilities are also covered. Several extensive sections in the book are devoted to mathematical and statistical software. Information is provided on circuits and control simulation programs, finite element tools, and solid modeling tools.

This volume also investigates larger movements and phenomena, such as Norman Rockwell's lasting impression on Americana, issues of plagiarism and censorship, and the "Big Idea" in advertising, and includes profiles of designers whose bodies of work helped determine the look and content of design today."--BOOK JACKET.

Damage to the brain can impair language in many different ways, severely harming some linguistic functions whilst sparing others. To achieve some understanding of the apparently bewildering diversity of language disorders, it is necessary to interpret impaired linguistic performance by relating it to a model of normal linguistic performance. Originally published in 1987, this book describes the application of such models of normal language processing to the interpretation of a wide variety of linguistic disorders. It deals with both the production and the comprehension of language, with language at both the sentence and the single-word level, with written as well as with spoken language and with acquired as well as with developmental disorders.

Design School: Type is an in-depth guide to the rules and practices of typography, you’ll learn the essential skills of the professional typographer in the detail. Searching for a way to increase your skills as a typographer? This instructive guide, specially designed for students, recent graduates, and self-taught designers is a comprehensive introduction to typography. These guided lessons offer in-depth analysis of all the major areas of theory and practice used by experienced professional designers. Each section is interspersed with tests designed to help you retain the information they've covered, and a selection of relevant support files in popular design software formats so you can test yourself with provided demos. This guide to the rules and practices of typography avoids the temptation to stray into other areas of design technique, preferring to cover the essential skills of the professional typographer in the detail required to arm students and graduates with the knowledge needed for a successful start to their chosen career.