Revival Type

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.

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.

How many countries experienced a religious revival during the 20th century? According to this new book on church revival history, there were, at the very least, twenty such revivals occurring in various parts of the world. Revival swept from Asbury University, Australia, through America, and across the European continent; all within the space of one century. Why This Book? I wrote The Twentieth Revivals of the Century because there are so many stories that need to be told. Stories of sweeping revivals, which happened all across the globe. Spiritual awakenings that occurred in countries making headlines today--sometimes for all the wrong reasons. Nations like North Korea's Pyongyang and Japan, which incidentally almost became a Christian nation, leading up to the twentieth century. At this time, Christianity began gaining ground at a rapid pace. Such was the impact of the revivals covered in this book heading into the twentieth century. So, can we see a repeat of such revival fervour in the twenty-first Century? Was the recent Asbury Revival comparable with the one seen there in the 1970s? Does it measure up to the same basic criteria or pass the 'smell test' of how recent revivals have come about? These question, although not directly answered will show the the so-called Asbury revival was missing two basic ingredients, the preaching of the gospel and conversion of the masses.

The Indonesian term adat means ‘custom’ or ‘tradition’, and carries connotations of sedate order and harmony. Yet in recent years it has suddenly become associated with activism, protest and violence. This book investigates the revival of adat in Indonesian politics, identifying its origins, the historical factors that have conditioned it and the reasons behind its recent blossoming. It considers whether the adat revival is a constructive contribution to Indonesia’s new political pluralism or a divisive, dangerous and reactionary force, and examines the implications for the development of democracy, human rights, civility and political stability. The Revival of Tradition in Indonesian Politics provides detailed coverage of the growing significance of adat in Indonesian politics. It is an important resource for anyone seeking to understand the contemporary Indonesian political landscape.

This book answers the following type of questions: Why hasn't Jesus come yet? Is it because God's people need a revival and reformation? How can we obtain an awakening? Can we secure clues from past revivals? Is there a recurring pattern in historical revivals and reformations? Where are we now relative to that pattern? What is the difference between legalism and antinomianism? How do views on the atonement, the nature of Christ, and the sealing impact our quest for a revival and reformation? What is the final revival type? Are we nearing it? These pages prepare the reader for the final revival and reformation. Some of the answers offered in this book will surprise you. They could even change your life.

Learn the ten characteristics of revival, and see the move of God change not only your ministry, but your community.

Type Specimens introduces readers to the history of typography and printing through a chronological visual tour of the books, posters, and ephemera designed to sell fonts to printers, publishers, and eventually graphic designers. This richly illustrated book guides design educators, advanced design students, design practitioners, and type aficionados through four centuries of visual and trade history, equipping them to contextualize the aesthetics and production of type in a way that is practical, engaging, and relevant to their practice. Fully illustrated throughout with 200 color images of type specimens and related ephemera, the book illuminates the broader history of typography and printing, showing how letterforms and their technologies have evolved over time, inspiring and guiding designers of today.