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Revival type : digital typefaces inspired by the past
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.
Adrian Frutiger
by
Swiss Foundation Type and Typography
,
Stamm, Philipp
,
Osterer, Heidrun
in
1928
,
20th century
,
Architecture
2012,2009,2008
The international creation of typefaces after 1950 was decisively influenced by the Swiss type designer Adrian Frutiger.His Univers typeface and the machine-readable font OCR-B, which was adopted as an ISO standard, are milestones, as is his type for the Paris airports, which set new standards for signage types and evolved into the Frutiger.
TypoLyrics
by
Slanted
in
Architecture
,
ARCHITECTURE / Design, Drafting, Drawing & Presentation
,
DESIGN / General
2012,2010
Graphic designers love music.This is attested not least by the tremendous enthusiasm that readers of the typography magazine Slanted bring to its \"Typo Lyrics\" column, in which designers interpret music in entirely new ways with the help of fonts.