Bra typografi är något som ligger oss varmt om hjärtat och är något som vi hela tiden har fokus på i vårt arbete.
Lektioner i typografi
Här följer lite lektioner (på engelska) som förklarar vissa nyckelbegrepp inom typografi och SmartFonts.
- Kerning and Tracking
- Wordspace Kerning/Tracking
- Sidebearing Elimination, Optical Alignment and Hanging Punctuation
- Accents and Ligatures
This old face design has such an up-to-date appearance that it is difficult to realize this letter was cut (the first of its line) before A.D. 1500. The punches were cut by Francesco Griffo of Bologna the designer responsible six years later for the first italic types. A second roman face followed in 1499 and this type design, based on the first, and used to print the famous illustrated Hypnerotomachia Poliphili, was the one which, after adaption by Garamond, Voskens and others, resulted finally in Caslon Old Face.
Series 135 was cut by The Monotype Corporation in 1921 and is based upon one of the many types shown in Bodoni's famous Manuale Tipografico. Giambattista Bodoni (born at Saluzzo in 1740) came from a family of printers. The first fonts of type used by Bodoni came from Paris and, though his specimen of 1771 shows the influence of Fournier, his fame rests upon those later designs which set the fashion for that imitation of copperplate effects which appeared in the editions of the eighteenth century.
Felix Titling 399
Cut as Display Matrices (72 point) by the Monotype Corporation.
Gill Sans, made its first appearance before the printing industry in 1928 in the programme of the Federation of Master Printers' Conference. This was the titling, Series 231, which had been commissioned by The Monotype Corporation Limited from Eric Gill, and was based on an alphabet used by Gill on the facia of a Bristol bookshop. Lower case letters soon followed and related bolds, titlings and other variants were added from time to time until the Gill family contained some twenty-four series. Gill's design followed but was not in a sense an imitation of the more theoretical, geometric sans serifs of German origin. The normal shapes of the a, g and t are retained, and the readability gained is further enhanced by the imperceptible gradations of thickness in the characters that curve.
Perpetua, is one of the best known and most widely used of contemporary type faces. It was designed by the great sculptor Eric Gill (1882-1940), and is in fact a translation into metal type of the chiseled lettering in stone which had established Gill's European reputation as a fine creative craftsman before his `Stations of the Cross' at Westminster Cathedral brought him fame as an artist. The Monotype Corporation commissioned the design from Gill in 1927, and in that year one experimental font was cut by hand from the sculptor's own drawings. The final version of the face then evolved by subtle modifications and had its first appearance in an inset in number 7 of The Fleuron in 1930.
Monotype Plantin 110 was cut by the Monotype Corporation Limited in 1913, on the basis of prints supplied by the Musée Plantin, Antwerp, of an old face design cut during the 16th century by Claude Garamond for the Dutch scholar printer, Christophe Plantin. This font was chosen because of its legibility and dignity as the basis of the distinctly 20th-century design `Monotype' Plantin - the first face cut specially for use on coated art papers, but it has also proved itself exceptionally well suited to super-calendered and all smooth surfaced papers. The wide curves, and well-bracketed serifs of Plantin give it special advantages in standing up to difficult printing conditions.
Times New Roman
This `perfect newspaper face' cut by The Monotype Corporation for The Times was only arrived at after much preliminary optical research. Experiment showed that by thickening only the characteristic strokes, instead of increasing the weight uniformly over the design, a more compact, attractive and legible letter resulted. In this way a design was produced quite generous in `x-height' and yet economical in set. Times New Roman has proved its value for work ranging from newspapers and high-class books to special jobs using extra-small sizes. It quite justifies the claim made for it of being the most important type design of the twentieth century.