Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since.[1][2] Bodoni’s typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville‚ as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and
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In the year 1798‚ Giambattista Bodoni‚ a man known for his exceptional level of “technical refinement”‚ created a series of serif typefaces called Bodoni (naturally). Bodoni‚ a classic typeface is noted for its unique characteristics and the precision in every letter‚ number‚ and symbol. Giambattista Bodoni was born in 1740 in Saluzzo‚ Italy. He led multiple career paths throughout his time‚ such as an engraver‚ publisher‚ printer‚ and typographer‚ yet all his jobs were related to the art of type
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blackletter‚ the first ever typeface. Since blackletter looked very compact‚ a man named Nicolas Jensen invented the first ever Roman typeface during the 15th century. Since Jensen’s typeface was made of straight lines and regular curves‚ it was easier to be read compared to the blackletter typeface. After Roman letters‚ the italics typeface was created during the late 15th century by Aldus Manutius. During the 18th century‚ a man named William Caslon created a typeface called Old Style. A few
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The transitional Baskerville typeface is the result of years of formalization and innovation on the behalf of its designer John Baskerville. Baskerville appears to have been a man driven by a sense of perfectionism‚ and strongly influenced by his earlier careers in related industries. It was these unique qualities that drove the creation of the long-lasting Baskerville font‚ that is still widely used in the modern day. John Baskerville was born in England in 1706. Early in his life he was a
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the literature review‚ for this research‚ case studies of ten Super Normal Latin typefaces‚ namely the most timeless and frequently employed types‚ are selected to generate an analytical comparison to investigate how normality visually communicates and operates through a relatively long time period‚ from centuries to at least 20 years. The purpose of this analysis is to anatomize visual elements of the selected typefaces and to evaluate the design decisions behind those elements using both academic
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states‚ “[It] introduced the modern‚ pseudoclassical style‚ with level serifs and with emphasis on the contrast of light and heavy lines”. His style went on to influence fonts such as Didot in French and Bodoni in Italy (Columbia Electronic Encyclopedia). In this way‚ Baskerville and other classic typefaces continue to inspire modern typographers
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• Legibility Counters: open and wide. x-height: high (61%)‚ especially for a serif typeface. Width and weight: Compared with other serif typefaces‚ Garamond is relatively a narrow (103%) and light (18%‚ 7%) type‚ which likely contributes to its being so eco-friendly when printed. The result is that it fit more letters on a page and the page will still look light. Distinctions: the original Garamond was created using a brush‚ and this is apparent in letterforms. It is easy to see there is a great
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In order to accomplish the purpose of the analysis - to anatomize the visual elements of the Super Normal typefaces‚ I came across an approach to look at those typefaces as combinations of both letterforms and dynamic forms that keep adapting with the times. Since the two parts can cover all the mentioned aspects of Super Normal‚ I began to study more about their origins‚ visual characteristics and improvements to generate a methodology. As far as I am considered‚ the methodology in this chapter
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Tuesday 28th September 2010 Helvetica critical review assignment Helvetica is a documentary film released in 2007 by Gary Hustwit about the creation of the most-used typeface in history and the ways in which type on the whole has an effect on our lives. The audience is made aware of the universal use of the typeface Helvetica‚ pointing out the beauty and uniqueness of the type. After interviews with many well-known people from the design world‚ there is a clear distinction between those who
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an important role in shaping the way people respond to printed matter.” (page102) “Typefaces vary greatly – they have different looks and different meanings for people. Certain typefaces are very formal and elegant; others are casual and relaxed. Some typefaces suggest antiquity; others are very modern. The point is that‚ just as the size of the television screen affects television programs‚ so do the typefaces chosen affect how people will interpret a given message.” (Berger 2008) Here are 4
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