Courier is a monospacedslab seriftypeface. The typeface was designed by Howard 'Bud' Kettler (1919-1999).[1][2][3] Initially created for IBM's typewriters, it has been adapted for use as a computer font and versions of it are installed on most desktop computers.
URW News Gothic Font Family. This is URW's digitization of the famous font News Gothic, the realist sans-serif typeface designed by Morris Fuller Benton, and released by the American Type Founders (ATF) in 1908. (News Gothic is similar in proportion and structure to Benton's famous Franklin Gothic.). Free Fonts for Commercial Use New & Fresh Fonts Most Popular Fonts Alphabetic Fonts Largest Font Families Trending Fonts Home > Tags > Franklin Gothic > Thin Hello, you seem to have JavaScript turned off.
History[edit]![]()
IBM did not trademark the name Courier, so the typeface design concept and its name are now public-domain.[4] According to some sources, a later version for IBM's Selectric typewriters was developed with input from Adrian Frutiger, although Paul Shaw writes that this is a confusion with Frutiger's adaptation of his Univers typeface for the Selectric system.[5][6] Sources differ on whether the design was published in 1955 or 1956.[1][2][6]
As a monospaced font, in the 1990s Courier found renewed use in the electronic world in situations where columns of characters must be consistently aligned, for instance in coding. It has also become an industry standard for all screenplays to be written in 12-point Courier or a close variant. 12-point Courier New was also the U.S. State Department's standard typeface until January 2004, when it was replaced with 14-point Times New Roman. Reasons for the change included the desire for a more 'modern' and 'legible' font.[7][8][9]
Kettler was once quoted about how the name was chosen. The font was nearly released with the name 'Messenger.' After giving it some thought, Kettler said, 'A letter can be just an ordinary messenger, or it can be the courier, which radiates dignity, prestige, and stability.'[1]
Variants[edit]Code variants[edit]
With the rise of digital computing variants of Courier typeface were developed with features helpful in coding: larger punctuation marks, stronger distinctions between similar characters (such as the numeral 0 / upper-case O and numeral 1 / lower-case L), sans serif variants, and other features to provide increased legibility when viewed on screens. Today many Courier typefaces include a code version within the type family. Courier New Baltic, Courier New CE, Courier New Cyr, Courier New Greek, Courier New Tur are aliases created in the
FontSubstitutes section of WIN.INI. These entries all point to the master font. When an alias YEW[clarification needed] font is specified, the font's character map contains a different character set from the master font and the other alias fonts.
IBM Courier[edit]
IBM made Courier freely available in Postscript Type 1 format. Known as IBM Courier or simply Courier, it is available under the IBM/MIT X Consortium Courier Typefont agreement.[10] Among other IBM-specific characters it contains optionally a dotted zero (which seems to have originated as an option on IBM 3270 display controllers) and a slashed zero.
Courier 10 Pitch BT and Courier Code[edit]
Comparison of the typefaces Courier 10 Pitch and Courier Code. From left to right the characters are: zero, capital O, one, lowercase L.
The Courier 10 Pitch BT typeface was released as a font by Bitstream. Courier 10 BT is heavier than Courier New and more closely approximates the look of the original Courier type on paper.[11] The freely available version, often seen as a system font on electronic devices, includes the 255 characters of the ANSIcharacter set in Type 1 format. Courier 10 BT has been donated to the X Consortium by Bitstream (along with Bitstream Charter) and is the default Courier font on most Linux distributions. Expanded Pan-European (W1G) character sets are made available for license by Bitstream.
Courier Code[12] is a variant of Courier 10 Pitch BT for use in programming. The zero is dotted to better distinguish it from the capital O and the lowercase L has been altered to better distinguish it from the number one. The leading has been increased slightly as well.
Courier New[edit]
Courier New
Courier New appears as a system font on many electronic devices. This Courier variant was produced for electronic use by Monotype. Its thin appearance when printed on paper owes to its being 'digitized directly from the golf ball of the IBM Selectric' without accounting for the visual weight normally added by the typewriter's ink ribbon. ClearType rendering technology includes a hack to make the font appear more legible on screens, though printouts retain the thin look.[13][13] The font family includes Courier New, Courier New Bold, Courier New Italic, Courier New Bold Italic.
Courier New was introduced as a system font with Windows 3.1, which also included raster Courier fonts. The fonts were also sold commercially by Ascender Corporation. The Ascender fonts have 'WGL' at the end of the font name, and cover only the WGL characters.[citation needed] Since its release it has remained the Windows default font for monospace and plain text use.
Courier New features higher line space than Courier. Punctuation marks were reworked to make the dots and commas heavier. Versions from 2.76 onward include Hebrew and Arabic glyphs, with most of the Arabic characters added on non-italic fonts. The styling of Arabic glyphs is similar to those found in Times New Roman but adjusted for monospace. Download icloud to android phone. The Courier New version 5.00 includes over 3100 glyphs, covering over 2700 characters per font.
Courier Prime[edit]
This Courier typeface, developed by Alan Dague-Greene with funding from John August and Quote-Unquote Apps, includes a true Italic style and renders a wider range of Unicode characters than most Courier variants. Courier Prime matches the metrics of Courier New and Courier Final Draft, with some design changes and improvements aimed at greater legibility and beauty. The typeface was released in January 2013 under the SIL Open Font License.[14] In 2016 the family was extended with Sans Serif and Code versions. By mid-2018 the family included Semi-Bold and Medium versions (designed by M. Babek Aliassa) and a Cyrillic alphabet version (designed by Dmitry Novikov). All fonts in the family are downloadable for free and can be used in any application.[15][16][17]
Courier Screenplay[edit]
A typeface developed for Fade In Professional Screenwriting Software, Courier Screenplay is designed to offer the legibility of Courier 10 BT with the line counts favoured by screenwriters. The font is downloadable for free independent of the software and can be used in any application. The typeface provides the ANSI 255 character map used in Western European languages.[18]
Courier Final Draft[edit]
Courier Final Draft is a version of Courier 10 BT developed for the Final Draft screenwriting program. The installed font can be used in any application. Default settings in the program yield 55 lines per page.[19]
Specimen of Courier Final Draft
Dark Courier[edit]
Dark Courier[20] is a normal-weight typeface rather than a semi-bold or bold as its name may imply. Dark Courier, developed as a TrueType font by HP, was one of the first fonts developed as a Courier New alternative for those who found that typeface too thin.[21]
Courier Standard[edit]
Courier Standard, Courier Standard Bold, Courier Standard Bold Italic, Courier Standard Italic are fonts distributed with Adobe Reader 6, as a replacement for the PostScript Courier fonts. The stroke terminators are flat instead of round. The typeface contains code pages 1252, Windows OEM Character Set. The font is Hinted and Smoothed for all point sizes. It contains OpenType layout tables aalt, dlig, frac, ordn, sups for Default Language in Latin script; dlig for TUR language in Latin script. Each font contains 374 glyphs.
Nimbus Mono L[edit]
URW++[22] produced a version of Courier called Nimbus Mono L in 1984, and eventually released under the GPL and AFPL (as Type 1 font for Ghostscript) in 1996.[23][24][25] It is one of the Ghostscript fonts, a free alternatives to 35 basic PostScript fonts (which include Courier). It is available in major free and open source operating systems.
Alternatives and derivatives[edit]
Many monospaced typefaces used as alternatives to Courier in coding are sans-serif fonts for on-screen legibility.
Applications[edit]In Latin 1 text[edit]
Courier is commonly used in ASCII art because it is a monospaced font and is available almost universally. 'Solid-style' ASCII art uses the darkness/lightness of each character to portray an object, which can be quantified in pixels (here in pt. 12):
In computer programming[edit]
Courier, as a common monospaced font, is often used to signify source code.[31]
See also[edit]References[edit]
Bibliography[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Courier_(typeface)&oldid=891547196'
From left to right: a serif typeface with serifs in red, a serif typeface and a sans-serif typeface
In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called 'serifs' at the end of strokes.[1] Sans-serif fonts tend to have less line width variation than serif fonts. In most print, they are often used for headings rather than for body text.[2] They are often used to convey simplicity and modernity or minimalism.
Sans-serif fonts have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word sans, meaning 'without' and 'serif' of uncertain origin, possibly from the Dutch word schreef meaning 'line' or pen-stroke.
Before the term 'sans-serif' became common in English typography, a number of other terms had been used. One of these outmoded terms for sans serif was gothic, which is still used in East Asian typography and sometimes seen in font names like News Gothic, Highway Gothic, or Trade Gothic.
Sans-serif fonts are sometimes, especially in older documents, used as a device for emphasis, due to their typically blacker type color.
Classification[edit]
For the purposes of type classification, sans-serif designs are usually divided into three or four major groups, the fourth being the result of splitting the grotesque category into grotesque and neo-grotesque.[3][4]
Grotesque[edit]
Akzidenz Grotesk, originally released by H. Berthold AG in the 1890s. A popular German grotesque with a single-storey 'g'.[a]
This group features most of the early (19th century to early 20th) sans-serif designs. Influenced by Didone serif fonts of the period and signpainting traditions, these were often quite solid, bold designs suitable for headlines and advertisements. The early sans-serif typefaces often did not feature a lower case or italics, since they were not needed for such uses. They were sometimes released by width, with a range of widths from extended to normal to condensed, with each style different, meaning to modern eyes they can look quite irregular and eccentric.[5][6] Grotesque fonts have limited variation of stroke width (often none perceptible in capitals). The terminals of curves are usually horizontal, and many have a spurred 'G' and an 'R' with a curled leg. Capitals tend to be of relatively uniform width. Cap height and ascender height are generally the same to create a more regular effect in texts such as titles with many capital letters, and descenders are often short for tighter linespacing.[7] Most avoid having a true italic in favour of a more restrained oblique or sloped design, although at least sans-serif true italics were offered.[8][9]
Examples of grotesque fonts include Akzidenz Grotesk, Venus, News Gothic, Franklin Gothic and Monotype Grotesque. Akzidenz Grotesk Old Face, Knockout, Grotesque No. 9 and Monotype Grotesque are examples of digital fonts that retain more of eccentricities of some of the early sans-serif types.[10][11][12][13] The term realist has also been applied to these designs due to their practicality and simplicity.
Neo-grotesque[edit]
Helvetica, originally released by Haas Type Foundry (as Neue Haas Grotesk) in 1957. A typical neo-grotesque.
As the name implies, these modern designs consist of a direct evolution of grotesque types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text. Similar to grotesque typefaces, neogrotesques often feature capitals of uniform width and a quite 'folded-up' design, in which strokes (for example on the 'c') are curved all the way round to end on a perfect horizontal or vertical. Helvetica is an example of this. Others such as Univers are less regular.
Neo-grotesque type began in the 1950s with the emergence of the International Typographic Style, or Swiss style. Its members looked at the clear lines of Akzidenz Grotesk (1898) as an inspiration to create rational, almost neutral typefaces. In 1957 the release of Helvetica, Univers, and Folio, the first typefaces categorized as neo-grotesque, had a strong impact internationally: Helvetica came to be the most used typeface for the following decades.[14]
Other, later neo-grotesques include Unica, Imago and Rail Alphabet, and in the digital period Acumin, San Francisco and Roboto.[15][16][17][18][19][20]
Geometric[edit]
Futura, originally released by Bauer Type Foundry in 1927. A typical geometric sans serif.
As their name suggests, Geometric sans-serif typefaces are based on geometric shapes, like near-perfect circles and squares.[21] Common features are a nearly-exactly circular capital 'O' and a 'single-story' lowercase letter 'a'. The 'M' is often splayed and the capitals of varying width, following the classical model. Of these four categories, geometric fonts tend to be the least useful for body text and often used for headings and small passages of text.
The geometric sans originated in Germany in the 1920s.[22] Two early efforts in designing geometric types were made by Herbert Bayer and Jakob Erbar, who worked respectively on Universal Typeface (unreleased at the time but revived digitally as Architype Bayer) and Erbar (circa 1925).[23] In 1927 Futura, by Paul Renner, was released to great acclaim and popularity.[24]
Geometric sans-serif fonts were popular from the 1920s and 1930s due to their clean, modern design, and many new geometric designs and revivals have been created since.[b] Notable geometric types of the period include Kabel, Semplicità , Nobel and Metro; more recent designs in the style include ITC Avant Garde, Brandon Grotesque, Gotham and Avenir. Many geometric sans-serif alphabets of the period, such as those created by the Bauhaus art school (1919-1933) and modernist poster artists, were hand-lettered and not cut into metal type at the time.[26]
A separate inspiration for many types considered 'geometric' in design has been the simplified shapes of letters engraved or stenciled on metal and plastic in industrial use, which often follow a simplified structure and are sometimes known as 'rectilinear' for their use of straight vertical and horizontal lines. Designs considered geometric in principles but which are less descended from the Futura/Erbar/Kabel tradition include Bank Gothic, DIN 1451, Eurostile and Handel Gothic, along with many of the fonts designed by Ray Larabie.[27][28]
Humanist[edit]
Syntax, originally released by D. Stempel AG in 1969. A humanist sans serif.
Humanist sans-serifs take inspiration from traditional letterforms, such as Roman square capitals, traditional serif fonts and calligraphy. Many have true italics rather than an oblique, ligatures and even swashes in italic. One of the earliest humanist designs was Edward Johnston's Johnston typeface of c. 1916, and, a decade later, Gill Sans (Eric Gill, 1928).[29] Edward Johnston, a calligrapher by profession, was inspired by classic letter forms, especially the capital letters on the Column of Trajan.[30]
Humanist designs vary more than gothic or geometric designs.[31] Some humanist designs have stroke modulation (strokes that clearly vary in width along their line) or alternating thick and thin strokes. These include most popularly Hermann Zapf's Optima (1958), a typeface expressly designed to be suitable for both display and body text.[32] Some humanist designs may be more geometric, as in Gill Sans and Johnston (especially their capitals), which like Roman capitals are often based on perfect squares, half-squares and circles, with considerable variation in width. These somewhat architectural designs may feel too stiff for body text.[29] Others such as Syntax, Goudy Sans and Sassoon Sans more resemble handwriting, serif fonts or calligraphy.
Frutiger, from 1976, has been particularly influential in the development of the modern humanist sans genre, especially designs intended to be particularly legible above all other design considerations. The category expanded greatly during the 1980s and 1990s, partly as a reaction against the overwhelming popularity of Helvetica and Univers and also due to the need for legible fonts on low-resolution computer displays.[33][34][35][36] Designs from this period intended for print use include FF Meta, Myriad, Thesis, Charlotte Sans, Bliss and Scala Sans, while designs created for computer use include Microsoft's Tahoma, Trebuchet, Verdana, Calibri and Corbel, as well as Lucida Grande, Fira Sans and Droid Sans. Humanist sans-serif designs can (if appropriately proportioned and spaced) be particularly suitable for use on screen or at distance, since their designs can be given wide apertures or separation between strokes, which is not a conventional feature on grotesque and neo-grotesque designs.
Other or mixed[edit]
Rothbury, an early modulated sans-serif font from 1915. The strokes vary in width considerably.
Due to the diversity of sans-serif typefaces, many do not fit neatly into the above categories. For example, Neuzeit S has both neo-grotesque and geometric influences, as does Hermann Zapf's URW Grotesk. Other 'trans-sans' designs include Whitney and Klavika. Sans-serif fonts intended for signage, such as Transport and Highway Gothic used on road signs, may have unusual features to enhance legibility and differentiate characters, such as a lower-case 'L' with a curl or 'i' with serif under the dot.[37]
Modulated sans-serifs[edit]
A particular subgenre of sans-serifs is those such as Rothbury, Britannic, Radiant, and National Trust with obvious variation in stroke width. These have been called 'modulated' or 'stressed' sans-serifs. They are nowadays often placed within the humanist genre, although they predate Johnston which started the modern humanist genre. These may take inspiration from sources outside printing such as brush lettering or calligraphy.[38]
History[edit]
Roman square capitals, the inspiration for serif letters
Sans-serif letterforms in ancient Etruscan on the Cippus Perusinus
Blackletter calligraphy in a fifteenth-century bible
Letters without serifs have been common in writing across history, for example in casual, non-monumental epigraphy of the classical period. However, Roman square capitals, the inspiration for much Latin-alphabet lettering throughout history, had prominent serifs. While simple sans-serif letters have always been common in 'uncultured' writing, such as basic handwriting, most artistically created letters in the Latin alphabet, both sculpted and printed, since the Middle Ages have been inspired by fine calligraphy, blackletter writing and Roman square capitals. As a result, printing done in the Latin alphabet for the first three hundred and fifty years of printing was 'serif' in style, whether in blackletter, roman type, italic or occasionally script.
The earliest printing typefaces which omitted serifs were not intended to render contemporary texts, but to represent inscriptions in Ancient Greek and Etruscan. Thus, Thomas Dempster's De Etruria regali libri VII (1723), used special types intended for the representation of Etruscan epigraphy, and in c. 1745, the Caslon foundry made Etruscan types for pamphlets written by Etruscan scholar John Swinton.[39] Another niche used of a printed sans-serif letterform from in 1786 onwards was a rounded sans-serif script font developed by Valentin Haüy for the use of the blind to read with their fingers.[40][41][42]
Developing popularity[edit]
An inscription at the neoclassical grotto at Stourhead in the west of England dated to around 1748, one of the first to use sans-serif letterforms since the classical period.[43][44][c] Unfortunately, the inscription was destroyed by mistake in 1967, and had to be replicated from historian James Mosley's photographs.[45][43] The corporate font of the National Trust of the United Kingdom, which manages Stourhead, was loosely designed by Paul Barnes based on the inscription.
An early 'neoclassical' use of sans-serif capitals to represent antiquity, drawn by William Gell for his 1810 book on Ancient Greek antiquities.[42][46]
Towards the end of the eighteenth century Neoclassicism led to architects increasingly incorporating ancient Greek and Roman designs in contemporary structures. The architect John Soane commonly used sans-serif letters on his drawings and architectural designs.[43] Soane's inspiration was apparently the inscriptions dedicating the Temple of Vesta in Tivoli, Italy, with minimal serifs.[43] These were then copied by other artists, and in London sans-serif capitals became popular for advertising, apparently because of the 'astonishing' effect the unusual style had on the public. The lettering style apparently became referred to as 'old Roman' or 'Egyptian' characters, referencing the classical past and a contemporary interest in Ancient Egypt and its blocky, geometric architecture.[43][47]
Historian James Mosley, the leading expert on early revival of sans-serif letters, has written that 'in 1805 Egyptian letters were happening in the streets of London, being plastered over shops and on walls by signwriters, and they were astonishing the public, who had never seen letters like them and were not sure they wanted to.'[48] A depiction of the style was shown in the European Magazine of 1805, described as 'old Roman' characters.[49][50] However, the style did not become used in printing for some more years.[d] (Early sans-serif signage was not printed from type but hand-painted or carved, since at the time it was not possible to print in large sizes. This makes tracing the descent of sans-serif styles hard, since a trend can arrive in the dated, printed record from a signpainting tradition which has left less of a record or at least no dates.)
The inappropriateness of the name was not lost on the poet Robert Southey, in his satirical Letters from England written in the character of a Spanish aristocrat.[52][53] It commented: 'The very shopboards must be.. painted in Egyptian letters, which, as the Egyptians had no letters, you will doubtless conceive must be curious. They are simply the common characters, deprived of all beauty and all proportion by having all the strokes of equal thickness, so that those which should be thin look as if they had the elephantiasis.'[54][43] Similarly, the painter Joseph Farington wrote in his diary on September 13, 1805 of a memorial to Isaac Hawkins Browne in the chapel of Trinity College, Cambridge, engraved 'in what is called Egyptian Characters which to my eye had a disagreeable effect.'[55][43]
Around 1816, the Ordnance Survey began to use 'Egyptian' lettering, monoline sans-serif capitals, to mark ancient Roman sites. This lettering was printed from copper plate engraving.[49][42]
Entry into printing[edit]
Specimen by William Caslon IV showing his Two Lines English Egyptian sans-serif, the first general-purpose 'sans-serif' printing type ever.[56] Cut in only one size, it was apparently not promoted with any prominence.
Sample image of condensed sans-serifs from the Figgins foundry of London in an 1845 specimen-book. Much less influenced by classical models than the earliest sans-serif lettering, these faces became extremely popular for commercial use.[57]
Around 1816, William Caslon IV produced the first sans-serif printing type in England for the Latin alphabet, a capitals-only face under the title 'Two Lines English Egyptian', where 'Two Lines English' referred to the font's body size, which equals to about 28 points.[58][59] Although it is known from its appearances in the firm's specimen books, no uses of it from the period have been found; Mosley speculates that it may have been commissioned by a specific client.[60][e]
A second hiatus in interest in sans-serif appears to have lasted for about twelve years, when the Vincent Figgins foundry of London issued a new sans-serif in 1828.[62] Thereafter sans-serifs rapidly began to be issued from London typefounders. Much imitated was the 1830 Thorowgood 'grotesque' face, arrestingly bold and highly condensed, similar in aesthetic effect to the slab serif and 'fat faces' of the period. Intended for advertising, these typefaces, often display capitals, became very successful.[49] Sans-serif printing types began to appear thereafter in France and Germany.[63][f]
Simple sans-serif capitals on a late nineteenth-century memorial, London
The January 13, 1898 edition of L'Aurore (the J'Accuseâ¦! issue): An early example of sans-serif in the media. Select headlines as well as the journal's title are in a sans-serif typeface.
Sans-serif lettering and fonts were popular due to their clarity and legibility at distance in advertising and display use, when printed very large or small. Because sans-serif type was often used for headings and commercial printing, many early sans-serif designs did not feature lower-case letters. Simple sans-serif capitals, without use of lower-case, became very common in uses such as tombstones of the Victorian period in Britain. The term 'grotesque' became commonly used to describe sans-serifs. The term 'grotesque' comes from the Italian word for cave, and was often used to describe Roman decorative styles found by excavation, but had long become applied in the modern sense for objects that appeared 'malformed or monstrous.'[7]
The first section of the avant-garde magazine Blast, published by Wyndham Lewis in 1914, used a condensed grotesque in order to give an impression of modernity and novelty.
Sans-serif type in both upper- and lower-case on a 1914 poster.
The first use of sans serif as a running text has been proposed to be the short booklet Feste des Lebens und der Kunst: eine Betrachtung des Theaters als höchsten Kultursymbols (Celebration of Life and Art: A Consideration of the Theater as the Highest Symbol of a Culture),[69] by Peter Behrens, in 1900.[70]
Twentieth-century sans-serifs[edit]
Gill Sans on the nameplate of a 4468 Mallard locomotive (built in 1938). It was marketed as a sophisticated refinement of earlier sans-serifs, taking inspiration from Roman capitals and designer Eric Gill's experience carving monuments and memorials.[71][72]
Throughout the nineteenth and early twentieth centuries sans-serif types were viewed with suspicion by many printers, especially those of fine book printing, as being fit only for advertisements (if that), and to this day most books remain printed in serif fonts as body text.[73] This impression would not have been helped by the standard of common sans-serif types of the period, many of which now seem somewhat lumpy and eccentrically-shaped. In 1922, master printer Daniel Berkeley Updike described sans-serif fonts as having 'no place in any artistically respectable composing-room.'[74] By 1937 he stated that he saw no need to change this opinion in general, though he felt that Gill Sans and Futura were the best choices if sans-serifs had to be used.[75]
Through the early twentieth century, an increase in popularity of sans-serif fonts took place as more artistic sans-serif designs were released. While he disliked sans-serif fonts in general, the American printer J.L. Frazier wrote of Copperplate Gothic in 1925 that 'a certain dignity of effect accompanies..due to the absence of anything in the way of frills,' making it a popular choice for the stationery of professionals such as lawyers and doctors.[76] As Updike's comments suggest, the new, more constructed humanist and geometric sans-serif designs were viewed as increasingly respectable, and were shrewdly marketed in Europe and America as embodying classic proportions (with influences of Roman capitals) while presenting a spare, modern image.[77][78][79][80][81] Futura in particular was extensively marketed by Bauer and its American distribution arm by brochure as capturing the spirit of modernity, using the German slogan 'die Schrift unserer Zeit' ('the typeface of our time') and in English 'the typeface of today and tomorrow'; many typefaces were released under its influence as direct clones, or at least offered with alternate characters allowing them to imitate it if desired.[82][83][84][85]
Grotesque sans-serif revival and the International Typographic Style[edit]
A 1969 poster exemplifying the trend of the 1950s and 60s: solid red colour, simplified images and the use of a grotesque face. This design, by Robert Geisser, appears to use Helvetica.
In the post-war period, an increase of interest took place in 'grotesque' sans-serifs.[86][87][88] Writing in The Typography of Press Advertisement (1956), printer Kenneth Day commented that Stephenson Blake's eccentric Grotesque series had returned to popularity for having 'a personality sometimes lacking in the condensed forms of the contemporary sans cuttings of the last thirty years.'[25] Leading type designer Adrian Frutiger wrote in 1961 on designing a new face, Univers, on the nineteenth-century model: 'Some of these old sans serifs have had a real renaissance within the last twenty years, once the reaction of the 'New Objectivity' had been overcome. A purely geometrical form of type is unsustainable.[89]' Of this period in Britain, Mosley has commented that in 1960 'orders unexpectedly revived' for Monotype's eccentric Monotype Grotesque design: '[it] represents, even more evocatively than Univers, the fresh revolutionary breeze that began to blow through typography in the early sixties' and 'its rather clumsy design seems to have been one of the chief attractions to iconoclastic designers tired of the..prettiness of Gill Sans'.[90][91]
By the 1960s, neo-grotesque fonts such as Univers and Helvetica had become popular through reviving the nineteenth-century grotesques while offering a more unified range of styles than on previous designs, allowing a wider range of text to be set artistically through setting headings and body text in a single family.[5][92][93][94][95] The style of design using asymmetric layouts, Helvetica and a grid layout extensively has been called the Swiss or International Typographic Style.
Other names[edit]
Three sans-serif 'italics'. News Gothic has an oblique.[g] Gothic Italic no. 124, an 1890s grotesque, has a true italic resembling Didone serifs of the period.[8]Seravek, a modern humanist font, has a more organic italic which is less folded-up.
Early[edit]
Recents[edit]
Gallery[edit]
See also[edit]
Notes[edit]Franklin Gothic Urw Free Download Pc
References[edit]
Franklin Gothic Urw free. download full
Franklin Gothic Urw Free Download For Mac
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