Overview
Times New Roman (TNR) is a serif typeface commissioned by the newspaper The Times in 1931 and created by Victor Lardent, an artist from the advertising department of the newspaper. The typeface was supervised by Stanley Morison, who adopted an older typeface named Plantin as the basis, but ‘made revisions for legibility and economy of space’(). Morrison also intended it to be read and not seen, consequently, without doubt, his intention has been realized.
Analysis
• Legibility
Counters: open counters
x-heights: moderate (68%)
Width and weight: Times New Roman is a transitional serif1 typeface with medium width (x=106%) and moderate weight (tk=18%, tn=7%). A number of letters were designed to be more consistent and more harmonious
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More readable than legible, as the thick and thin transitions can cause issues, especially at larger sizes.
• Aesthetics
Times New Roman is known mostly for its cleanness of readability, it is quite beautiful in its simplicity. A traditional, conservative, invisible, masculine, practical typeface. This may be the voice of the painting Son of Man. Strong ethos in business or other uses where readability and traditional are values. Low ethos with those who are sick of its overuse, such as many typographers and graphic designers.
Axis: as a transitional typeface, Times New Roman has an axis that inclined to the left. However, more vertical when compared to an Old Style typeface such as Garamond.
Serif and terminals: Times New Roman is a modern typeface with serifs that are much straighter like machine print. The curled serif at the tips of lowercase ‘a’ is especially graceful, and the use of both the curved and sharp points in the number ‘5’ are just two of the small details that make Times New Roman the typeface equivalent of the quite girl next door: beautiful with an understated elegance that can often go
As time passed, the Elder Futhark Symbols changed into a more easier writing script style.
Figure 8: documents the creation of my own typeface. conventional design. Here are some images of it. Figure 8 shows one key aspect of it, which is the use of creativity as I created my own typeface. The creation of my own font has the ability to empower other designers experiment with typeface design. Figure 9 shows another key aspect of it, which is the idea of breaking down
By being educated at a young age in literacy, I included it in my pottery and also working for newspaper companies strengthened my form of expression. Working in the South Carolina Republican and then later on The Edgefield Hive as a typesetter, it was a good experience helping my literacy skills but I didn’t feel fully indulged. I did it because I had to but also to learn. By understand typography, I was able to understand the science of the anatomy of type. They taught me the use of size, spacing, and placement of typography in order to show hierarchy, direction and attraction. I became to understanding that type is a collective of shapes and strokes. Master Abner 's newspaper did not get a lot of publicity and hit a crisis, which led him to cease publication of the newspapers. Master Abner then moved to Columbia, South Carolina, in 1832. He decided to leave me back in Edgefield and...
Introduction The introduction of the printing press changed society permanently. Along with this invention came the emergence of mass production of texts. Suddenly, information could be efficiently replicated, thus facilitating the dissemination process. Widespread alphabetic literacy, as Havelock states, could finally become a reality.
T F 8. Style attributes include fonts and font sizes, number formats, and borders and
Both passages concern the same topic, the Okefenokee Swamp. Yet, through the use of various techniques, the depictions of the swamp are entirely different. While Passage 1 relies on simplicity and admiration to publicize the swamp, Passage 2 uses explicitness and disgust to emphasize the discomfort the swamp brings to visitors.
The design is highly abstract, and almost exclusively makes use of type to build the design, forgoing shapes or images. The typography
...nd; engraved in Futura. The fact that Futura was the first font on the moon instantly made it a very highly sought after, and most used font. The reason Futura was chosen to be used for the plaque is because of its crisp, geometrically derived letterforms. “Futura speaks in a clear and calm voice of an exciting modern age”(Typewriting,[sa]).
Of the phonetic values that he assigned to hieroglyphs, five were correct (p, t, i, n, and f). (Budge 54) In 1814, he revealed the way in which the hieroglyphic signs were to be read by studying the direction in which the birds and other animals were all facing. He also was able to correctly identify some single-consonant hieroglyphic signs.... ...
Many were once against typography when it first emerged. One prime example was Plato, who Ong and Postman both mention at some point in their work. In fact, Ong states that “Writing, Plato has Socrates say in the Phaedrus, is inhuman, pretending to establish outside the mind what in reality can only be in the mind. Writing is simply a thing, something to be manipulated, something inhuman, artificial, a manufactured product” (Ong 27). He then goes on to say that many have made the same argument about computers today. However, the essential message from this quote is that many believed that these technologies would have a negative effect on the way we think. Ong goes on to disprove Plato’s rationale by explaining that “…his philosophically analytic thought, including his analysis of the effects of writing, was only possible because of the effects that writing was having on mental processes” (Ong 29). Due to the fact that he was even able to analyze typography meant that he was subsuming to typography’s nature. Postman would agree that Plato would not have been able to formulate his analytic views if it were not for writing. Postman wrote that literacy is highly rational. He iterated that discourse in a culture dominated by print tend to have a coherent arrangement of an idea, a fact, or a claim. Postman would explain to Ong that the cause of this is similar to some of the reasons Plato
Peter Saville was greatly influenced by Herbert Spencer’s Pioneers of Modern Typography along with Jan Tschichold, a propagandist for New Typography. Saville recalls wanting to share his self-instigated education in art and design history, by way of appropriating the dynamic visual language of futurism and modernism, and reusing those forms in his work with the aim of using design as 'an enhancement to
It was no longer enough for the 26 letters of the alphabet to function only as phonetic symbols. The industrial age transformed these signs into abstract visual forms projecting a variety of shapes to be consumed by the public eye.
Hardships from hostile experiences can lead to the degradation of one's mental and physical state, breaking down their humanity. Wilfred Owen's struggles with the Great War has led to his detailed insights on the state of war, conveying his first-hand experiences as a front-line soldier. 'Dulce et Decorum Est' and 'Insensibility' displays these ideas and exposes the harsh and inhumane reality of war. From the imagery and metaphors, Owen's ideas about the deterioration of human nature resonates with the reader of the repercussions of war.
He tried to, “make use of the experience and stylistic developments of the 20th century in order to work out an independent alphabet meeting modern typographical needs”("Type Gallery – Avenir"). This typeface is described as a geometric sans-serif typeface with a human touch. It is not completely geometric because it has thicker vertical strokes than its horizontal counterparts, as well as shortened accender’s. The x-height is also taller than other typefaces, which some consider to be a strength. Also the letter o in this typeface is very distinctive, as it is not a perfect circle. There are three weights that come with this typeface, as well as a roman and oblique version, but no italic version. What makes this typeface so unique is that each variation is designed for a different purpose, creating versatility. For example, “the Light and Book weights are similar, but Book is most appropriate for text blocks while the Light is better for adding a contrasting element (perhaps a heading) to a heavier weight. These weight selections also allow for optimal results under varied printing conditions”(Blake). Avenir’s characteristics and appearance make it great for using in texts and headlines and effective
o Modern crisp fonts have been used in the main body of the text so