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This category contains typefaces in the old style serif classification, including both Venetian and Garalde varieties. These faces date back to 1465 and are reminiscent of the humanist calligraphy. This is not for any "old" typeface, such as old English or Fraktur. For that, please see Category:Blackletter typefaces.
The following is a list of typefaces designed by Frederic Goudy.. Goudy was one of America's most prolific designers of metal type. He worked under the influence of the Arts and Crafts movement, and many of his designs are old-style serif designs inspired by the relatively organic structure of typefaces created between the fifteenth and eighteenth centuries, following the lead of earlier ...
Miller & Richard's original specimen for their Old Style fonts, in a mock-traditional style with the long s and archaic ligatures. [1]Old Style, later referred to as modernised old style, was the name given to a series of serif typefaces cut from the mid-nineteenth century and sold by the type foundry Miller & Richard, of Edinburgh in Scotland.
Goudy Old Style (also known as just Goudy) is an old-style serif typeface originally created by Frederic W. Goudy for American Type Founders (ATF) in 1915.. Suitable for text and display applications, Goudy Old Style matches the historicist trend of American printing in the early twentieth century, taking inspiration from the printing of the Italian Renaissance without a specific historical model.
A demi-gaunt is a type of plate armour gauntlet that only protects the back of the hand and the wrist: demi-gaunts are worn with gloves made from chain mail or padded leather. The advantages of the demi-gaunt are that it allows better dexterity and is lighter than a full gauntlet, but the disadvantage is that the fingers are not as well protected.
One of the most notable sets of designs of the foundry was a "modernised old face" known as Old Style - an adaptation of the old-style serif fonts of the 1500-1800 period such as Caslon, but regularised to match the greater evenness and grace expected in fonts by the mid-nineteenth century.