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A digitisation of Eldorado by Font Bureau, on which Frere-Jones collaborated (shown is the Text optical size). Eldorado (1993–94) - revival of Dwiggins' Eldorado (1953), itself based on a 16th-century font by Jacques de Sanlecque the Elder.
Montserrat is a geometric sans-serif typeface designed by Argentine graphic designer Julieta Ulanovsky and released in 2011. It was inspired by posters, signs and painted windows from the first half of the twentieth century, seen in the historic Montserrat neighbourhood of Buenos Aires.
The "Included from" column indicates the first edition of Windows in which the font was included. Included typefaces with versions ... Ink Free [6] Display ...
In metal typesetting, a font (American English) or fount (Commonwealth English) is a particular size, weight and style of a typeface, defined as the set of fonts that share an overall design. For instance, the typeface Bauer Bodoni (shown in the figure) includes fonts " Roman " (or "regular"), " bold " and " italic "; each of these exists in a ...
Monotype's role in design history is not merely due to their supply of printing equipment but due to their commissioning of many of the most important typefaces of the twentieth century. The company's first face, issued in 1896, was a rather generic design, now named Modern, influenced by Bodoni and Scotch Roman designs. However, by the 1920s ...
Diagram of a cast metal sort.a face, b body or shank, c point size, 1 shoulder, 2 nick, 3 groove, 4 foot.. In professional typography, [a] the term typeface is not interchangeable with the word font (originally "fount" in British English, and pronounced "font"), because the term font has historically been defined as a given alphabet and its associated characters in a single size.
You are free: to share – to copy, distribute and transmit the work; to remix – to adapt the work; Under the following conditions: attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made.
A variety of Clarendon revivals have been made since the original design, often adapting the design to different widths and weights. The original Clarendon design, a quite condensed design, did not feature an italic, and many early Clarendon designs, such as wood type headline faces, have capitals only with no lower-case letters, leaving many options for individual adaptation.