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Content available Ośrodek Pism Drukarskich w Warszawie (1968-1979)
The author presented the history and the most important project achievements of the Printing Typefaces Center (OPD), which for over a decade was a part of the Research & Development Centre for the Graphic Arts (COBRPP), celebrating its anniversary this year. The facility was managed by Roman Tomaszewski, a well-known publisher and graphic arts specialists. Dozens of typefaces were designed in OPD for page layout techniques that have forever been forgotten. Despite technological changes in printing, the OPD typographic resource is today a reservoir of lettering ready for digitization and making computer fonts.
Content available Rewitalizacja kroju pisma Brygada
In the collection of Łódź Book Art Museum, among the stored exhibits, unused matrices for casting fonts from before World War II have been discovered unexpectedly. Library and archival research, as well as comparative graphic research were carried out to determine the typeface provenance. It was established that the typeface family called Brygada was made in the Warsaw type foundry Jan Idźkowski and Co. on the occasion of the anniversary of Poland’s independence in1918. The Museum has prepared a casting machine for casting fonts from preserved matrices, and at the same time a team of graphic designers has digitized, supplemented the character set, and expanded the typeface family under the name Brygada 2018. Computer fonts were made available as public domain.
Content available Kolekcja fontów TEX Gyre: kolejna odsłona
The TEX Gyre free collection of fonts [15] (released under the GUST Font License [4]) was created from 2006 to 2009 as a free replacement for the renowned standard set of the 35 Type1 fonts by Adobe Systems Inc. The article concerns the first phase of a recent GUST e-foundry project of enhancing the text fonts of the TEX Gyre collection; it describes the project’s essential, most difficult and thus, presumably, most interesting aspects. This “face-lifting” of the text TEX Gyre fonts is mainly rooted in the math part of those fonts. Many symbols contained therein do not need the mathematical extension of the font structure, i.e., the MATH table in OTF files [10], but still prove useful for typesetting technical texts; these, e.g., are mathematical symbols (operators, relational symbols), arrows, geometrical symbols, etc. Such symbols can be used in usual text fonts (without the MATH table).The main goal was to include selected math-oriented symbols into the TEX Gyre text fonts (circa 1000 characters were selected to be included). Apart from that, the structure of the fonts was enhanced by adding the so called anchor mechanism. So far, two fonts, TEX Gyre Pagella (the replacement for Palatino) and TEX Gyre Adventor (the replacement for Avant Garde), are released [6]. Additionally, for the purpose the project, our MetaType 1 engine for generating fonts was improved – it is now completely based on Metapost and Python with FontForge libraries.
The article concerns the revitalization of the sixteenth-century typeface and its digitalization into a computer font. Research on historical prints in which Nowy Karakter Polski occurs is presented. The paper describes main problems of design process related to the reconstruction of characters from historical prints, and the addition of new glyphs necessary in the character set of modern font. A significant part of the design work concerned decorative alternate letters.
Content available Bona Nova - Nulle dies sine linea
The author discusses the process of creating the Bona Nova font family. The starting point of the project was the existing Bona typeface, originally created in the 1970s and manufactured as metal type. The project started with a digital revival of the old Bona typeface design, which was followed by the creation of new Regular and Bold variants to create a functional workhorse font family. This new Bona Nova family was supplemented with several display and titling styles. The result was released digitally in the OpenType font format.
Czasy Gutenberga, drukowania ruchomymi, odlewanymi ze specjalnego stopu ołowiu, a więc szkodliwego dla zdrowia, czcionkami, wprawdzie minęły bezpowrotnie wraz z wejściem do użycia komputerowego składu, ale nadal tę znakomitą postać trzeba stawiać na piedestale, choćby na straży starych, dobrych zasad edytorskich i drukarskich, bez przestrzegania których na rynek wydawniczy przeciekają czasem pozycje, za które trzeba się tylko wstydzić, niezależnie od merytorycznej lub kulturotwórczej wartości zawartych w nich treści.
W artykule podano informacje ogólne oraz podstawowe cechy fontów Type 1, TrueType oraz OpenType.
In article the authors describe general informations and characteristic of Adobe Type1, TrueType and OpenType fonts.
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