In traditional typography , punchcutting is the craft of cutting letter punches in steel from which matrix printing matrices were made in copper for Type foundry type founding in the Typesetting Letterpress era letterpress era . Cutting punches and casting type was the first step of traditional typesetting . The cutting of letter punches was a highly skilled craft requiring much patience and practice. Often the designer of the type would not be personally involved in the cutting. The initial design for type would be two dimensional, but a punch tool punch has depth, and the three dimensional shape of the punch, as well as factors such as the angle and depth to which it was driven into the matrix printing matrix , would affect the appearance of the type on the page. The angle of the side of the punch was particularly significant. The punchcutter begins by transferring the outline of a letter design to one end of a steel bar. The outer shape of the punch could be cut directly, but the internal curves of a small punch were particularly difficult as it was necessary to cut deep enough and straight into the metal. While this can be done with cutting tools a counterpunch, a type of punch used in the cutting of other punches, was often used to create the negative space in or around a glyph . A counterpunch could be used to create this negative space, not just where the space was completely enclosed by the letter, but in any concavity e.g. above and below the midbar in uppercase H . Of course, the counterpunch had to be harder than the punch itself. This was accomplished by Heat treatment heat tempering the counterpunch and softening the punch. Such a tool solved two issues, one technical and one Aesthetics aesthetic , that arose in punchcutting. Often the same counterpunch could be used for several letters in a typeface . For example, the negative space inside an uppercase P and R is usually very similar, and with the use of a counterpunch, they could be nearly identical. Counterpunches ... more details
Summary Sample of Bembo typeface. Designed and punchcutting cut by Francesco Griffo in 1495 Licensing GFDL self with disclaimers migration relicense ... more details
otherpersons Richard Austin Richard Austin c. 1765 1830 was an England English punchcutting punchcutter . He was the original cutter of typefaces Bell Monotype Bell , Scotch Roman , and Porson typeface Porson ref cite book author Bringhurst, Robert. title The Elements of Typographic Style year 2004 publisher Hartley and Marks pages 333 isbn 978 0881792065 ref . References Reflist DEFAULTSORT Austin, Richard Category Typographers Category 1760s births Category 1830 deaths Category Year of birth uncertain UK artist stub typ stub ... more details
Unreferenced stub auto yes date December 2009 For the use of punches in typography punchcutting In numismatics , a punch is an intermediate used in the process of manufacturing coins. A punch has its design in cameo carving cameo , much like on the coins themselves. Prior to the use of punches, each Die manufacturing die was individually engraved and when a die wore out, another one had to be engraved to replace it, and the exact design of the worn die was lost. The punch step greatly reduced the amount of effort needed, as a single punch could be used to create multiple dies. Early on, punches generally contained only the primary design of the coin, e.g. the portrait, and secondary details legend, rim head, etc were hand engraved onto each die until the matrix numismatics matrix step was developed. DEFAULTSORT Punch Numismatics Category Currency production Coin stub ... more details
unsourced date February 2010 Eudald Pradell 1721 1788 was born in Ripoll Catalonia , Spain , a little village under the Pyrenees. He pertained to a family of gunsmiths. Pradell learned the practice of being an armourer with his father and acquired knowledge of making punches. He established his own workshop in Barcelona. Despite he was illiterate he was able to produce one of the most appreciated typefaces ever cut in Spain. King Carlos III gave him a pension in order to provide new typefaces at the Imprenta Real in Madrid, where he finally moved and set up his foundry. He was considered the first one in the craftmanship of punchcutting in Spain. Persondata Metadata see Wikipedia Persondata . NAME Pradell, Eudald ALTERNATIVE NAMES SHORT DESCRIPTION DATE OF BIRTH 1721 PLACE OF BIRTH DATE OF DEATH 1788 PLACE OF DEATH DEFAULTSORT Pradell, Eudald Category 1721 births Category 1788 deaths Category Catalan artists Category Spanish designers Catalonia artist stub ... more details
Fred Smeijers Eindhoven , 1961 is a Dutch people Dutch graphic design graphic and type designer . He studied at the ArtEZ Hogeschool voor de Kunsten in Arnhem, in the early 1980s. Work File ArnhemSpecimen.svg thumb 200px right Arnhem, a text typeface designed by Smeijers. After he graduated, he worked for Oc a Dutch manufacturer of Computer printer printing and Photocopying copying hardware . Between 1986 and 1990, he was active there at the industrial design department as a typography typographic advisor, designing typeface s for early laser printer s. He started to develop an interest in the early 16th century technique of punchcutting . The insights he acquired from these experiments influence the way he designs typefaces. This is the most apparent in his typeface FF Quadraat , a classic book typeface with interesting details. Other typefaces from Smeijers are FF Quadraat Sans FSI FontShop International , Renard The Ensched Font Foundry, TEFF , Arnhem, Fresco, Custodia, Sansa and Ludwig. In 2002 he launched the digital type foundry OurType , together with Rudy Geeraerts . He has also designed custom typefaces for Philips , Canon company Canon Europe and TomTom . Smeijers is Professor of Digital Typography at the Hochschule f r Grafik und Buchkunst in Leipzig and at The Royal Academy of Art The Hague Royal Academy of Art The Hague . Smeijers is the creative director of OurType. In 2000 he received the prestigious Gerrit Noordzij Prize , awarded by The Royal Academy of Art The Hague Royal Academy of Art The Hague to honor innovations in type design and outstanding contribution to type education. ref cite web last first authorlink coauthors title Gerrit Noordzijprijs work publisher Dr. P.A. Tiele stichting date url http www.tiele stichting.nl Default.asp?id 910 format doi accessdate 2009 10 05 ref Publications Fred Smeijers, Counterpunch, making type in the sixteenth century, designing typefaces now , Hyphen Press, London 1996 Fred Smeijers, Type Now , Hyphen Pres ... more details
wiktionarypar punch TOC right Punch may refer to Punch combat , a strike made using the hand closed into a fist Punch drink , a general term for various mixed drinks, often containing fruit, fruit juice, and or alcohol Mr. Punch, the principal puppet character in the traditional Punch and Judy puppet show. Perforation Punch tool , a tool used to drive objects such as nails, to pierce workpieces, or to form an impression of the tip on a workpiece Punch numismatics , an intermediate used in the process of manufacturing coins Punchcutting , an intermediate used in the process of manufacturing type Hole punch , a common office tool used to create holes in sheets of paper Keypunch , a device for manually entering data into punched cards Leather punch , a tool used to create holes in leather Medical punch, a medical tool to sample biopsy pieces from skin Ticket punch , to validate tickets Popular culture Literature Punch magazine Punch magazine , a former British weekly magazine of humour and satire Punch Danish magazine Punch Danish magazine , an illustrated conservative Danish satirical magazine 1873 1894 The Punch , Nigerian daily newspaper Mr. Punch, a fictional character in The Tragical Comedy or Comical Tragedy of Mr. Punch graphic novel by Neil Gaiman Film and television Punch 1994 film Punch 1994 film , a boxing film starring Donald Sutherland Punch 2002 film Punch 2002 film , a Canadian film starring Sonja Bennett and Michael Riley Punch , a Manga by Rie Takada Punch TV series Punch TV series , a Canadian animated comedy series Punch and Judy , a glove puppet show and opera for children Punch , a station identification for BBC Choice used from 1998 see History of BBC television idents BBC Choice BBC Three here Punch Counterpunch , a fictional character in the Transformers universe Music Punch in out , a term in music production when a certain portion of the song is repeated for recording Punched music, holes in various materials music roll , piano roll , book mus ... more details
Infobox font name image BellGothic.svg style Sans serif classifications Realist sans serif date 1938 creator Chauncey H. Griffith foundry Mergenthaler Linotype Company Mergenthaler Linotype Image BGwt.svg right thumb 239px Weights of the Bell Gothic typeface. Bell Gothic is a VOX ATypI classification Transitional realist sans serif typeface designed by Chauncey H. Griffith in 1938 while heading the typographic development program at the Mergenthaler Linotype Company . The typeface was John Mackay Shaw commissioned by American Telephone & Telegraph Company AT&T as a proprietary typeface for use in telephone directory telephone directories and should not be confused with the Bell Monotype Bell typeface, designed for the British Movable type Type founding typefounder and publisher John Bell 1746 1831 by the Punchcutting punchcutter Richard Austin . Bell Gothic was superseded by Matthew Carter s typeface Bell Centennial in 1978, the one hundredth anniversary of AT&T s founding. Design Earlier in Griffith s career at Mergenthaler Linotype, he had developed a highly successful newspaper text face called Excelsior which overcame many of the limitations of printing smaller point sizes on low quality newsprint. This contributed to his addressing similar limitations of telephone book printing. Bell Gothic was designed to be highly legible at small sizes, economical in its use of space and hence paper , and reproduce well on uncoated, absorbent paper newsprint stock under less than optimal conditions. Griffith s face Bell Gothic is distinct for the cross bars on the uppercase I, the foot and cross bar on figure 1, and the angled terminus of the stroke on characters b, d, h, k, l, n, p, and q. While there are suggestions of an ink trap in several characters, they are minimal in comparison to the exaggerated ones found in Bell Centennial. Evolution of use Bell Gothic remained in uninterrupted use for AT&T telephone directories for forty years. Following AT&T s adoption of Bell C ... more details
Infobox person name John Baskerville image John Baskerville by James Millar.jpg image size 200px caption Baskerville in later life, oil on canvas by James Millar. birth date 28 January 1706 birth place Luton , England death date 8 January 1775 death place monuments Industry and Genius occupation printer and type designer typographer spouse Image Work baskerville.jpg right thumb 200px Baskerville types in a 1761 title page. John Baskerville 28 January 1706 8 January 1775 was an English businessman, in areas including japanning and papier m ch , but he is best remembered as a printer and type designer typographer . Life Baskervillle was born in the village of Wolverley and Cookley Wolverley , near Kidderminster in Worcestershire and was a printer in Birmingham , England. He was a member of the Royal Society of Arts , and an associate of some of the members of the Lunar Society . He directed his Punchcutting punchcutter , John Handy, in the design of many typeface s of broadly similar appearance. John Baskerville printed works for the University of Cambridge in 1758 and, although an atheist, printed a splendid Book size folio Bible in 1763. His typefaces were greatly admired by Benjamin Franklin , a printer and fellow member of the Royal Society of Arts , who took the designs back to the newly created United States, where they were adopted for most federal government publishing. Baskerville s work was criticized by jealous competitors and soon fell out of favour, but since the 1920s many new fonts have been released by Mergenthaler Linotype Company Linotype , Monotype Corporation Monotype , and other type foundry type foundries revivals of his work and mostly called Baskerville . Emigre released a popular revival of this typeface in 1996 called Mrs Eaves , named for Baskerville s wife, Sarah Eaves. Baskerville also was responsible for significant innovations in printing, paper and ink production. He developed a technique which produced a smoother whiter paper which sh ... more details
otherpeople2 Matt Carter disambiguation Image CarterFaces.png right thumb 240px Specimens of typefaces by Matthew Carter. Matthew Carter born in London in 1937 ref name U.S. News http www.usnews.com usnews culture articles 030901 1font.htm A Man of Letters , U.S. News & World Report , 1 September 2003. ref is a type designer . He lives in Cambridge, Massachusetts Cambridge , Massachusetts , United States . Carter s career in type design has witnessed the transition from physical metal type to digital type. He was named a 2010 MacArthur Fellow . Education At the age of 19, Carter spent a year studying in The Netherlands where he learned from Jan van Krimpen s assistant P. H. Raedisch. Raedisch taught Carter the art of punchcutting punch cutting at the Joh. Ensched type foundry. By 1961 Carter was able to use the skills he acquired to cut his own version of the semi bold typeface Dante. Career Carter eventually returned to London where he became a freelancer as well as the typographic advisor to Crosfield Electronics, distributors of Photon phototypesetting machines. Carter designed many typefaces for Mergenthaler Linotype Company Mergenthaler Linotype as well. Under Linotype, Carter created well known typefaces such as the 100 year replacement typeface for Bell Telephone Company, Bell Centennial . In 1981, Carter and his colleague Mike Parker created Bitstream Inc. ref name U.S. News This digital type foundry is currently one of the largest suppliers of type. He left Bitstream in 1991 to form the Carter & Cone type foundry with Cherie Cone. Matthew Carter focuses on improving many typefaces readability. He designs specifically for Apple Inc. Apple and Microsoft computer s. Georgia typeface Georgia and Verdana are two fonts created primarily for viewing on computer monitors. Carter has designed type for publications such as Time Magazine Time , The Washington Post , The New York Times , the Boston Globe , Wired magazine Wired , and Newsweek . He is a member of Allian ... more details
to Paul Standard ref August Rosenberger 1893 1980 A Tribute to one of the Greatest Masters of Punchcutting ... of Punchcutting, an Art Now All but Extinct. By Herman Zapf ref The World of Alphabets by Hermann ... more details
Infobox font name image AdobeGaramondSp.svg style Serif classifications Serif Old Style Old style creator Claude Garamond br Jean Jannon shown here Adobe Garamond Pro Garamond is the name given to a group of Serif Old Style old style serif typefaces named after the Punchcutting punch cutter Claude Garamond c. 1480 1561 . Most of the Garamond faces are more closely related to the work of a later punch cutter, Jean Jannon . A direct relationship between Garamond s letterforms and contemporary type can be found in the Roman type Roman versions of the typefaces Adobe Systems Adobe Garamond, Granjon , Sabon , and Stempel Garamond. Garamond s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond is considered to be among the most legible and readable serif typefaces for use in print offline applications. ref cite web url http desktoppub.about.com od baskervillefont tp serifbodyfonts.htm About.com title Review of Classic Serif Typefaces ref It has also been noted to be one of the most eco friendly major fonts when it comes to ink usage. ref cite web url http www.resourceactionprograms.org blog index.php 2009 08 20 eco friendly fonts title A Blog s analysis of common fonts ecofriendliness ref History Image Original CG.gif right thumb 250px Claude Garamond s roman text face. Claude Garamond came to prominence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I of France Francis I , to be used in a series of books by Robert Estienne . The French court later adopted Garamond s Roman types for their printing and the typeface influenced type across France and Western Europe . Garamond probably had seen Venetian old style types from the printing shops of Aldus Manutius . Garamond based much of his lowercase on the handwriting of Angelo Vergecio , librarian to Francis I. T ... more details
For the Italian poet, humanist, cardinal, and literary theorist Pietro Bembo Expert verify date September 2009 Infobox font name image WmBembo.png style Serif classifications Old style date 1928 creator Stanley Morison foundry Monotype Corporation Monotype Bembo is the name given to a 20th century revival of an old style serif or humanist typeface cut by Francesco Griffo around 1495. Bembo is a classic typeface that displays the characteristics that identify Old Style, humanist designs minimal variation in thick and thin stroke weight small x height ascender height exceeding cap height oblique stress short, bracketed serifs with cupped bases angled top serifs on lower case letters The typeface Bembo seen today is a revival designed under the direction of Stanley Morison for the Monotype Corporation in 1929 date 1928 or 29? IN MONOTYPE Publications always 1929 is found . It is considered a good choice for expressing classic beauty or formal tradition in typographical design and is generally held to be a good book face. History Image Bembo originalschnitt.jpg right thumb 250px Type specimen by Aldus Manutius, from Pietro Bembo s De Aetna, 1495 96. Griffo cut punchcutting punches for the Venetian press of the humanist printer Aldus Manutius . The face was first used in February 1496 1495 more veneto , in the setting of a book entitled Petri Bembi de Aetna Angelum Chalabrilem liber , a 60 page text about a journey to Mount Aetna written by the young Italian humanist poet Pietro Bembo , later a Cardinal and secretary to Pope Leo X. Six years later Griffo was responsible for the first italic types, cut for Aldus. A second version of the roman face followed in 1499 and this type was used to print the famous illustrated Hypnerotomachia Poliphili . This typeface served as a source of inspiration for typefaces of the Parisian typefounder Claude Garamond , for Voskens and many others, which were themselves the sources for Caslon types and many other European types of the sixte ... more details
Dablink This article is about the calligraphic and handwriting type. Also see Old Italic alphabet or Italic script Refimprove date June 2006 In typography , italic type is a cursive typeface based on a stylized form of calligraphic handwriting . Owing to the influence from calligraphy , such typefaces often slant slightly to the right. Different glyph shapes from roman type are also usually used another influence from calligraphy. It is distinct therefore from oblique type , in which the font is merely distorted into a slanted orientation. However, uppercase letters are often oblique type or Swash typography swash capitals rather than true italics. This style is called italic for historical reasons. Calligraphic typefaces started to be designed in Italy , for chancery hand chancery purposes. Ludovico Arrighi and Aldus Manutius both between the 15th and 16th centuries were the main type designers involved in this process at the time. History Italic type was first used by Aldus Manutius and the Aldine Press in 1501, in an edition of Virgil dedicated to Italy. Based on the Humanist cursive script first developed in the 1420s by Niccol de Niccoli , ref Berthold Louis Ullman, The origin and development of humanistic script, Rome, 1960, p. 77 ref it served as a condensed type for simple, compact volumes. ref name Updike citation first D.B. last Updike title Printing Types Their History, Form and Use publisher Harvard University year 1927 ref The Punchcutting punches for these types were cut by Francesco Griffo Francesco da Bologna whose surname was Griffo . In 1501 Aldus wrote to his friend Scipio quote We have printed, and are now publishing, the Satires of Juvenal Satires of Juvenal and Persius in a very small format, so that they may more conveniently be held in the hand and learned by heart not to speak of being read by everyone. Unlike the italic type of today, the capital letters were upright roman capitals which were shorter than the ascending lower case italic le ... more details
was a goldsmith familiar with techniques of punchcutting cutting punches for making coins from ... . Type founding as practiced in Europe and the west consists of three stages. Punchcutting ... more details
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