Crossword clues for typeface
typeface
Longman Dictionary of Contemporary English
Douglas Harper's Etymology Dictionary
Wiktionary
n. 1 (context typography English) The particular design of some type. A font, or a font family. 2 (context printing English) The surface of type which inked, or the impression it makes.
WordNet
Wikipedia
In typography, a typeface (also known as font family) is a set of one or more fonts each composed of glyphs that share common design features. Each font of a typeface has a specific weight, style, condensation, width, slant, italicization, ornamentation, and designer or foundry (and formerly size, in metal fonts). For example, "ITC Garamond Bold Condensed Italic" means the bold, condensed-width, italic version of ITC Garamond. It is a different font from "ITC Garamond Condensed Italic" and "ITC Garamond Bold Condensed," but all are fonts within the same typeface, "ITC Garamond." ITC Garamond is a different typeface from "Adobe Garamond" or "Monotype Garamond." (These are all alternative updates or digitisations of the typeface Garamond, originally created in the 16th century.) There are thousands of different typefaces in existence, with new ones being developed constantly.
The art and craft of designing typefaces is called type design. Designers of typefaces are called type designers and are often employed by type foundries. In digital typography, type designers are sometimes also called font developers or font designers.
Every typeface is a collection of glyphs, each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used for characters from different scripts, e.g. Roman uppercase A looks the same as Cyrillic uppercase А and Greek uppercase alpha. There are typefaces tailored for special applications, such as map-making or astrology and mathematics.
The term typeface is frequently confused with the term font. Before the advent of digital typography and desktop publishing, the two terms had more clearly understood meanings.
Typeface (Gordon Thomas) was a Marvel Comics antihero. He first appeared in Peter Parker: Spider-Man vol. 2 #23 (November 2000), and was created by Paul Jenkins and Mark Buckingham.
Typeface is an independent documentary film, produced by Kartemquin Films, about visual culture, technology and graphic design, centered on the Hamilton Wood Type and Printing Museum in Two Rivers, Wisconsin. Typeface the film focuses on a rural Midwestern museum and print shop where international artists meet retired craftsmen and together navigate the convergence of modern design and traditional technique. Directed by Justine Nagan, it was released in 2009 after two sold-out sneak previews at the Walker Art Center in Minneapolis, MN.
Its international premiere was at the Breda International Film Festival in The Netherlands. Since that time, the film has toured around the world for screenings in select theatres, museums, universities and film festivals, including the Yerba Buena Center for the Arts in San Francisco, The Alamo Drafthouse Cinema in Austin, a sold-out week run at the Gene Siskel Film Center in Chicago, and the Denver Art Museum in Denver. Musician Josh Ritter provided the film’s soundtrack. Typeface won “Best Documentary” at the Flyway Film Festival in October 2009. The film was a 2010 Regional Emmy (Chicago/Midwest Chapter of the Academy of Arts and Sciences) nominee for Best Documentary.
A limited-edition (1,000) version of the Typeface DVD, including a letter-pressed poster by Bill Moran, Artistic Director of the Hamilton Wood Type Museum was released on in April 2010. Cinetic Rights Management/Film Buff handled the digital release of the film, including iTunes and Netflix.
Usage examples of "typeface".
Janson, a typeface long thought to have been made by the Dutchman Anton Janson, who was a practicing typefounder in Leipzig during the years 1668-1687.
Baskerville, a typeface designed by John Baskerville, an amateur printer and typefounder, and cut for him by John Handy in 1750.
There in the Darkness is the longer of the two chapbooks, not only in page count, but also because the smaller typeface crams more words on a page--perhaps too many, depending on your eyesight.
If the bank had kept any previous correspondence from Loden Galsworthy, it might be noted that the typeface, the writing paper, and the fountain pen nib were all a match.
I have a friend - the editor of the Lockmaster Logger - who collects typefaces and old advertising posters.
Not only had he unearthed almost everyone in Italy ever involved in art theft, correlated them with those people known to have a penchant for art, then constructed another list of those connected with organized crime, and broken it down by region (on the reasonable ground that most criminals are remarkably lazy and don't like commuting), but he had also typed his report up in two dozen typefaces, illustrated it with handsome (if largely meaningless) tables, and bound it into a properly professional-looking document some forty-five pages long, complete with references to the case files.
He clearly saw a first edition of the damned poem with title page a horrid mixture of typefaces, fat ill-drawn nymphs on it, a round chop which said Bibliotheca Somethingorother.
In typical nineteenth-century style the news items, obituaries, and social notes all resembled classified ads, and the typefaces were microscopic, suggesting that readers had better eyesight in those days.