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Metroblack™ #2 Com Roman
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| Precio: | 65.00 US$ |
| Características del conjunto de caracteres: |
388 caracteres |
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| Tablas de caracteres: | Tabla de codificación | |||
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Metroblack™ #2 Roman
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| Precio: | 39.00 US$ |
| Características del conjunto de caracteres: |
250 caracteres |
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| Tablas de caracteres: | Tabla de codificación | |||||
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Metroblack™ #2 Roman
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| Precio: | 39.00 US$ |
| Características del conjunto de caracteres: |
247 caracteres |
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| Tablas de caracteres: | Tabla de codificación | |||||
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Metroblack™ #2 Roman
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| Precio: | 39.00 US$ |
| Características del conjunto de caracteres: |
247 caracteres |
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| Tablas de caracteres: | Tabla de codificación | |||||
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In Layout in Advertising, published in October 1928, W. A. Dwiggins pointedly left sans serifs out of his survey of advertising typefaces. Gothic the newspaper standby in its various manifestations has little to commend it, he wrote, except simplicity; it is not overly legible, it has no grace. Gothic capitals are indispensable, but there are no good Gothic capitals. The typefounders will do a service to advertising if they will provide a Gothic of good design. In February 1929, Harry Gage, [...]
William A. Dwiggins – born 19. 6. 1880 in Martinsville, USA, died 25. 12. 1956 in Hingham, Massachusetts, USA – type designer, printer, typographer, graphic designer – studied at the Frank Holme School of Illustration in Chicago under Frederic W. Goudy.
1903–04: runs his own printing workshop in Cambridge, Ohio. 1905–16: commercial artist in Hingham, Massachusetts. 1917–18: director of Harvard University Press. 1919: founds the Society of Calligraphers in Boston and is their president and [...]
Font Designer: William Addison Dwiggins, 1937
American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura®, Erbar™, and Kabel®, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a [...]
Font Designer: William Addison Dwiggins, 1937
American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura®, Erbar™, and Kabel™, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional [...]
Acerca de Metroblack™ #2 Roman ...
Diseñador: William A. Dwiggins, 1937
Metroblack™ #2 Roman pertenece a Metroblack™ #2 Font Family que es parte de Linotype Originals.
El texto se muestra en inglés, ya que no está disponible en su idioma.
American graphic designer William Addison Dwiggins' (W.A.D. for short) first typefaces were the Metro family, designed from 1927 onward. The project grew out of Dwiggins' dissatisfaction with the new European sans serif typefaces of the day, such as Futura, Erbar, and Kabel, a feeling he expressed in his seminal book Layout in Advertising. Urged by Mergenthaler Linotype to create a solution for the problem, Dwiggins began a professional relationship that would span over the next few decades.The first Metro family typeface to be released was Metroblack, brought to market by Linotype in 1929 (Metroblack #2™ the only one of the two versions that Mergenthaler Linotype eventually put into production which is available in digital form). With more of a humanist quality than the geometric styles popular in Europe at the time, Dwiggins drew what he believed to be the ideal sans serif for headlines and advertising copy. Metroblack has a warmer character than the Modernists' achievements, and the type is full of mannered curves and angled terminals (Metroblack also has an astoundingly beautiful Q).
The weights of the Metro family, Metromedium #2™ and Metrolite #2™, were each designed by Mergenthaler Linotype's design office under Dwiggins' supervision.
Despite having been created more than three-quarters of a century ago, the Metro family types have aged well, and remain a popular sans serif family. Although spec'd less often than other bestsellers, like Futura, Metro continues to find many diverse uses. The typeface has appeared throughout Europe and the North America for decades in newspapers and magazines, and can even help create a great brand image when used in logos and corporate identity.
Dwiggins ranks among the most influential graphic designers and typeface designers of the 20th Century. He has several other quality fonts in the Linotype portfolio, including the serif text faces Electra™ and New Caledonia™, as well as Caravan™, a font of typographic ornaments.
Buscar este producto o similares con las siguientes palabras clave: 1920s, 20s, Ads, Advertisment, Advertisments, anno 1920, Announcements, Book, British, Business Cards, Casual, Catalogs, Catalogues, CE, Central European, Classic, Constructed, Cool, Dictionaries, Dictionary, Dynamic, Encyclopaedia, Encyclopedia, English, Film Titling, Frosty, Headline, Informal, Instructions, Invitation, Lexica, Listings, Magazine, Male, Manuals, Maps, masculine, Menus, Newsletters, Newspaper, Professional, Race, Readable, Sans Serif, Screen, Speed, Speedy, Text.
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