Cartier Book™ Familia tipográfica
Diseñado por Rod McDonald/1997
Carl Dair/1967
The beginning of Canada's centenary year, January 1, 1967, is generally given as the date for the introduction of that country's first important typeface. This isn't close to the correct date.While CG Cartier , drawn by the Canadian designer Carl Dair, was first shown to the public in January of 1967, this was more an idea for a typeface than a typeface itself. Even when a font was eventually produced in the fall of the same year, it was still not a finished design.
The downfall of CG Cartier is that it is lettering and not a typeface. Lettering and calligraphy allow for individuality in character shapes. In a text typeface, however, each letter must carry the information necessary to easily identify it as belonging to that font. The most difficult task in typeface design is producing an anonymous letter that still possesses verve. The individuality Dair gave CG Cartier precludes it from being a successful text typeface.
The story of how Carl Dair's design idea became a typeface design begins when another Canadian lettering artist and type designer, Rod McDonald, moved to Toronto. I went to work for Mono Lino, the company who had exclusive Canadian rights to CG Cartier. I was, of course, seduced by the design and tried to use it often - but just couldn't make it work as a proper text face."
From time to time, McDonald would experiment with CG Cartier, trying to transform it from lettering to a typeface, never reaching a successful conclusion. Then in the early 1990s something happened. "I felt that my career had plateaued. I was doing a lot of word-marks, but yearned to do more. I looked at CG Cartier again. In 1997, at the ATypI Congress in Reading, England, I approached Allan Haley with the idea of making a digital typeface family based on Dair's work. His encouragement sealed the deal."
The project soon became McDonald's passion. "I was intimately familiar with the design, and, thanks to Massey College of the University of Toronto, was able to spend lots of time with Dair's original sketches and more finished renderings. I began to understand what Dair was trying to accomplish. My goal was to become the drawing office the CG Cartier never had. I wanted to complete Dair's work and distill his idea into a typeface design."
When asked, what is the most significant difference between his design and the original CG Cartier, McDonald's answer was simple, direct and telling of what it takes to make a successful text typeface family. "Dair's accomplishment was the design. I tried to make it a working typeface. I spent the first year doing that: cleaning up the inconsistencies, removing the quirks; basically regularizing the design. The next year was spent putting energy back into the typeface; giving it back the life Dair gave it. The second year was the hardest."
McDonald's completed work, Cartier Book, is a typeface family of four roman weights, an italic complement to the Regular weight, small caps -- and a feat of remarkable design. It successfully melds qualities that make a typeface distinctive with those that insure lasting value. Few designs are as elegantly functional and stunningly attractive."
The downfall of CG Cartier is that it is lettering and not a typeface. Lettering and calligraphy allow for individuality in character shapes. In a text typeface, however, each letter must carry the information necessary to easily identify it as belonging to that font. The most difficult task in typeface design is producing an anonymous letter that still possesses verve. The individuality Dair gave CG Cartier precludes it from being a successful text typeface.
The story of how Carl Dair's design idea became a typeface design begins when another Canadian lettering artist and type designer, Rod McDonald, moved to Toronto. I went to work for Mono Lino, the company who had exclusive Canadian rights to CG Cartier. I was, of course, seduced by the design and tried to use it often - but just couldn't make it work as a proper text face."
From time to time, McDonald would experiment with CG Cartier, trying to transform it from lettering to a typeface, never reaching a successful conclusion. Then in the early 1990s something happened. "I felt that my career had plateaued. I was doing a lot of word-marks, but yearned to do more. I looked at CG Cartier again. In 1997, at the ATypI Congress in Reading, England, I approached Allan Haley with the idea of making a digital typeface family based on Dair's work. His encouragement sealed the deal."
The project soon became McDonald's passion. "I was intimately familiar with the design, and, thanks to Massey College of the University of Toronto, was able to spend lots of time with Dair's original sketches and more finished renderings. I began to understand what Dair was trying to accomplish. My goal was to become the drawing office the CG Cartier never had. I wanted to complete Dair's work and distill his idea into a typeface design."
When asked, what is the most significant difference between his design and the original CG Cartier, McDonald's answer was simple, direct and telling of what it takes to make a successful text typeface family. "Dair's accomplishment was the design. I tried to make it a working typeface. I spent the first year doing that: cleaning up the inconsistencies, removing the quirks; basically regularizing the design. The next year was spent putting energy back into the typeface; giving it back the life Dair gave it. The second year was the hardest."
McDonald's completed work, Cartier Book, is a typeface family of four roman weights, an italic complement to the Regular weight, small caps -- and a feat of remarkable design. It successfully melds qualities that make a typeface distinctive with those that insure lasting value. Few designs are as elegantly functional and stunningly attractive."
Cartier Book Regular
Las fuentes de escritorio están
diseñadas para instalarse en un
ordenador y usarse con aplicaciones.
Licencia por usuario.
Las fuentes web de pago por uso tienen licencia para un cierto número de páginas vistas.
Las fuentes web se usan con
la regla @font-face de CSS.
La licencia no tiene caducidad.
El licenciamiento de aplicaciones le permite incrustar fuentes en sus aplicaciones. La licencia puede referirse al número de aplicaciones diferentes o al número de instalaciones de una aplicación.
Las fuentes para documentos electrónicos
se pueden incrustar en libros, revistas y
periódicos electrónicos. Las licencias de las
fuentes son anuales y exclusivas para
cada edición de las publicaciones.
Las fuentes para servidores se pueden
instalar en un servidor y, p. ej., usarse
en procesos automáticos para crear
artículos. Cada licencia es válida para
un servidor y durante un año.
Una licencia de Digital Ads le permite incrustar fuentes web en anuncios digitales, como anuncios HTML5. Esta licencia se basa en el número de impresiones de anuncios.
Cartier Book
Seleccione el formato técnico
de la fuente: OT (OpenType)
con perfiles Postscript (OT CFF)
o TrueType (OT TTF).
de la fuente: OT (OpenType)
con perfiles Postscript (OT CFF)
o TrueType (OT TTF).
Detalles técnicos
Datos digitales de:
Tipo de curvas OpenType:
CFF - PostScript-Outlines
Nombres técnicos de las fuentes:
Nombre del archivo: CartierBookStd-Regular.otf
Nombre del menú Windows: Cartier Book Std
Nombre PostScript: , CartierBookStd
Nombre PostScript completo: , CartierBookStd
Nombre del menú Windows: Cartier Book Std
Nombre PostScript: , CartierBookStd
Nombre PostScript completo: , CartierBookStd
Número del catálogo:
16780967
Characters:
355
