Scene® famille de polices
Conçue par Sebastian Lester en 2002
Clean. Calm. Highly legible. This is the design brief Sebastian Lester set for himself when he began to create the Scene typeface family.
Knowing that, you'd never guess that Lester's first commercial fonts were alternative" display designs influenced by electronic gaming and house music. Lester began his career after graduating with honors from Central Saint Martins College of Art and Design in London. He spent several years designing for the music and games industries and dabbling in 3D animation. Then, in 2000, he joined Monotype Imaging, where he creates fonts for both on-screen and print uses. "I've always had a deep interest in type and typography," says Lester, "but when I began creating text typefaces for Monotype Imaging, I gained new insight into the subtleties of letterform design."
Work on Scene began after Lester had developed several corporate identity fonts for Monotype Imaging. He wanted to provide graphic designers and creative directors with a suite of fonts that would serve as a strong foundation for identity projects. He also wanted to incorporate what he'd learned about achieving best on-screen and print legibility. Much of the Scene family's clarity lies in an x-height that sits comfortably between that of Helvetica and Verdana. Full-bodied counters, long ascenders and descenders, and exceptionally well-drawn letters also play their parts. Lester took special care with letter spacing and kerning to ensure optimal typographic color at any size.
Scene is the result of two years of after-hours and weekend work. "It started off as a part-time project," says Lester, "but ended up as virtually a second full-time job." The completed family is six weights with complementary italic designs. Also included is a set of "semi-sans" characters that introduce more expressive word rhythms into headlines and blocks of copy. In addition, aligning and old style numerals were drawn for all six weights.
"I'm very pleased with this font family," beams Lester. "I believe I've created a strong yet subtle communication tool that has much to offer designers working in corporate identity and other areas of design." We wholeheartedly agree."
Knowing that, you'd never guess that Lester's first commercial fonts were alternative" display designs influenced by electronic gaming and house music. Lester began his career after graduating with honors from Central Saint Martins College of Art and Design in London. He spent several years designing for the music and games industries and dabbling in 3D animation. Then, in 2000, he joined Monotype Imaging, where he creates fonts for both on-screen and print uses. "I've always had a deep interest in type and typography," says Lester, "but when I began creating text typefaces for Monotype Imaging, I gained new insight into the subtleties of letterform design."
Work on Scene began after Lester had developed several corporate identity fonts for Monotype Imaging. He wanted to provide graphic designers and creative directors with a suite of fonts that would serve as a strong foundation for identity projects. He also wanted to incorporate what he'd learned about achieving best on-screen and print legibility. Much of the Scene family's clarity lies in an x-height that sits comfortably between that of Helvetica and Verdana. Full-bodied counters, long ascenders and descenders, and exceptionally well-drawn letters also play their parts. Lester took special care with letter spacing and kerning to ensure optimal typographic color at any size.
Scene is the result of two years of after-hours and weekend work. "It started off as a part-time project," says Lester, "but ended up as virtually a second full-time job." The completed family is six weights with complementary italic designs. Also included is a set of "semi-sans" characters that introduce more expressive word rhythms into headlines and blocks of copy. In addition, aligning and old style numerals were drawn for all six weights.
"I'm very pleased with this font family," beams Lester. "I believe I've created a strong yet subtle communication tool that has much to offer designers working in corporate identity and other areas of design." We wholeheartedly agree."
Scene Bold
Les fontes d’ordinateurs de
bureau sont conçues pour être
installées sur un ordinateur et
avec des applications.
Licence par utilisateur.
Les polices web annuelles sont concédées sous licence pour un nombre déterminé de pages vues.
Les polices web annuelles sont
concédées sous licence pour un
nombre déterminé de pages vues.
La licence d’utilisation de l’application vous permet d’intégrer des polices dans vos applications. La licence peut se référer au nombre d’applications différentes ou au nombre d’installations d’une application.
Les polices de documents électroniques
peuvent être intégrées dans un e-book,
un magazine électronique ou un journal
électronique. Les polices sont sous
licences annuelles pour chaque publication.
Les fontes pour serveurs peuvent être
installées sur un serveur ou p. ex. être
utilisées par des processus automatisés
afin de créer des éléments. Chaque serveur
possède une licence valable un an.
Une licence Digital Ads vous permet d’intégrer des polices Web dans des publicités numériques, telles que les publicités HTML5. Cette licence est basée sur le nombre d’impressions publicitaires.
Scene
Sélectionner le format de la
fonte: OT (OpenType) avec
Postscript outlines (OT CFF) ou
TrueType outlines (OT TTF)
fonte: OT (OpenType) avec
Postscript outlines (OT CFF) ou
TrueType outlines (OT TTF)
Détails techniques
Données numériques de:
Type de contours OpenType:
CFF - PostScript-Outlines
Noms techniques des fontes:
Nom du fichier: SceneStd-Bold.otf
Nom du menu Windows: Scene Std
Nom PostScript: , SceneStd-Bold
Nom PostScript complet: , SceneStd-Bold
Nom du menu Windows: Scene Std
Nom PostScript: , SceneStd-Bold
Nom PostScript complet: , SceneStd-Bold
Numéro de catalogue:
16786259
Characters:
363