38 private links
Cайт адресован всем, кто интересуется шрифтом и типографикой. Создан и поддерживается Валерием Голыженковым и Ильей Рудерманом. Возник как результат совместной преподавательской деятельности авторов.
«Замечательное искусство книгопечатания было изобретено в Майнце. Это искусство искусств, наука наук. Его чрезвычайная продуктивность позволила вызволить из мрака сокровища знаний и мудрости, чтобы обогатить и просветить мир», - писал уже в 1474 г. в своей хронике Вернер Ролевинк. Но сама история изобретения способа печатать текст подвижными металлическими литерами выяснена еще не до конца. Очевидно одно: современный способ печатания изобретен был не сразу и не одним человеком. Эпоха настоятельно требовала удовлетворения возрастающего спроса на книги, а ксилографическая печать справиться с этой задачей не могла. Во многих странах Европы печатники интенсивно искали пути усовершенствований. К этому же их побуждала и взаимная конкуренция.
The printing press was the great innovation in early modern information technology, but economists have found no macroeconomic evidence of its impact. This paper exploits city-level data. Between 1500 and 1600, European cities where printing presses were established in the 1400s grew 60 percent faster than otherwise similar cities. Cities that adopted printing in the 1400s had no prior advantage and the association between adoption and subsequent growth was not due to printers choosing auspicious locations. These findings are supported by regressions that exploit distance from Mainz, Germany – the birth place of printing – as an instrument for adoption.
Welcome to new users of this site, and welcome back to those returning for another look. This site provides an introduction to medieval manuscripts through the medium of the arcane art of paleography, or the history and decoding of the forms of handwriting. Fear not! It is designed to be interesting and fun, based around interactive exercises cooked up from samples of old scripts in public collections or in the personal possession of myself or other helpful individuals. Some of the manuscripts are august and famous, and other are little scraps discarded by history. Some are beautiful and easy to read, and others are utterly horrible. Some are in Latin, and others in various vernaculars, including English.
In his new book, “Shady Characters: The Secret Life of Punctuation, Symbols & Other Typographical Marks,” Keith Houston reveals the stories behind esoteric punctuation marks, from the pilcrow (¶) to the manicule (☞) to the octothorpe, a.k.a. the hashtag. Many of these have their roots in ancient Greece or Rome, and have evolved over time in Medieval religious texts, Renaissance scholarship, and modern printed works (not to mention the Internet). Here, Houston, who lives in Scotland and also runs a Shady Characters blog, tells the origin stories of some of these marks.
We see it every day on signs, billboards, packaging, in books and magazines; in fact, you are looking at it now — the Latin or Roman alphabet, the world’s most prolific, most widespread abc. Typography is a relatively recent invention, but to unearth the origins of alphabets, we will need to travel much farther back in time, to an era contemporaneous with the emergence of (agricultural) civilisation itself.
от пиктографического письма до Гражданской азбуки
elsewhere lives on the outskirts of prose and poetry, where things are always almost said. We want giant stories with small bodies and poetry that does whatever it can with the line except break it.
The point about poor hyphenation must be right, but what about the claim that Flush-left text ... is demonstrably more readable? This is widely claimed, but the evidence isn't overwhelming.
Design helps the systems of daily life run smoothly, letting users and readers ignore how things are put together. Design should sometimes announce itself in order to shed light on the system, exposing its construction, identity, personality, and politics.
Type on Screen: an uneasy relationship from the beginning
The long awaited follow-up to our all-time bestsellerThinking with Type is here. Type on Screen is the definitive guide to using classic typographic concepts of form and structure to make dynamic compositions for screen-based applications. Covering a broad range of technologies, from electronic publications and websites to videos and mobile devices, this hands-on primer presents the latest information available to help designers make critical creative decisions, including how to choose typefaces for the screen, how to style beautiful, functional text and navigation, how to apply principles of animation to text, and how to generate new forms and experiences with code-based operations. Type on Screen is an essential design tool for anyone seeking clear and focused guidance about typography for the digital age.
Jonathan Hoefler and Tobias Frere-Jones brought the world Gotham, Mercury, and Archer. They had one of the most successfuland lucrativepartnerships in type design. But one of them thought it wasn’t a partnership at all. via Pocket
В мире, где нас повсюду окружают знаки и символы, найдётся время, чтобы узнать о них чуть больше. «Шрифт» — электронный журнал о шрифте и типографике, языке и времени, людях и визуальных традициях. Мы стремимся объединить на страницах издания всё, что касается искусства шрифта и особенностей его использования. Журнал публикует статьи и интервью об истории шрифтового дизайна и его развитии в наши дни, рассказывает о новых шрифтовых проектах, а также исследует значимые, с точки зрения типографики, проекты прошлого и настоящего.
We know some devices won’t display icon fonts: but how many people are really affected? We decided to do some research to quantify things.
Webtype provides high-end fonts for online typography. We offer web designers the resources they need to bring professional branding and style to their websites.
Включая руководство по типографскому оформлению текста РИА
The four most important typographic choices you make in any document are point size, line spacing, line length, and font (passim), because those choices determine how the body text looks.