Volume 21–2.pdf

sting,
niversai.
note that
Gudrun Zapf von Hesse
Darmstadt, Germany
A typeface of continuity should not be modish, Typefaces include:
but should follow classic forms without copying Diotima
them. Typefaces have to express the personalities Smaragd
of the designers. Each era has developed its spe- Ariadne Initialen
cific letterforms and the best of them has been Shakespeare
taken over by the following generations. There- Carmina
fore, our time has many outstanding typefaces in Nofret
use. They will be accepted also in the future. Christiana
Alcuin
Colombine Script
of the designer is reflected in
nstrated in the typefaces
ace is the
person who transforms craft into art.
Margaret Richardson
Photina Semi Bold Italic by Jose Mendoza y Almeida
HEADLINE/CAPTIONS: ITC OFFICINA SANS BOLD
Typefaces Include:
ITC Novarese®
ITC Fenice®
Garaldus
Nadianne
Magister
Stop
Estro
Eurostile
Aldo Novarese
Turin, Italy
One can discuss the matter from two different
points of view: the typeface as a starting point,
vital and timeless because it allows the possibility
of reaching new results and new develop-
ments, or the typeface in practical use with a full
range of possible applications. In the first case,
I can mention the basic forms, the classical ones
(which I really think of as eternal) such as Roman
Lapidary (for upper case) or Venetian (for lower
case). I would also mention Didot Bodoni for its
linearity and Garamond, too, and the sans serif
typefaces. In the case of typefaces being used,
the main characteristics of a timeless face are
legibility and readability. These are too often
neglected by designers, but I do think these two
features will be the ones to influence a timeless
use of type. Some examples? ITC Mixage® and
ITC Symbol,' of course.
TEXT: ITC OFFICINA SANS BOOK, BOOK ITALIC, ITC OFFICINA SERIF BOOK, BOOK ITALIC, BOLD
31