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A sense of competition led me to learn a little more about typography this week. What started as a challenge from a friend to best his score on the wonderful online Kern Type: The Kerning Game, became an interest in examining the typefaces, or fonts, that surround me here at the Milwaukee Art Museum.
The Museum has a specific graphic identity that unites our signage, publications, website, and even the circular stickers visitors wear in the galleries. Our graphic design team of Leslie Boll, Sierra Korthof, and Brenda Neigbauer make certain that all our printed materials look snazzy and unique, but also that they incorporate identifying elements, like our specific shade of blue and the same fonts. Part of their responsibility is to make everything produced by the Museum have the Museum branded look.
The design of the Weiss letters is reminiscent of Italian Renaissance typography. During the Italian Renaissance, book makers and scribes moved from heavy Gothic-era lettering (like the style shown here in a ca. 1490 English book by William Caxton) to the classical lettering styles of ancient Greece and Rome.
In a much more modern style font, the design team shared that they rely on Myriad Pro for additional Museum signage, especially for materials they create for the Visitors Services team. Myriad Pro is known for its ease of readability and a sense of openness and friendliness, which makes perfect sense for Museum signage. It is the first things many visitors will read when they stand at the admission desks and read the sign below.
However, Head Graphic Designer Leslie Boll noted that while Stag Sans is very versatile for titles, it is not a font that is appropriate for body copy. The designers use Meta Pro for the body copy throughout the magazine, as you can see in the detail of the MAM Insider at left.
After you have activated some fonts, they should be added to the font menu in each application, alongside all of your installed fonts. However, there are a few cases where you may not see the font right away.
Some programs, including Adobe Acrobat and Microsoft Office, do not automatically update the font menu when a new font is added. These applications need to be restarted before the new fonts are available for use.
Most of these fonts are installed and enabled automatically. Others can be downloaded using Font Book, which is in your Applications folder. Fonts that can be downloaded appear dimmed in Font Book.
These fonts are available only to documents that already use the font, or to apps that request the font by name. Some are older fonts that were included with earlier versions of macOS or Apple apps.
You can use Font Book to install and remove fonts, validate and resolve duplicate fonts, and restore the standard fonts that came with macOS Monterey. For more information about Font Book, choose Font Book Help from the Help menu in Font Book.
Proxima Nova, designed by Mark Simonson, is named for its close proximity to grotesque (ie. News Gothic,) geometric sans (ie. Futura) and neo-grotesque (ie. Helvetica.) It shares the construction, details and stroke constrast of these categories, respectively. Proxima also takes inspiration from the Federal Highway fonts, and the fact that it was designed (and redesigned, hence the Nova addition) over the course of 27 years gives Proxima Nova an American vernacular quality that is reminiscent of Gotham, only more refined.
Bryant, by Process Type Foundry. Bryant is based off the Wrico Lettering Set, a set of pens, rulers and plastic templates that one can trace for use in drafting. Think of Bryant as a more serious version of Gotham Rounded. Looking for something more economical? The Bryant Condensed family has the width of a grotesque, and would make a fine contemporary substitute for fonts like Benton Sans.
Xtra sans, by Jarno Lukkarila. This font combines the sturdiness and compactness of a grotesk (the same category that I mentioned before) with strong broad-nib pen strokes. Use Xtra sans if you want to convey a classical yet contemporary quality to your design. At smaller sizes, the generous counterspace makes this font readable. At bigger sizes, its calligraphic details gives it enough character to stand on its own.
Fresco sans, by Fred Smeijers. This family, like Scala sans, was designed to be used alongside their serif counterparts (Fresco and Scala, respectively,) and can be more versatile than sans fonts that are designed by itself. Using the sans and serif font side by side guarantees headline and body type that aligns well with each other, and can greatly reduce your font matching headache.
Fedra sans, by Typotheque. Fedra sans is one part of a superfamily of fonts that include not only a serif family with lower and higher contrast (for low-resolution and high-resolution printing, respectively), but also a sans display and serif display version (for use in larger sizes,) Arabic, monospace and phonetic. Use Fedra sans when your design requires a varying application of font, from the biggest navigational signage to that footnote in the annual report.
One of the largest type distributors, Adobe has greatly influenced the evolution of digital type. Adobe's key contributions include the PostScript, Multiple Master and OpenType formats and a large collection of fonts considered by many designers to be graphic standards.
I can hands down say that I have never read a book like S.T.A.G.S before. It was incredibly unique in its morbidity, and in the way the mystery aspect was written, as well. You know what happens but not how, and even though I thought that might ruin elements for me, I was very much wondering about the specifics of what was going to happen.
You can go to The Cork 1794, which opened last week in the West Erie Plaza, for a lot of reasons. You can see the player grand piano, which can replicate an Elton John concert, or the blue velvet bench that runs the length of the bar, embroidered with "Don't Give Up The Ship" in the same font as the original flag.
Twentieth-century activity books for children feature many doable projects creating little sculptures from matches and found objects. Three of my favorites are beautifully illustrated books from Denmark and the Soviet Union published during the early 1930s. This Soviet pamphlet by Eleonora Kondiain offers wordless pictures for making things out of acorns and matchsticks. About all that is needed is a table top and a jackknife.
Sandor Klara: Nyelvrokonsag es hunhagyomany. Renszarvas vagycsodaszarvas? Nyelvtortenet es muvelodestortenet [Linguistic affinity and theHun tradition. Reindeer or miracle stag? Historical linguistics and culturalhistory] Budapest: TypoTEX, 2011. pp 468.
Although the bulky book under review is written in Hungarian, itoffers interesting and noteworthy thoughts based on original research, fullydeserving international attention as well. I thus deemed it appropriate andnecessary to give a short overview of the contents and message of the workand touch upon a few questions treated therein. I do it in the hope that theauthor will be encouraged by these lines and will compile a much shorter andstructured English variant for the benefit of the international readership.
First, I would like to say a few words about the title which, inits present form, is highly ornate and baroque. Here applies the truth"the shorter the better". Linguistic affinity and the Hun traditiontotally elucidates what the whole book is about, namely, that the authortreats the alleged contrast existing between Hungarian being a Finno-Ugriclanguage and the medieval native and European tradition concerning the Hunorigin of the Hungarian people. For a long time, the two theories have beenseemingly at variance with each other. The two subtitles do not add much tothe main title, and especially the first one, Reindeer or miracle stag? mayremain an enigma for a foreign reader and presumably for many Hungarians aswell, the reindeer symbolising the Finno-Ugric origin of the language and themiracle stag referring to the Hungarian legend of origin.
Be that as it may the continuation is much better than one wouldthink judging by the title. Practically, the whole gamut of early Hungarianhistory and its role in the Hungarian national consciousness is condensedinto one voluminous tome written in a manner digestible for the broaderpublic. Originally, the chapters were written over a longer span of time andput separately on the internet between 3 July and 24 December 2010(www.galamus.hu). Though the book was thoroughly edited and the text of thearticles rewritten, it is not a really coherent work since it displays acertain fragmentary character that reflects the structure of the originalessays. Certain themes and topics are recurrent and the book is replete withrepetitions.
The main idea of the book that permeates the whole work is thatthe Hungarian language belonging to the Finno-Ugric language family and thenative and European tradition concerning the Hunnic origins of the people arenot contradictory, as thought by many. For more than 800 years the Hungarianpolitical and cultural elite was convinced that the Hungarians aredescendants of the Huns of Attila's Empire in the fifth century ad. TheHun origin of the Hungarians must have been included already in the11th-century, by now lost, Hungarian "Old Gesta" preserved only in13th-14th-century chronicles. The Anonymous Notary of King Bela II wrote hisGesta in ca. 1200, and it is the first work that contains a direct hint atthe descent of the Arpad dynasty of the Hungarian kings from the Hun rulerAttila. Later, in 1282-1283 it was Simon de Keza in his Gesta Hunnorum etHungarorum who overtly connected the history of the Huns to that of theHungarians. In the first part of his chronicle he narrates the history of theHuns until the death of Attila (453 ad), then proceeds to the history of theHungarians from their conquest of the Carpathian Basin at the end of the 9thcentury to 1280. In his assumption, the Hungarian conquest was nothing elsebut the second "introitus" of the Hungarians to the homeland oftheir Hun predecessors. The Hun-Hungarian narrative was embellished with manydetails that owe much more to the medieval western literature on the Hunsthan to the Hungarian traditions of the pre-conquest times. Hungarianhistorical research has long clarified that the Hun tradition of theHungarian chronicles echo the western conception of the Scythian and Hunnicorigin of all nomadic peoples coming from the Orient. If there existed anyAttila-tradition in the Arpad dynasty this could have infiltrated into theHungarian tradition through the Turkic Bulgarians, part of whom wereassimilated into the Hungarian ethnic. So from the 13th century onward theHunnic origins of the Hungarians became an inseparable part of the world-viewof the Hungarian nobility which later, as "untersunkenesKulturgut", found its way also into the folklore. Since nothing wasknown of the Hunnic language (and this situation has hardly ever changedsince then) it was a natural move to consider the Hungarian language, sounique and isolated within the sea of Indo-European languages in CentralEurope, to be the sole descendant of the ancient Hunnic language. Theapparent similarity of the ethnonyms Hun and Hungarian (in fact the nameHungarian has nothing to do with the name Hun) must have also corroboratedthe conviction of their being related. The Hunnic origins of the Hungarianlanguage and people seemed to be an irrefutable fact and became so firmlyrooted in Hungarian national consciousness that the first appearance ofmodern comparative linguistics (18th-19th centuries), which tried to connectHungarian to the Finno-Ugric languages, caused a long-lasting shock. A partof Hungarian general public cannot accept it even in our days and sees ahumiliation of the nation in the fact that the "glorious" Huns havebeen replaced with "terrible northern barbarians". This amateurishapproach makes no distinction between the language spoken by a people and theethnogenesis of that people. According to current scholarly opinion, theseparate Hungarian language and the community speaking it emerged during thefirst half of the first millennium bc. Consequently, the earlier history ofUgric-speaking communities cannot be the part of early Hungarian history,only a precursor to the history of the Hungarian language. 2b1af7f3a8