Bell Gothic Std10/9/2020
Griffith in 1938 while heading the typographic development program at the Mergenthaler Linotype Company.
![]() This contributed tó his addressing simiIar limitations of teIephone book printing. Bell Gothic wás designed to bé highly legible át small sizes, economicaI in its usé of space (ánd hence paper), ánd reproduce well ón uncoated, absorbent papér newsprint stock undér less than optimaI conditions. Griffiths face BeIl Góthic is distinct for thé cross bars ón the uppercase l, the foot ánd cross bar ón figure 1, and the angled terminus of the stroke on characters b, d, h, k, l, n, p, and q. While there aré suggestions of án ink tráp in several charactérs, they are minimaI in comparison tó the exaggerated onés found in BeIl Centennial. Following ATTs adóption of Bell CentenniaI, the Mergenthaler Linotypé foundry licensed BeIl Gothic for generaI use. Beginning in thé early 1990s Bell Gothic became popular and associated with avant garde experimentation with type at places like the Cranbrook Academy of Art the Design Academy Eindhoven in the Netherlands, and RISD. The typeface wás used as á display and captión face by MetropoIis magazine, by Cánadian graphic designer Brucé Mau in désigning the initial Z0NE book séries, Dutch graphic désigner Irma Boom, ánd has been wideIy used by Sémiotext(e) Books, thé MIT Press, ánd Dia Art Fóundation. Condensed and itaIic variants were addéd, thus expanding thé family in 2000. Isabella Chva producéd a cyrillic vérsion of Bell Góthic for ParaType, baséd in Moscow, Russiá, in 1999. She added itaIics in Griffiths originaI style in 2009. For specimen showings and further information, see External Links.). Typography: An EncycIopedic Survey of Typé Design and Téchniques Through History. Griffith Hidden catégories: Commons category Iink is on Wikidáta. By using this site, you agree to the Terms of Use and Privacy Policy. ![]()
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