Although called 'Old Style', the near vertical stress of the face puts it into the transitional category. A legible and robust text face. A design based on Monotype 20th Century, which was drawn by Sol Hess between and Century Gothic maintains the basic design of 20th Century but has an enlarged 'x' height and has been modified to ensure satisfactory output from modern digital systems. The design is influenced by the geometric style sans serif faces which were popular during the 's and 30's.
Useful for headlines and general display work and for small quantities of text, particularly in advertising. De Vinne for Century magazine to replace the unsuitable face they had used previously. This was followed a few years later, at the turn of the century, by Century Expanded.
The best known appeared in This face does the job it was meant to do very well. It is round, open, and sturdy, and although heavier in appearance than many other serif fonts, it comes near the top of the list of no-nonsense text fonts that will withstand a lot of punishment.
Generations of children learned to read with this font. Designed by Microsoft's Vincent Connare, this is a face based on the lettering from comic magazines. This casual but legible face has proved very popular with a wide variety of people.
A typical fixed pitch design, monotone in weight and slab serif in concept. Used to emulate typewriter output for reports, tabular work and technical documentation.
Monotype Drawing Office This typeface is based on roman types cut by Jean Jannon in Jannon followed the designs of Claude Garamond which had been cut in the previous century. Garamond's types were, in turn, based on those used by Aldus Manutius in and cut by Francesco Griffo. The italic is based on types cut in France circa by Robert Granjon. Garamond is a beautiful typeface with an air of informality which looks good in a wide range of applications.
It works particularly well in books and lengthy text settings. Designed in by Matthew Carter. Georgia is the serif companion to the first Microsoft sans serif screen font, Verdana. It was designed specifically to address the challenges of on-screen display and hand-instructed by leading hinting expert, Monotype's Tom Rickner. Georgia was jokingly named after a tabloid headline "Alien heads found in Georgia. Haettenschweiler derives from a more condensed typeface, called Schmalfette Grotesk, first shown in the early s in a splendid book called Lettera by Walter Haettenschweiler and Armin Haab.
It was immediately picked up by designers at Paris Match who cut up pictures of it to make headlines. Soon everybody wanted it. In due course, extra-bold extra-condensed faces for families like Helvetica began to appear, looking remarkably like the original Schmalfette. Century Gothic is similar to ITC Avant Garde in its pure geometry, and does not possess the subtle variation in stroke width found in either Futura or Twentieth Century.
Century Gothic also has larger, rounder tittles on the letters i and j , whereas Avant Garde keeps the tittles square and the same width as the letter strokes. Most notably, it lacks the extreme stylistic alternates of Avant Garde, such as highly slanted letters designed to fit together closely in kerning. ITC Avant Garde was intended as a display design for large headings and advertisements although it is somewhat usable for body text because of the high x-height and as a result Century Gothic is quite a light typeface, especially in default weight, with the classic display typeface feature of tight spacing and quite wide characters, in contrast to Twentieth Century which was intended more for small-size applications with a more solid stroke weight and open spacing.
While its structure is similar to Futura, its regular style is between Futura and Twentieth Century's regular and light weights. It was bundled with Microsoft Office 4.
A version of Century Gothic, Levenim , that includes Hebrew alphabet characters has been included in later versions of Windows. According to the University of Wisconsin-Green Bay, Century Gothic uses much less ink than other, similar sans-serif typefaces. In order to save money that would be spent on printer ink for other typefaces, the university reportedly switched their default e-mail and printing typeface from Arial to Century Gothic.
However, the typeface has also been found to use more paper—due to its wider letters—meaning that the savings on ink are offset by an increase in paper costs. Along with the serif typeface Garamond , Century Gothic is one of the two typefaces that PrintWise, an initiative of the U.
Apart from Avant Garde and Futura, a number of other fonts based on Avant Garde have been created to substitute for it in PostScript implementations. A particular case of this is an open-sourced set of fonts developed by URW and donated to the Ghostscript project to create a free PostScript alternative.
This includes an AvantGarde clone known as "Gothic L". A design based on Monotype 20th Century, which was drawn by Sol Hess between and Century Gothic maintains the basic design of 20th Century but has an enlarged 'x' height and has been modified to ensure satisfactory output from modern digital systems.
The design is influenced by the geometric style sans serif faces which were popular during the 's and 30's. Useful for headlines and general display work and for small quantities of text, particularly in advertising.
This typeface is also available within Office applications. For more information visit this page. Feedback will be sent to Microsoft: By pressing the submit button, your feedback will be used to improve Microsoft products and services.
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