Medientechnik SS Übungsblatt 2

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1 Medientechnik SS 005 Üungslatt

2 Font ist Bemo, eine französische (!) Renaissance-Antiqua (Garalde) Francesco Griffo Francesco Griffo (also Francesco da Bologna) orn 50, died 58 in Bologna, Italy type founder, punch cutter, type designer. Trained as a punch cutter and type founder in Bologna. 95: works with Aldus Manutius, for whom he cuts Greek alphaets and in 50 an italic typeface for a Virgil edition. 96: cuts the alphaet for Pietro Bemo s "De Aetna",. 50: parts company with Aldus Manutius. 50: cuts an italic typeface for the printer Gershom Soncino in Fano. 56: opens his own printing workshop in Bologna. He cuts his third italic alphaet for his first pulication. TYPOGRAPHY An Encyclopedic Survey of Type Design and Techniques Throughout History y Friedrich Friedl, Nicolaus Ott (Editor), Bernard Stein, pulished y Könemann Verlagsgesellschaft mh.

3 Pietro Bemo of Italy Born: Venice,, 70 Died: Rome,, 57 Italian classical scholar, friend of Lucrezia Borgia and many leading figures of the day.. He regularized the Italian language itself y pulishing grammars.. He was made cardinal in 59. Monotype gave his name to their typeface Bemo of 99. The design is ased on type cut y Francesco Griffo for the Aldine Press of Aldus Manutius,, and first used in Bemo s work De Aetna in 95/96. Activities Poetry Scholar Related Links Britannica: Bemo,, Pietro The Catholic Encyclopedia: Pietro Bemo We Gallery of Art: Raphael portrait of Pietro Bemo We Gallery of Art: Titian portrait of Pietro Bemo Infoplease: : Pietro Bemo

4 Die Französische Renaissance-Antiqua entwickelte sich wie die Venezianische Renaissance Antiqua zwischen dem.-6. Jahrhundert. Neen den gleichen Eigenschaften wie dem schrägen Dachansatz und den gerundeten Üergänge eim Fußansatz, ist die Stellung der Symmetrieachse jetzt deutlicher nach links gestellt und der Strichstärkenkontrast ausgeprägter. Die Querstriche sind waagerecht.

5 /f/franz-renaissance-antiqua.htmlantiqua.html Eine Französische Renaissance-Antiqua zeichnet sich durch ein harmonisches Schriftild und in gedruckter Form durch eine sehr gute Lesarkeit selst unterhal von * Lesegrößen aus. Sie wirkt stailer, ruhiger und gleichmäßiger als ihre venezianische Vorlage; die Kehlungen ihrer Serifen und die der Dachansätze sind wendiger gerundet. Primäre Klassifikationsmerkmale: (Beinert) Dachansätze der Minuskeln: Schräg Minuskeloerlängen: Enden ei der k-linie Achse der Minuskel e: Waagrechter Innenalken Optische Achse der Rundformen: Nach links geneigt Serifenüergänge: Rund Bei manchen Neuinterpretationen, z.b. der Trump Mädiäval, nahezu kantig [*] Serifenseitenkante: Bogenform Trump Mädiäval, Minion, nur sehr flache Bogenform [ Serifenunterkante: Leicht gekehlt Trump Mädiäval, Minion, Bemo, stehen die Serifenunterkanten fast flach auf der Grundlinie [*] Stichstärkenkontrast Balken/Queralken: Stärker als ei der Venezianischen Renaissance-Antiqua

6 Font ist Baskerville von URW, eine Barock-Antiqua (Vorklassizistische Antiqua, Üergangsantiqua) Designer John Baskerville, c.a. 700 John Baskerville ( ) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut y John Handy, which are the asis for the fonts that ear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bile for Camridge University, and today, his types are considered to e fine representations of eighteenth century rationalism and neoclassicism. Legile and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitale for elegant advertising pieces as well.

7 John Baskerville of United Kingdom Born: Wolverley, Worcestershire,, 706 Died: : Birmingham, 775 English writing master, stonecutter, letter designer, typefounder and printer. Although in his lifetime he was underappreciated compared with his close contemporary William Caslon,, he is now recognized as the other half of the duo that transformed English printing and type founding. After first working as an accomplished writing master and headstone engraver in Birmingham, he found usiness success japanning (coating with lack varnish) trays and snuff-oxes oxes. With capital from this,, in 750 he set up a printing usiness, hiring John Handy as punchcutter. His quest for perfection meant his first complete ook took until 757 to produce, during which time he made major innovations in press construction (making a flatter, sturdier ed), printing ink (lacker, more even,, and quicker-drying drying), papermaking (wove instead of laid), and of course letter design (which Handy cut to Baskerville s designs). The result was a rilliant series of original typefaces and splendid ooks appearing from 75 to 775. Baskerville lost a great deal of money in his printing ventures,, and at one point asked for a government susidy while he was printing his masterpiece,, a Bile for the University of Camridge.

8 The perfection of his work seems to have unsettled his compatriot printers,, and some claimed his printing damaged the eyes! Aroad, however,, he was much admired, notaly y Fournier, Bodoni (who intended at one point to come to England to work under him), and Benjamin Franklin. The modern revival of Baskerville s designs egan in the 90s, thanks to the work of Bruce Rogers,, and soon the major foundries all had their own Baskervilles. Fonts y John Baskerville Baskerville, Baskerville, John Baskerville Activities Printing Type Design Typography Calligraphy Lettering in Stone Book Design Related Links Britannica: Baskerville,, John Linotype Lirary Designers: John Baskerville Nicholas Faian: The man of transition - John Baskerville Unos tipos duros: : John Baskerville (Spanish) Graphion: : John Baskerville (706-75) 75) Infoplease: : John Baskerville

9 Die Barock-Antiqua Schriften entwickelten sich Ende des Jahrhundert. Der Ansatz ei den Serifen ist fast gerade und der Strichstärkenkontrast sehr deutlich. Die Querstriche sind waagrecht und die Symetrieachse ist leicht nach links geneigt.

10 rundogige Druckschrift römischen Ursprungs mit * Serifen.. In der deutschen typographischen Literatur auch als» Barock-Antiqua «, Üergangsantiqua oder Halmediäval,, im englischsprachigen Raum als» Transitional «ezeichnet. Primäre Klassifikationsmerkmale: Dachansätze der Minuskeln: Schräg Minuskeloerlängen: Enden ei der H-Linie, oft Dachansatz zur» Großen Üerhangslinie «Achse der Minuskel e: Waagrechter Innenalken Optische Achse der Rundformen: Leicht nach links oder rechts geneigt oder gerade Serifenüergänge: Rund Serifenseitenkante: Gerade Serifenunterkante: Leicht gekehlt is gerade auf der Grundlinie Stichstärkenkontrast Balken/Queralken: Stark

11 Font ist Garamond von Stempel, eine Renaissance-Antiqua Designer D. Stempel AG, 95 Claude Garamond (ca ) cut types for the Parisian scholar-printer Roert Estienne in the first part of the sixteenth century, asing his romans on the types cut y Francesco Griffo for Venetian printer Aldus Manutius in 95. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 56, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used y Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 59 that ecame an important source of information aout the Garamond types for later scholars and designers. In 6, sixty years after Garamond's death, the French printer Jean Jannon (580-65) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for aout two hundred years, ut were re-discovered in the French national printing office in 85, when they were wrongly attriuted to Claude Garamond.

12 Their true origin was not to e revealed until the 97 research of Beatrice Warde. In the early 900s, Jannon's types were used to print a history of printing in France, which rought new attention to French typography and the "Garamond" types. This sparked the eginning of modern revivals; some ased on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes een ased on those cut y Roert Granjon (5-589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. The Linotype Lirary has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to e distinctive representations of French Renaissance style; easily recognizale y their elegance and readaility.

13 Die Französische Renaissance-Antiqua entwickelte sich wie die Venezianische Renaissance Antiqua zwischen dem.-6. Jahrhundert. Neen den gleichen Eigenschaften wie dem schrägen Dachansatz und den gerundeten Üergänge eim Fußansatz, ist die Stellung der Symmetrieachse jetzt deutlicher nach links gestellt und der Strichstärkenkontrast ausgeprägter. Die Querstriche sind waagerecht.

14 Primäre Klassifikationsmerkmale: Dachansätze der Minuskeln: Schräg Minuskeloerlängen: Enden ei der H-Linie, allerdings oft Dachansatz zur» Großen Üerhangslinie «Achse der Minuskel e: Waagrechter Innenalken Optische Achse der Rundformen: Leicht nach links oder rechts geneigt oder gerade Serifenüergänge: Rund Serifenseitenkante: Gerade Serifenunterkante: Leicht gekehlt is gerade auf der Grundlinie Stichstärkenkontrast Balken/Queralken: Stark

15 0 : h0 = : h = = 0 h = 7 0 h 0 = 0 = 0,80896, = = 9 h0 = h0 =.8907 h 5 = = 9 h = 0 = h h 5 = = h 0 = = = = 8 h 6 = 5 = h = = h5 6 = = h = = 5 h = = 5 h Fläche des Din A0 Bogen = m² = = 7 Maße in Excel-Taelle DinA.xls Seitenverhältnis: : h = : Wurzel()

16 Satzspiegel k:s=:6 k Kopfsteg k:=: Doppelseite Seitenmontage auf Druckogen Ausschießen s Seitensteg Bundsteg :k:s:f=::6:8 f:s=:a a f Fußsteg 6

17 Satzspiegel k:s= Φ : k Kopfsteg k:= Φ : Doppelseite Seitenmontage auf Druckogen Ausschießen s Φ Seitensteg Bundsteg :k:s:f=: Φ :: Φ f:s=: Φa a f Fußsteg 6

18 Satzspiegel k:s= 6 :8 k Kopfsteg k:= 6 :9 Doppelseite Seitenmontage auf Druckogen Ausschießen s 6 Seitensteg Bundsteg :k:s:f=9:6 :8: f:s=6:9a a f Fußsteg 6 9

19 Satzspiegel k:s= h : k:= h : Doppelseite Seitenmontage auf Druckogen Ausschießen s k Kopfsteg Allgemeine Formel h Seitensteg Bundsteg :k:s:f=:h ::h f:s=h:a a f Fußsteg 6

20 Satzspiegel k:s= 5 :6 k Kopfsteg k:= 5 : Doppelseite Seitenmontage auf Druckogen Ausschießen s h Seitensteg Bundsteg :k:s:f=:5 :6:0 f:s=5:a a f Fußsteg 6

21 Satzspiegel k:s=: k Kopfsteg k:=: Doppelseite Seitenmontage auf Druckogen Ausschießen s Φ Seitensteg Bundsteg :k:s:f=:::6 f:s= Φ :a a f Fußsteg 6