New Century Schoolbook

1.

2. Designed by Matthew Carter (1937-), and
Morris Fuller Benton (November 30, 1872 – June 30, 1948)

3. It was designed in around 1917-1923.

4. Serif, Transitional.

5. Transitional, also called baroque, was known in the mid-18th century but was formed in the 17th century as an "improved style". This typeface is well know, especially its fonts such as Times New Roman and Baskerville. Transitional is between modern and old style, that's how its name was given. It was called transitional also because of the differences between thick and thin lines of its structure.

6. Georgia, Times New Roman, and Baskerville

7. It was the ending of World War 1

8. Snell Roundhand, Charter BT Pro, and Georgia.

9. Morris Fuller Benton was born on November 30, 1872, and
passed away on June 30, 1948. Although Morris designed
many successful typeface, he did not designed New Century
Schoolbook, however he is the creator of Century Schoolbook.
Morris was one of those designers that was born into the type
business. He was directly influenced by his father, Linn Boyd
Benton,who was a type-founder and the inventor of the matrix-
cutting machine.

Mechanical engineer was what Benton had graduated as, and he
directly went ahead and worked with his father in the newly
established type design department of the American Type Founders
company. From there, he took the advantage and originated, and
completed twenty-three new series. Because Linn invented the
pantographic engraving machine, Morris was able to work with it
with his father, which gave him a strong aesthetic design sense, and
became a master of the technology of his day.

New Century School book is a transitional font because of its
character's thin and thick strokes, and because it was originally a
Century Schoolbook and has been transition to a font called New
Century Schoolbook, designed by Matthew Carter.Carter was born
in London in 1937. His father, who was a typographer, book designer,
and type historian, was the one who introduce him to the world of
typography. As a young man, Matthew went for internship in places
such as L Johannes Enschede en Zonen, typfounders and printers,
Harlem, and Netherlands to study punch cutting. He then
was accepted in Oxford Uiversity in the year of 1956, but rejects
and decided to help his father in organising a small musem
about the history of Oxford University Press.

As years passed by he successfully became a Typographic Advisor
to Crosfield Electronics in 1963. Two years later, after visiting
different places, he then works as staff type designer at Mergenthaler
Linotype, Brooklyn, New York. It was then in 1966, after six years of
work, his script face, Snell Roundhand, became known.

In 1971-1981, he decides to work as a freelance type
designer in London, and was hired by Linotype companies in
the US, Germany and the UK. And until the year of 2004, he
had been a co-founder of a few different companies such as:
Bitstream, Carter & Code Type, has been designing typefaces
like Verdana, Sophia,Miller, Yale, and many more.

10.“ Type is a beautiful group of letters, not a group of beautiful letters.”

http://en.wikipedia.org/wiki/Morris_Fuller_Benton
http://www.designmuseum.org/design/matthew-carter
Graphic Design Referenced by Bryony Gomez-Palacio and Armin Vit
http://www.typophile.com/node/13406

fonts of fonts of fonts of fonts of fonts?? @_@'

_ Old Style :Adobe Jenson, kj Adobe Jenson (Venetian), Janson, and Garamond.

_ Transitional: Times New Roman and Baskerville.

_ Modern: Bodoni, Didot, and Computer Modern.

_ Slab Serif: Clarendon, Rockwell, and Courier.

_ Sans Serif: Gothic, Grotesque, Geometric Sans.

_ Script: Coronet, and Zapfino.

_ Blackletter: Fraktur, Old English, Rotunda.

_ Grunge: Sidewalk, Trashed, and Dirty ames

_ Monospaced: Courier, Prestige Elite, and Fixedsys.

_ Undeclared:

Fonts

_ Old Style :It's a low contrast with diagonal stress, and cove or "bracketed" serifs (serifs with a rounded join to the stem of the letter).

_ Transitional: Was introduced in the mid-18th century. It have sharper serifs and a more vertical axis than humanist letters. Their sharp forms and high contrast were considered shocking back then.

_ Modern: Was designed by Giaattista Bodoni in the 18th and early 19th centuries. It looks thin, straight serifs; vertical axis; and sharp contrast from thick to thin strokes.

_ Slab Serif: also called square serif or egyptian. It's mono in weight, has square ended serifs, and no stress.

_ Sans Serif: It features circular or geometric letters, with little variation in stroke thickness.

_ Script: they are based upon the varied and often fluid stroke created by handwriting.

_ Blackletter: Also known as Gothic script or Gothic minuscule, its typeface features elaborate thick to thin storeks and serifs.

_ Grunge:

_ Monospaced: every glyph is the same width

_ Undeclared:

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8 ways to drive a graphic designer mad.

My brother forward this to me.

8 ways to drive a graphic designer mad

As everyone knows, graphic designers are the reason there are so many wars in this world. They get inside our heads with their subliminal advertising, force us against our will to spend money on the worst pieces of shit, and eventually, drive us to depression and random acts of violence. And of course, most of them are communists.

So to do my part to save the world from them, I made a list of things you can do when working with a graphic designer, to assure that they have a burn-out and leave this business FOREVER.

1-Microsoft Office
When you have to send a graphic designer a document, make sure it's made with a program from Microsoft Office. - PC version if possible.
If you have to send pictures, you'll have more success in driving them mad if, instead of just sending a jpeg or a raw camera file, you embed the pictures inside a Microsoft Office document like Word or Powerpoint.

Don't forget to lower the resolution to 72 dpi so that they'll have to contact you again for a higher quality version. When you send them the "higher" version, make sure the size is at least 50% smaller. And if you're using email to send the pictures, forget the attachment once in a while.


2-Fonts
If the graphic designer chooses Helvetica for a font, ask for Arial.

If he chooses Arial, ask for Comic Sans.

If he chooses Comic Sans, he's already half-insane, so your job's half done.


3-More is better
Let's say you want a newsletter designed.

Graphic designers will always try to leave white space everywhere.
Large margins, the leading and kerning of text, etc. They will tell you that they do this because it's easier to read, and leads to a more clean, professional look. But do not believe those lies.

The reason they do this is to make the document bigger, with more pages, so that it costs you more at the print shop.
Why do they do it?
Because graphic designers hate you. They also eat babies. Uncooked, raw baby meat.

So make sure you ask them to put smaller margins and really, really small text.

Many different fonts are also suggested (bonus if you ask for Comic Sans, Arial or Sand).

Ask for clipart.

Ask for many pictures (if you don't know how to send them, refer to #1).

They will try to argument, and defen their choices but don't worry, in the end the client is always right and they will bow to your many requests.


4-Logos
If you have to send a graphic designer a logo for a particular project, let's say of a sponsor or partner, be sure to have it really really small and in a low-res gif or jpeg format.

Again, bonus points if you insert it in a Word document before sending it.

Now you might think that would be enough but if you really want to be successful in lowering the mental stability of a graphic designer, do your best to send a version of the logo over a hard to cut-out background. Black or white backgrounds should be avoided, as they are easy to cut-out with the darken or lighten layer style in photoshop.

Once the graphic designer is done working on that bitmap logo, tell him you need it to be bigger.

If you need a custom made logo, make your own sketches on a napkin. Or better yet, make your 9 year old kid draw it.

Your sketch shouldn't take more than 5 minutes to make. You don't want to make something that's detailed and easy to understand, because the less the designer understands what you want, the more you can make him change things afterwards.

Never accept the first logo. Never accept the 9th, make him do many changes, colours, fonts & clip art.

Ask him to add a picture in the logo. Bevels.
Gradients. Comic Sans. And when he's at his 10th attempt, tell him that you like the 2nd one the most.

I know, it's mean but remember: graphic designers are the cause of breast cancer among middle aged women.


5-Choosing your words
When describing what you want in a design, make sure to use terms that don't really mean anything.

Terms like "jazz it up a bit" or "can you make it more webbish?". "I would like the design to be beautiful" or "I prefer nice graphics, graphics that, you know, when you look at them you go: Those are nice graphics." are other options.

Don't feel bad about it, you've got the right. In fact, it's your duty because we all know that on fullmoons, graphic designers shapeshift into werewolves.


6-Colors
The best way for you to pick colours (because you don't want to let the graphic designer choose) is to write random colours on pieces of paper, put them in a hat and choose.

The graphic designer will suggest to stay with 2-3 main colours at the most, but no. Choose as many as you like, and make sure to do the hat thing in front of him.

While doing it, sing a very annoying song.


7-Deadlines
When it's your turn to approve the design, take your time. There is no rush.

Take two days. Take six. Just as long as when the deadline of the project approaches, you get back to the designer with more corrections and changes that he has time to make.

After all, graphic designers are responsible for the 911 attacks.


8-Finish him
After you've applied this list on your victim, it is part of human nature (although some would argue weather they're human or not) to get a bit insecure.

As he realises that he just can't satisfy your needs, the graphic designer will most likely abandon all hopes of winning an argument and will just do whatever you tell him to do, without question.

You want that in purple? Purple it is. Six different fonts? Sure!

At this point, make sure to ask him WHAT HE THINKS - because HE is the designer. This will really send him into a spin.

You would think that at this point you have won, but don't forget the goal of this: he has to quit this business. So be ready for the final blow: When making final decisions on colours, shapes, fonts, etc, tell him that you are disappointed by his lack of initiative.

Tell him that after all, he is the designer and that he should be the one to put his expertise and talent at work, not you. That you were expecting more output and advices about design from him.

Tell him you've had enough with his lack of creativity and that you would rather do your own layouts on Publisher instead of paying for his services.

And there you go.

You should have graphic designer all tucked into a straight jacket in no time!