The Cyrillic alphabet was reformed by Peter the Great in Russia in the early eighteenth century. Fonts with a Greek character set include the characters and punctuation required to support the modern Greek language.įonts that support Polytonic Greek include additional archaic Greek characters that are useful when setting historical or Biblical texts in Greek language. The Greek alphabet is one of the oldest known writing systems, having been adapted from the Phoenician alphabet about 3,000 years ago. This is the standard character set in most PostScript Type 1 fonts from Adobe.įonts with an Adobe CE character set also include the characters necessary to support the following central European languages: Croatian, Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian, and Turkish. Adobe Western 2 is the new minimum character set standard implemented in OpenType fonts from Adobe.įonts with an ISO-Adobe character set support most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili, and Swedish. Adobe Western 2 also adds 17 more symbol characters: euro, liter, estimated, omega, pi, partialdiff, delta, product, summation, radical, infinity, integral, approxequal, notequal, lessequal, greater equal, and lozenge. Sometimes I get it wrong and sometimes it’s right, but it’s only through playing around with things that I know what works.Fonts with an Adobe Western 2 character set support most western languages including: Afrikaans, Basque, Breton, Catalan, Danish, Dutch, English, Finnish, French, Gaelic, German, Icelandic, Indonesian, Irish, Italian, Norwegian, Portuguese, Sami, Spanish, Swahili, and Swedish. Looking back now I wish I’d experimented more, like I do in my design practice today. What is your advice for people new to typography?ĭon’t be afraid! When I was starting out in advertising a million years ago I felt quite shy about choosing fonts, which meant I almost always used Helvetica. For example, I would never have expected to see an outlined shadow font on an old 1800s handbill, but this came from a real Government-issued poster from 1879, and I used this reference as inspiration for the posters in Penny Dreadful. If I don’t have a real antique piece in front of me then it can be very difficult to imagine what lettering styles might have been used at any given time. My first port of call in creating any piece for a film is to find good reference material. What is your process for selecting typefaces? The details on these things can add up to a much bigger picture, and making the right font choices is a crucial part of the film design process. Even though these pieces are rarely given a close-up, sometimes the artwork we make is purely to create the right atmosphere for the cast and crew. The hoardings we built for London’s Victorian slum scenes in the Gothic Horror series Penny Dreadful were plastered with all kinds of public service announcements warning the crowds about loitering, philandering, and the spread of incurable disease. Tell us a little about why you selected this theme. Each of the fonts I’ve chosen for this pack can pass as something that might have been used in late 1800s advertising. I make graphic art for period filmmaking, which means I’m always looking for fonts that were used on old documents, like letterpress handbills. Tell us a little about why you selected these typefaces.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |