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Designer (s) Tobias Frere-Jones. Jonathan Hoefler. Foundry. Hoefler & Co. Archer is a slab serif typeface designed in 2001 by Tobias Frere-Jones and Jonathan Hoefler for use in Martha Stewart Living magazine. [1] It was later released by Hoefler & Frere-Jones for commercial licensing.
International Typeface Corporation. The International Typeface Corporation (ITC) was a type manufacturer founded in New York in 1970 by Aaron Burns, Herb Lubalin and Edward Rondthaler. The company was one of the world's first type foundries to have no history in the production of metal type. It is now a wholly owned brand or subsidiary of ...
Century is a family of serif type faces particularly intended for body text. The family originates from a first design, Century Roman, cut by American Type Founders designer Linn Boyd Benton in 1894 for master printer Theodore Low De Vinne, for use in The Century Magazine. [1] ATF rapidly expanded it into a very large family, first by Linn Boyd ...
The Medium version is a font used predominantly alongside the Stratum 2 font in the 2014 racing video game Driveclub. The Hoops & Yoyo advertisements used Futura. In season 2 of Stargate Universe, episode "Common Descent – Part 1" the ancestors of the crew state that one of the two continents was named "Futura". There are several references ...
Gill Kayo. Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards. Gill Sans is based on Edward Johnston 's 1916 "Underground Alphabet", the corporate font of London Underground. As a young artist, Gill had assisted Johnston in its early development stages.
Category. : Newspaper and magazine typefaces. Typefaces commonly or formerly used for newspaper and magazine publishing.
ITC Avant Garde Gothic is a geometric sans serif font family based on the logo font used in the Avant Garde magazine. Herb Lubalin devised the logo concept and its companion headline typeface, and then he and Tom Carnase, a partner in Lubalin's design firm, worked together to transform the idea into a full-fledged typeface.
Typefaces, fonts, and their glyphs raise intellectual property considerations in copyright, trademark, design patent, and related laws. The copyright status of a typeface and of any font file that describes it digitally varies between jurisdictions. In the United States, the shapes of typefaces are not eligible for copyright but may be ...
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