Serif Quotes

I am the twentieth century. I am the ragtime and the tango; sans-serif, clean geometry. I am the virgin's-hair whip and the cunningly detailed shackles of decadent passion. I am every lonely railway station in every capital of Europe. I am the Street, the fanciless buildings of government. the cafe-dansant, the clockwork figure, the jazz saxophone, the tourist-lady's hairpiece, the fairy's rubber breasts, the travelling clock which always tells the wrong time and chimes in different keys. I am the dead palm tree, the Negro's dancing pumps, the dried fountain after tourist season. I am all the appurtenances of night.

I can offer you water or, um, water. Some of the pouches have a slightly different font, so you can choose serif hydration or sans serif hydration.

he looked oddly formal, as if he was the sole person in serif font.

I don't care what you people say...we are not using a font that does not have fucking serifs." - Rook Myfanwy Thomas

One condition,” Cilla sniffled through a joyful smile. “We are not naming our child after any of your grandfather’s fonts.” “I wouldn’t dream of it,” Gaz said. “The only other one that crackpot invented was called the Serif of Nottingham.

Oh, sure," Gansey said, still cold and annoyed. "God forbid young men display their principles with futile but public protests when they could be skipping school and judging other students from the backseat of a motor vehicle." "Principles? Henry Cheng's principles are all about getting larger font in the school newsletter," Ronan said. He did a vaguely offensive version of Henry's voice: "Serif? Sans serif? More bold, less italics.

Josip had only an instant to exchange a glance with Serif. He made it the most eloquent glance of his life.

I read somewhere online that sans serif fonts are easier for people with dyslexia to read, so I changed my requirements. Forced everyone else I oversee to switch with me or else they would face my wrath. All because I wanted to help you.

If he couldn't have her physically, then he'd allow himself this, teasing her with filthy words in serif font.

I hate New York.” It almost makes me recoil, the way he’s said this. Bold, sans serif. No caps, but italics for the It’s not a harmless, pedestrian “I hate this song” or “I hate those chocolate balls rolled in shredded coconut.” It’s not one of those small, meaningless hatreds that shear the word of its meaning.

Minion is perhaps the most vanilla of serif typefaces. This isn’t necessarily a negative — often the goal of a text face is to make as little aesthetic impact as possible. Minion does just that.

We reached the doors and Jackaby inspected the lock. “It isn’t broken,” he said. “It’s unlocked. From the outside. Wait here.” He stalked down the steps and returned a minute later holding the sky iron chain. It had been sliced into pieces. “The bad news is, she’s gone,” he said. “And worse, she has the black blade.” “Is there good news?” Miss Lee asked. “Well,” Jackaby answered gamely, “karmically, I would say we’re due for an upswing on the pendulum of fortune. That’s almost good news.” “That’s not good news,” Serif said, crossly. “That’s just a very wordy way of saying it’s all bad news.

weight. Arnhem also sports an unusually large x-height for a serif, which enables not only dense text, but also a more harmonious fit with most sans serifs. Good for: Magazines. Forward-thinking newspapers.

Serif?" Jackaby said when he had recovered his footing. "What on earth are you doing...on earth?" "My Lord Arawn has requested a report of your progress," she answered stiffly. "I am here to collect it. Your duck let me in.

It's not a remarkable note except for one thing. The typeface Tony used to print it is the exact typeface Kubrick used for the posters and title sequences of 'Eyes Wide Shut' and '2001'. 'It's Futura Extra Bold,' explains Tony. 'It was Stanley's favorite typeface. It's sans serif. He liked Helvetica and Univers too. Clean and elegant.' 'Is this the kind of thing you and Kubrick used to talk about?' I asked. 'God, yes,' says Tony. 'Sometimes late into the night. I was always trying to persuade him to turn away from them. But he was wedded to his sans serifs.

FF Yoga Sans is part of a double-barreled assault on the traditional classics, with its partner an update of Humanist serifs like Garamond. Not since FF Scala has there been such a bold attempt to redefine these models. Good for: When Gill Sans is wanted but its idiosyncrasies aren’t.

Luxury Diamond, an encapsulation metal engraving style, with its long triangular serifs, wide stance, and decorative details like the notched “R” and curvaceous figures. There is also a Text family with a full lowercase character set. Good for: Raising a product’s perceived value. Filling horizontal space.

I looked over at the dresser and saw a new issue of Zoobooks sitting there. On the cover was an owl. I love owls. Owls are beautiful and fierce. There was an owl right there on the front. A close-up of its face. Two big black eyes, bulbous, shiny, and empty. A brown-and-black feathered face. And its beak. I didn't see its beak. What were those two things coming out of its neck? I stepped closer. And in the lower corner of the cover, in white all-caps sans-serif font: "SPIDERS." I looked back into that face, brown and black fur, two big black eyes, and more eyes, and pincers. And oh god. I screamed. I screamed and I ran. I am still screaming and running from this, only on the inside now.

Released at the height of the “Web 2.0” era, Klavika has become a prototypical sans serif of the information age. This is reinforced by the fact that it is the basis for the Facebook logo, but it’s been widely used in many other markets as well, including the automobile, sports, and publication industries. The foundation of the typeface is the pill shape.

When sans serif printing type first appeared in the early to mid-1800s, some found the style so strange they called it “grotesque.” These typefaces kept the nickname even after they gained popularity and Grotesque (or “Grotesk” in German-speakers) is now associated with any sans serif in this early style. The characteristics of Grotesque typefaces are similar

MVB Verdigris is a direct response to these shortcomings. A distinguished Garalde inspired by 16th-century punchcutters, MVB Verdigris comes in a sturdy, functional version for text and a handsome, high-contrast version for titling. Typographic niceties abound, including a set of useful “mid caps” sized between full and small caps. This is truly a text serif for the digital age.

Ever since its release at the height of the DTP age, Adobe Caslon has been the “default” serif for many designers. In fact, the original metal type was also a printer’s standby for many years, as evidenced by the expression “when in doubt, use Caslon.” The typeface is now so familiar, it simply feels right most of the time — though it could seem slightly antique for some settings.

Among them was a calligraphy class that appealed to him after he saw posters on campus that were beautifully drawn. “I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating.

Carol Twombly’s source was Trajan’s Column, an early 2nd-century monument in Rome. While the letters were inscribed into stone with a chisel, recent research suggests that they were first painted with a brush, which explains their graceful serifs. There are many other interpretations of this style, including Goudy, Pietra, Waters Titling, and Penumbra. Good for: Drama, of course. Majesty. Momentous events.

We will need to give you a Muslim name…does Leila suit you?” “I don’t deserve this kindness,” she whispered. “That you, Muslims, should help a Jew—” “Come now!” Serif said, realizing that she was about to cry. “Jews and Muslims are cousins, the descendants of Abraham. Your new name, do you know it means ‘evening’ both in Arabic, the language of our Holy Koran, and also in Hebrew, the language of your Torah?

....It was to complete his marriage with Maimuna, the daughter of Al Hareth, the Helalite. He had become betrothed to her on his arrival at Mecca, but had post-poned the nuptials until after he had concluded the rites of pilgrimage. This was doubtless another marriage of policy, for Maimuna was fifty-one years of age, and a widow, but the connection gained him two powerful proselytes. One was Khaled Ibn al Waled, a nephew of the widow, an intrepid warrior who had come near destroy- ing Mahomet at the battle of Ohod. He now became one of the most victorious champions of Islamism, and by his prowess obtained the appellation of " The Sword of God." The other proselyte was Khaled's friend, Amru Ibn al Aass ; the same who assailed Mahomet with poetry and satire at the commencement of his prophetic career ; who had been an ambassador from the Koreishites to the king of Abyssinia, to obtain the surrender of the fugitive Moslems, and who was henceforth destined with his sword to carry victoriously into foreign lands the faith he had once so strenuously opposed. Note.— Maimuna was the last spouse of the prophet, and, old as she was at her marriage, survived all his other wives. She died many years after him, in a pavilion at Serif, under the same tree in the shade of which her nuptial tent had been pitched, and was there interred. The pious historian, Al Jannabi, who styles himself "a poor servant of Allah, hoping for the pardon of his sins through the mercy of God," visited her tomb on returning from a pilgrimage to Mecca, in the year of the Hegira 963, a.d. 1555. "I saw there," said he, "a dome of black marble erected in memory of Maimuna, on the very spot on which the apostle of God had reposed with her. God knows the truth ! and also the reason of the black color of the stone. There is a place of ablution, and an oratory ; but the building has fallen to decay.

She dressed, struggling a little with the unfamiliar head scarf. When she entered the book-lined sitting room, Serif and Stela were sitting close together, deep in conversation. Serif had his son, a fine little fellow with a shock of dark hair, perched on his knee. His free hand was entwined with his wife’s. They looked up as Lola entered the room, and swiftly withdrew their hands. Lola knew that conservative Muslims felt it was inappropriate even for married couples to express physical affection in the presence of others.

Heron Serif is a strong, no-nonsense, hard-nosed typeface ready to go to work. There is a solid monolinear quality to every weight and style — even the bold keeps this feeling, as it lacks the increased stroke contrast that sometimes makes an otherwise stoic face appear somewhat friendly, even whimsical. Still, Heron is not cold: if DIN is a German number-cruncher — a stickler for rules and regulations while devoid of personality — Heron is an American steelworker, tough as nails and steadfast on the job, but loose enough to get a little dirty and tell a tall tale.

František Štorm has made a habit of infusing historical styles with his own eccentric brand of expression. His Farao is a perfect example. Most modern interpretations of Clarendon and other Egyptians are somewhat cold and calculated. Štorm went back to their ancestors — the uneven, untamed type of the 19th century — and celebrated its imperfections. Farao has exaggerated ball terminals and serifs, inconsistent contrast, and a potpourri of seemingly incompatible features. Yet it all comes together in a wonderful, sparkling typeface full of humor and life. This is Clarendon let loose.

Most people will likely encounter Ingeborg’s showy Display variants: the decorative fill and shadow of Block, and the buxom swashes of Fat Italic. These are indeed finely crafted crowd-pleasers, but the typeface’s more important contribution to typography is in the text weights. Michael Hochleitner managed to comfortably combine the neoclassical glamour of Didones, the readability of other Rational typefaces like the Scotch Romans, and the sturdiness of a slab serif. The result is a very original design that is both beautiful and practical. Good for: Books. Magazines. Substance and style.

At first, Lola was a little afraid of Serif, who was almost as old as her father. But his gentle, courtly manners soon put her at her ease. For a while, she couldn’t say what it was about him that was so different from other people she had known. And then one day, as he patiently drew her out on some subject or another, listening to her opinion as if it were worthy of his consideration, and then guiding her subtly to a fuller view of the issue, she realized what the difference was. Serif, the most learned person she had ever met, was also the only person who never let her feel the least bit stupid.

You said somewhere that you would like to write in one of the Nordic languages because they have more vowels, and vowels are more serious.’ You: ‘Did I say that? But Latin languages have more vowels than Nordic ones! I think what I meant was that I would like to write in one of those ancient northern tongues which were almost entirely made up on vowels. I’ve always felt it had something to do with the climate. They were hot languages, insulated by all those heaped up vowels.’ Me: ‘Ancient Hebrew only had consonants. Presumably so that there was no risk of them accidentally writing the secret name of God.’ You: ‘Or perhaps that was to do with the climate too. Consonants were more open and airy, more suited to a language of the desert.’ ‘You also said that you hated sans serif typefaces.’ ‘Oh, yes, they’re terrible! All those naked letters, reduced to their stark scaffolding. No-one can possibly recognise their mother tongue when printed in a Futura typeface. It lacks maternal warmth, it lacks friendliness.’ ‘I fear Cuervo may be right: we are somewhat unscientific.’ ‘And prejudiced too. Vowels can be dispensed with. A text written solely using vowels would be illegible, but in a text using only consonants, one could guess the vowels. A text in which X replaced all the Os, as in that story by Poe, might prove difficult to read, but would, ultimately, be decipherable.

SIWƎ┴ɹIČN∀ ʞOWƎpIſ∀ Wouᴉ-n pǝ qnlᴉ Zʌɐo sǝ uǝʞɐp lǝodɐɹp ƃɐžɐ qǝšǝ lɾᴉƃɐʌɐ slɐuᴉuɐ oʌuɐ ᴉ ʞɹʇᴉuɐ ƃɐzǝlǝ ɹɐp qᴉ zuɐo ʌɐšǝ ɯᴉšlɾǝuɾǝ ʞɐʞo ɯn ʞᴉčɯɐ osǝćɐšǝ zʌǝzpǝ ʞɹoz žᴉɔǝ znqᴉ ʞɹoz ʇnuǝl ƃlᴉsʇɐ˙ Nɐ lǝžɐɾn uoć n uoćᴉ sʇɹʌᴉuɐɹ zʌǝzpǝ sn qlǝsɐʞ nɯᴉuđnšǝuoƃ nɯɐ zʌǝzpǝ nqǝsʞɹɐɾǝuǝ lᴉɹsʞᴉ zʌǝzpǝ dop loƃɐɹᴉʇɯoɯ ɾnžuoƃ dolɐ lǝʇǝ šɐʞɐlsʞᴉ ɥǝʞsɐɯǝʇɹᴉ ɾɐɯqᴉ ǝlǝɟɐuʇɐ sɐʞsoɟousʞᴉ sᴉƃuɐl ɥᴉɾǝuǝ zɐ ɯǝsǝčǝʌǝ ɯɐuǝ n ʞnlᴉsɐɯɐ dop šɐʇoɹᴉɯɐ oɯɐɹǝ ɾɐ ʌɐs ʌolᴉɯ ʞɐo ɹᴉs ɹᴉsɐ )ɐq(uoɹɯɐluo˙ ∩ ɐɯɐlƃɐɯn čǝžuɾǝ čnluo n ʌǝʇɹoʌᴉʇᴉɯ ʌopɐɯɐ sǝuɐsʇǝ lᴉɹᴉʞǝ ʇɐʞo ʇᴉ ʞoqᴉ ʇᴉ ʇɐʞo¿ žǝlᴉ sǝ sɯɹʇ ɐʇᴉusʞoɯ ɹɐpošćn sʌǝʇloƃ ʞɹǝznqoƃ sᴉsɐučǝʇɐ ɹnƃoqoɯ ʇǝlɐsɐsʇᴉɥ čǝlɾnsʇᴉ ʞnʇuɾɐčʞᴉɯ ʌᴉlᴉɔɐɯɐ ɹɐʞᴉpžᴉsʞᴉɯ ƃlɐsuᴉɔɐɯɐ snlnupɐɹsʞᴉɯ sᴉlɐsʞoɯ ɔɹǝʌɐ oʞɐɹuᴉɐsʇᴉɯ žǝlnpɔǝɯ sdǝlnuʞoɯ pǝɾǝʞɔᴉɾǝ dlɐʌoɯ ʞɐo ʞɐdɹᴉ zqoƃ lᴉɹsʞǝ ʇǝzǝ ɐquoɹɯɐluǝ zʌǝzpǝ zqoƃ pžǝlɐʇɐ lɾᴉƃɐʌoƃ oʌuɐ ʞɹʇǝ ƃɐzǝlǝ ɹsʞɐʌǝ zʌǝzpǝ zpǝuɐsʇǝ lɐsʇǝ sʇǝƃunʇoƃ ƃunɐ ɐƃunsɐ pǝᴉ oɐʇɐuǝ

The serifs began to slither from the font like tendrils seeking to strangle something. To choke her.

The designs involved two abiding techniques by Roman stonemasons. First, certain parts of each letter was subtly widened – one leg of the A, two opposite sides of the O – in contrast to others. This gave the shape a sense of perspective and graceful solidity. The second technique was to add small finishing strokes (we call them serifs) at the letters' end points. Clear examples include letters E, G, H, S and T.

His brows pull together. “Ask me why I hate when people use Times New Roman instead of Arial.” “Are you serious right now? What does that have to do with any of this?” “Because I chose it for you.” “I’m sorry, what?” “I read somewhere online that sans serif fonts are easier for people with dyslexia to read, so I changed my requirements. Forced everyone else I oversee to switch with me or else they would face my wrath. All because I wanted to help you.

His brows pull together. "Ask me why I hate when people use Times New Roman instead of Arial." "Are you serious right now? What does that have to do with any of this?" "Because I chose it for you." "I'm sorry, what?" "I read somewhere online that sans serif fonts are easier for people with dyslexia to read, so I changed my requirements.

Ask me why I hate when people use Times New Roman instead of Arial.” “Are you serious right now? What does that have to do with any of this?” “Because I chose it for you.” “I’m sorry, what?” “I read somewhere online that sans serif fonts are easier for people with dyslexia to read, so I changed my requirements. Forced everyone else I oversee to switch with me or else they would face my wrath. All because I wanted to help you.

Despite being out of uniform, he looked oddly formal, as if he was the sole person in serif font.

Says John Updike, ‘Serifs exist for a purpose. They help the eye pick up the shape of the letter. Piquant in little amounts, sanserif in page-size sheets repels readership as wax paper repels water; it has a sleazy, cloudy look.

Roger and Jessica leave the doctor at a side entrance, into which he melts, leaving nothing but rain dripping from slopes and serifs of an unreadable legend on the lintel.

The minute I dropped out I could stop taking the required classes that didn’t interest me, and begin dropping in on the ones that looked interesting. It wasn’t all romantic. I didn’t have a dorm room, so I slept on the floor in friends’ rooms, I returned coke bottles for the 5¢ deposits to buy food with, and I would walk the seven miles across town every Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on. Let me give you one example: Reed College at that time offered perhaps the best calligraphy instruction in the country. Throughout the campus every poster, every label on every drawer, was beautifully hand calligraphed. Because I had dropped out and didn’t have to take the normal classes, I decided to take a calligraphy class to learn how to do this. I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it’s likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backwards ten years later. Again, you can’t connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something—your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life. The narrator of this story is Steve Jobs, the legendary CEO of Apple. The story was part of his famous Stanford commencement speech in 2005.[23] It’s a perfect illustration of how passion and purpose drive success, not the crossing of an imaginary finish line in the future. Forget the finish line. It doesn’t exist. Instead, look for passion and purpose directly in front of you. The dots will connect later, I promise—and so does Steve.

Chapter 5.2: Generic Fonts - Sans -Serif Setting font properties will be among the most common uses of style sheets. Unfortunately, there exists no well-defined and universally accepted taxonomy for

And there’s nothing that looks like a school bus except a school bus. Except… except… It was the wrong color. Honestly, if it had been blue or something, it might have been easier to take. I would have shrugged and said that perhaps the school buses in this world were simply blue. But this was just close enough that it was jarring. School buses are usually goldenrod, and this one was a shade darker, with too much orange to it. Carrot colored. I’m a graphic designer, I notice these things. If it had been paler, I could have chalked it up to bleaching in the sun, but not this. Also, the font they had used for SCHOOL BUS was a serif font, not sans serif. It was pretty chunky, still easy enough to stencil on, but… serif.

However, while Western principles were the major source of inspiration for Hatt- I Serif of Gulhane, the document itself made a notable effort to place the reforms in the context of the Ottomans Islamic heritage. In fact, it started by placing the Islamic law (Sharia or Şeriat) as a central source of inspiration, and alleging that the Empire’s decline was due to its lack of observance of the Şeriat: “All the world knows that since the first days of the Ottoman State, the lofty principles of the Qu’ran and the rules of the Şeriat were always perfectly observed. Our mighty Sultanate reached the highest degree of strength and power, and all its subjects [the highest degree] of ease and prosperity. But in the last one hundred and fifty years, because of a succession of difficulties and diverse causes, the sacred Şeriat was not obeyed nor were the beneficent regulations followed; consequently, the former strength and prosperity have changed into weakness and poverty. It is evident that countries not governed by the laws of the Şeriat cannot survive.”[6]

Exclusive rights to publish and sell this book in print form in English are licensed to The MIT Press. All other rights are reserved by the author. An electronic version of this book is available under a Creative Commons license. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email special_sales@mitpress.mit.edu or write to Special Sales Department, The MIT Press, 5 Cambridge Center, Cambridge, MA 02142. Set in Stone sans and Stone serif by The MIT Press. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Hippel, Eric von. Democratizing innovation / Eric von Hippel.

It all culminated in the 1995 Anthology, which would have seemed like an embarrassing defeat only a few years earlier. The record company had figured out how to treat the catalog as a prestige item; the 1982 Reel Music compilation was the final U.S. release that could be described as a rip-off. The “drop-T” logo belatedly became a thing, with its elegant serifs—it never appeared on any original Beatle albums, but in the Nineties it became a brand as powerful (in a different way) as the Black Flag bars. The 1994 Live at the BBC, two CDs of radio tapes (proving, as Robert Christgau wrote, “in addition to everything else, they were the funniest rock stars ever”), was a tantalizing hint of how many goodies still remained in the vaults.

Letterpress was a dying art, another casualty of the digital age. The bank sent her threatening letters run off on cheap paper and laser-printed in Helvetica, the font she despised the most, because it was sans serif, overused, and, to her, it heralded the reign of the impersonal.

The wording should be simple and exact, Boorman went on, and use the familiar language of the profession. Even the look of the checklist matters. Ideally, it should fit on one page. It should be free of clutter and unnecessary colors. It should use both uppercase and lowercase text for ease of reading. (He went so far as to recommend using a sans serif type like Helvetica.)