Palatino - Type Specimen Book

Type Specimen Book

Introduction & History

“Typography is two-dimensional architecture, based on experience and imagination, and guided by rules of readability.�

- Herman Zapf

Palatino is an old-style serif typeface. It was named after Giambattista Palatino, the 16th century Italian calligrapher, and designed

by Herman Zapf, a typographer who is also responsible for creating the Optima and Zapfino typefaces among many others. His goals of quality, clarity, and elegance are present within his work, and each typeface is simultaneously delicate and distinct in form.

Inspired by typographic and calligraphic works of the Italian Renaissance ( or “rebirth�), the Palatino typeface provides a scholarly or professional element to any piece of work. Almost music-like, the text forms a well-balanced, easy-to-read visual rhythm that could be graceful or intense, depending on how the text is formed and where it is placed.

The styles of the past are reborn once more.

Palatino awaits your use.

Basic Character Set

Regular (20 pt.)

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 !?$%&()””<>/ Italic (20 pt.)

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 !?$%&()””<>/

Bold (20 pt.)

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 !?$%&()””<>/ Bold Italic (20 pt.)

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 !?$%&()””<>/

Bold Caps (33 pt.)

THE PEN IS MIGHTIER THAN THE SWORD

Bold (33 pt.)

The Pen is Mightier than the Sword

Display Type

Bold Italic Small Caps (33 pt.)

The Pen is Mightier than the Sword

Bold Small Caps (33 pt.)

The Pen is Mightier than the Sword

Small Caps (33 pt.)

The Pen is Mightier than the Sword

Text Type

Regular & Various (10 pt.)

T

19th century was a period of change and technological evolution that brought about a visual culture of Parisian city life. The artistic movement of Impressionism was one such catalyst that expressed this visual culture and served as a means of response to the evolving surroundings, and overall evolving lives, of those who were encapsulated by these new changes. Edgar Degas, one such Impressionist painter from this movement, specialized in examining the roles of unemployed women in his portraits produced during the height of the 19th century.

Specifically, Absinthe and The Foyer de la Danse. . ., portrayals of women rendered in relaxed and somewhat loosely-blended brushstrokes of oil paint, are examples of some of the many pieces that were created as a result of both the Impressionist movement and the influence of the female subject matter. In her article entitled â&#x20AC;&#x153;Painting the Traffic in Women,â&#x20AC;? S. Hollis Clayson further explores the origins of this specific portrayal of women in relation to the changing landscape, demographics of the city, and their migration during this time.

This would eventually lead to Edgar Degas and his paintings to evidently portray the effects of the transaction of such services between differing classes and genders within the newly-Haussmannized city of Paris. he

The French visual culture of the 19th century was heavily influenced by the Parisian industrial revolution that was defined by the introduction of new architecture and technology created for the ease of mass movements of people. The leader and head organizer of this era of change was Baron Georges Haussmann, Prefect of the Seine in 1853 and a gifted urban planner who worked with Emperor Napoleon III to reconfigure the architectural layout of Paris. This renovation, fittingly dubbed the “Haussmannization,” was meticulously and carefully planned to be a departure from the old Medieval styles of the city.

Thus, to make the city anew, Haussmann called for updated buildings, extended and widened boulevards, and the establishment of several public parks and open spaces within the city. New methods of transportation, such as railways, would also begin to emerge. They would eventually serve as the subjects for paintings such as Edouard Manet’s The Railway and Claude Monet’s Saint-Lazare Train Station, which expressed the public’s first views of the new trains from different perspectives. Many were amazed by these innovations, as they allowed for people, objects, and ideas to be moved around efficiently and in a whole new way. Despite the new wonders, the smoke and steam of the technological world shrouded the realities and conflicts that continued to plague the city, and one such problem, spread through a specific group of women, would emerge to the surprise of the ever-growing Parisian community.

Mixed Type

Herod Atticus, Philosopher and Rhetor A Brief Formal Analysis

Around 161 CE in Probalinthos near Marathon in the region of Attica, Greece, a sculptor was commissioned to create a marble portrait of respected philosopher and rhetor Herod Atticus. The bust depicts his upper torso in a traditional Greek tunic, such as a chiton or himation, as well as his head, with a wavy beard and curly hair framing the face and facial features that include heavy wrinkles and prominent cheek bones that suggest his mature age. His head and eyelids are held low, and this conveys a sense of fatigue which further reinforces the idea of old age. Because he was a philosopher, his face also conveys a state of deep thought, conveyed most clearly through the low brow and the hollow pupils of the eyes.

Artist in His Studio

A Painting by Rembrandt Van Rijn Rembrandt van Rijn was one of the most influential Dutch painters of the Baroque movement in Northern Europe, specifically in the Netherlands.

Around 1631, he relocated to Amsterdam to attract more patrons after living in Leiden for the first part of his life. His creation, Artist in His Studio, was painted in 1628, making this piece among the first of his earliest and well-known works and among the last of his works created in Leiden before retreating to Amsterdam.

Although the painting’s purpose and patron are unknown, the painting is a piece that is full of Baroque aspects. It has a sense of drama, established through chiaroscuro, or the theatrical contrast of light against shadow, specifically the light in the floor and the shadow in the back of the canvas, door, and side wall. It is expressive, though not as incredibly striking as tenebrism, which is much more dramatic. Pathos, which is evident in the expressions of the artist’s face, also plays a role. He is very still and examining his work in deep thought, and this plays into the piece’s complex meaning, another Baroque element.

Although the male subject of the painting is unknown, the use of a common or plebian figure reflects another commonality in Baroque work during this time. Perhaps he could be a pupil who was taught by Rembrandt, as he first began teaching in the year 1628, but many believe that, because the artist’s features are so generalized, it is possible that he could be a fictitious figure created by Rembrandt himself.

Type Relatives

Palatino Sans - Regular (18 pt.)

ABCDEFGHIJKLM NOPQRSTUVWXYZ a b c d e f g h i j k l m nopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ! ? $ % & ( ) ” ” < > / Michaelangelo - Regular (18 pt.)

ABCDEFGHIJKLM NOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r st u v w x y z

1234567890 ! ? $ % & ( ) ” ” < > /

Scan to view digital version for free!

Created by Kelsey Negron

CART 218 Typography Fall 2019