Sentence examples for distinctive typeface from inspiring English sources

We are recommending that Px Grotesk be used for headlines and anywhere a more distinctive typeface is needed.

Phil Baines, the college's professor of typography, has used this lettering as the basis for the distinctive typeface that features throughout the building – although such is the clarity of Stanton Williams's plan, there is little need for signs.

His latest shows a wall stencilled with the words "this site contains blocked messages", over a piece mocked up in the New York Times's distinctive typeface, headed "The biggest eyesore in New York is not the graffiti, argues Banksy, it's under construction at ground zero".

More than anyone else, Rea Irvin invented the look of "The New Yorker"; he designed the magazine's distinctive headline typeface and drew the trademark Regency dandy who adorned the inaugural issue's cover.

During her first 11 months, she changed three-quarters of the magazine's editorial departments, and supervised a redesign that was criticized for streamlining the distinctive cover typeface conceived by the fabled art director Alexey Brodovitch.

She requested a redesign of the magazine that was criticized for modernizing the distinctive cover typeface conceived by Alexey Brodovitch, the celebrated art director, and retroactively changed the logo on Tilberis-era covers featured on subscription cards, which also generated some criticism.

The open space design of the humanist typefaces supports distinctive and highly visible forms; the distance between the terminations works to avoid the meshing together of forms and keeps these features easily identifiable (Bouma 1970, 1973; Pelli et al. 2009).

In the suit, the university also objects to the company's Web site, which it said liberally uses Harvard's distinctive crimson color and a similar typeface to Harvard University's Internet site.

He believes that these "subtle, playful effects" give the airport a distinctive character, together with the choice of typeface, Fedra Sans, which he commissioned from the Slovakian designer Peter Bil'ak for a previous project and contains all of the Central European accents, making it very apt for use in the Austrian capital.

The quirky and almost untutored character of the lettering makes this book distinctive; despite the enticing illustrations, if it used conventional typefaces alone this old house would be old indeed.

To make the Underground Group's posters and signage more distinctive he commissioned calligrapher and typographer Edward Johnston to design a clear new typeface.