Sentence examples for german typeface from inspiring English sources

They got hold of a typewriter with a German typeface.

It's a short horizontal rectangle, like a letter envelope or a flat chocolate bar, and makes liberal use of a black-letter font, that most German of typefaces; when you open the book, it's practically the width of an unfolded map.

There are references to luxury goods (Ketel One vodka, minimalist furniture, Swiss Army knives); to art (a photograph by another artist-team, Fischli & Weiss, and Constructivist shards) and to typefaces (Helvetica and German Blackletter, beloved by the Nazis).

German designer Rene Bieder conceived of Canaro typeface as an exploration of geometrical type designs throughout the early 20th century.

But art — whether it's the mnemonic art of Rabbi Hirsch Dänemark, remembered in the show via a 19th-century German handbill, beautifully printed in Fraktur typefaces on luxurious mold-made paper, or whether it's the art of those ancient pornographers who left naughty mosaics at Pompeii — reminds us that the world has always been messy, weird and wonderful.

Christopher Burke, in his book on German typographer Paul Renner, creator of the Futura typeface, described his views about page proportions: Bringhurst describes a book page as a tangible proportion, which together with the textblock produce an antiphonal geometry, which has the capability to bind the reader to the book, or conversely put the reader's nerve on edge or drive the reader away.

To help, he searched out Mr. Montalbano, and the two men started researching typefaces, comparing American sign type with other faces like the German DIN (for Deutsche Industrie Norm), which goes back to autobahn signs from 1936, and British Transport, a 1964 typeface used on motorway signs.

In Germany, where black letter, or Gothic script (called Fraktur in German), remained in use until the 20th century, a simplified typeface was both welcome and necessary.

The field of graphic design (which includes logo, poster, typeface, magazines and books) owes its stature to three German designers.

In 1927, back when fonts were still little metal glyphs in heavy wooden cases, the German company Bauer Type Foundry opened an office in New York City and launched a new typeface called Futura.

This notion of economy set the modern approach apart from the German black-letter tradition, but Tschichold went further in upsetting the status quo: "National typefaces (Fraktur, Textura, Old Slavonic) are excluded as generally incomprehensible and as leftovers from history".