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NoSense Thomas Canale TrueType个人使用

NoSense.ttf

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作者说明

NoSense by Thomas Canale of Canale Studio is a free distorted display font with deliberately mismatched letterforms. Widths, stroke weights, and internal cuts shift from character to character, creating a restless alphabet that feels assembled from several eccentric sans serif styles.

Punk music, experimental theater, and offbeat comedy suit its unruly shapes, making it useful for posters, album packaging, and event graphics. The changing silhouettes can also echo collage, cut-paper illustration, or mixed-media artwork.

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Typesetting has been my occupation for 30 years. After studying at Cooper School of Art in downtown Cleveland, I accepted a position at Peto’s Type House. At that time, the Cleveland Press still used hot-lead typesetting. Phototypesetting was in its early stages, and the Linotronic 5700 was top-of-the-line technology.

At Peto’s, I set headline type on a Typositor. This was phototypesetting for headlines, with letters exposed one at a time. A headline of approximately 15 words could take one or two hours to complete for paste-up. Working this way daily gave me close experience with letterforms and spacing. Ernie Peto also quizzed me on identifying typefaces by name. I held the position for 18 months.

Over the years, I have observed derivatives of wood type, Times Roman, Helvetica, and other typefaces. This experience continues to influence my approach to font design.

The fonts I design are based on examining individual letterforms and their behavior as units within blocks of text. I use different line weights and forms across the glyphs to create contrasting characteristics that become apparent when the type is set in large blocks of text.

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版权注意

©THOMAS CANALE, CANALE STUDIO, INC.

字体系

NoSense

字体次系

NoSense

独立次系身份

1.000;pyrs;NoSense

全字体名称

NoSense

页面描述语言字体名称

NoSense

制造商名字

THOMAS CANALE

设计师

©THOMAS CANALE

描述

Setting type has been an occupation and a passion of mine over the last 30 years. After completing some schooling at Cooper School of Art in Downtown Cleveland I accepted a position at Peto's Type House. Back then, the Cleveland Press still set type with 'Hot' lead. I know, I know, this dates me, but the facts are the facts. PhotoType was in it's infancy with the Linotronic 5700 being top-of-the-line technology in Photo type setting. My job at Peto's was more modest, among other things, I was hired to set headline type on what was called a 'Typositor'. It was still photo type setting but for headlines only. Letters had to be set (exposed), one letter at a time. A single headline of lets sayÉ15 words or so could take an hour or two to completely finish for paste-up, that's right, I said paste-up. That should really date me!! By doing this day in and day out (for hours on end) I gained a "close-up' appreciation for letterforms and spacing. Ernie Peto would also quiz me on identifying type by name. It was an interesting 18 months to say the least. There have been lasting effects on my appreciation of letterforms thanks to this experience. Over the years, there have been spin offs of wood type, Times Roman, Helvetica, etc. Seems to me like we are just going over the same ground over and over and over again. What interests me is not the 'sameness' in the letterforms or their 'invisibility' in the graphics world. Some fonts are used to be 'invisible'. What I mean by this is that they are merely a communication tool to deliver the authors' / writers' message. the artistry in the forms lies in their ability to stay invisible and be easy to read. But their 'uniqueness' and how that difference translates to the printed page. There are many ways of looking at letterforms. We can look at the beauty of the individual letters themselves. Commenting on the curves of a upper case 'A' or a lower case letterform. Or we can look at them as a 'unit' and how that translates within a block of written text. It is this uniqueness that I am looking for in the fonts I design. I do look at each individual letterform and revel in the beauty of the forms and lines. But I also want to create a Font that when written out will display some unusual and unexpected characteristics when in a large block of text. Look for different line weights and forms in my font glyphs. The idea here is to allow the printed page to display uniqueness in contrast.