Even more » Account Options. Sign in; Search settings.Knowing Where a Scotch Was Made Can Help You Know If You'll Like It. For years I was convinced I hated scotch. Then one day someone talked me into doing a massive side- by- side tasting of some single- malts and I realized that I don’t hate scotch, I’m just not a fan of scotch from one specific region of Scotland (and consequently blends that use a heavy amount of scotch from that region). Scotch, or just “whisky” (yes, without the e) in Scotland, is made all over the country, but where it’s made has a huge impact of what it tastes like. Find phone numbers, addresses, maps, driving directions and reviews for Gauteng in South Africa. Use YellowPages.co.za business listings for local, reliable results. Major Currency Pairs Forex Quotes - forex.tradingcharts.com forex.tradingcharts.com/quotes/major ![]() If you’re just getting into scotch and know a brand you’ve already enjoyed, you might want to give another whisky from that same region a try. Think of it like the difference between a wine from France and one from Napa, except you’re looking at the same country. Where a distillery gets its ingredients, the water it uses, and the weather while the whiskey is aging can all have an impact on the flavor of the final product and can determine whether or not you’ll like it. You can get super nerdy about this topic, but since this isn’t a drink blog I’m going to break down a few of the different regions on a super basic level (read: whisky connoisseurs, this post probably isn’t for you). Depending on who you ask, the Islands and Campbelltown should also be included on this list, but since they’re exceptionally small (and single malts from these regions are hard to find) I’ve omitted them for clarity’s sake. If you’re just getting into scotch and know a brand you’ve already enjoyed, you might want to give another whisky from that same region a try. Likewise, if you’re like me and think you dislike scotch, scope out some of the other regions—you might be surprised at how much more you like them. Highland. Whiskies from this region are known for being full- bodied, with notes of smoke and peat. When you taste these, they tend to have a sweet start, and then finish dry. Popular distilleries from this area include Aberfeldy, Deanston, Edradour, Royal Brackla, and Glenmorangie. Highland whisky tends to be my favorite. Speyside. Speyside is the king of the whisky regions in Scotland, and where the majority of distilleries are located in the country. While technically part of the Highlands, Speyside earned a region all of its own due to the distinctive taste of whisky made here, which are slightly sweet with fruit flavors and occasionally hints of smoke and peat. The region gets its name from the river Spey, which runs through the area. Popular distilleries here include Glenlivet, Macallan, Glenfiddich, Glenfarclas, and Aultmore. Islay. If you like smoke, then Islay is the region for you. The area is known for its smoky whisky, which is thought to be in part due to the high winds in the area. Whiskies from this area are dry and peaty, a flavor they get from the peat they use to malt the barley during the process of making the whisky. Popular distilleries in this area include Bowmore, Lagavulin, Ardbeg, and Port Ellen. Lowland. There are only a few distilleries operating in this region, and whisky tends to be light bodied with a dry finish. If you’re just getting into scotch whisky, these can be a great way to get started. A lot of the whisky made in this region ends up in blends, but popular single malt options include Glenkinchie, Littlemill, Rosebank, and St Magdalene.
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Sans- serif - Wikipedia. From left to right: a serif typeface with serifs in red, a serif typeface and a sans- serif typeface. In typography and lettering, a sans- serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called . In most print, they are often used for headings rather than for body text. On lower- resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word sans, meaning . One of these outmoded terms for sans serif was gothic, which is still used in East Asian typography and sometimes seen in font names like Century Gothic, Highway Gothic, or Trade Gothic. Sans- serif fonts are sometimes, especially in older documents, used as a device for emphasis, due to their typically blacker type color. Classification. Influenced by Didone serif fonts of the period and signpainting traditions, these were often quite solid, bold designs suitable for headlines and advertisements. The early sans- serif typefaces often did not feature a lower case or italics, since they were not needed for such uses. They were sometimes released by width, with a range of widths from extended to normal to condensed, with each style different, meaning to modern eyes they can look quite irregular and eccentric. The terminals of curves are usually horizontal, and many have a spurred . Capitals tend to be of relatively uniform width. Cap height and ascender height are generally the same to create a more regular effect in texts such as titles with many capital letters, and descenders are often short for tighter linespacing. Akzidenz Grotesk Old Face, Knockout, Grotesque No. Monotype Grotesque are examples of digital fonts that retain eccentricities of early sans- serif types. They are relatively straightforward in appearance with limited width variation. Unlike earlier grotesque designs, many were issued in extremely large and versatile families from the time of release, making them easier to use for body text. Similar to grotesque typefaces, neogrotesques often feature capitals of uniform width and a quite 'folded- up' design, in which strokes (for example on the 'c') are curved all the way round to end on a perfect horizontal or vertical. Helvetica is an example of this. Others such as Univers are less regular. Neo- grotesque type began in the 1. International Typographic Style, or Swiss style. Its members looked at the clear lines of Akzidenz Grotesk (1. In 1. 95. 7 the release of Helvetica, Univers, and Folio, the first typefaces categorized as neo- grotesque, had a strong impact internationally: Helvetica came to be the most used typeface for the following decades. Other, later neo- grotesques include Unica, Imago and Rail Alphabet, and in the digital period Acumin, San Francisco and Roboto. The 'M' is often splayed and the capitals of varying width, following the classical model. Of these four categories, geometric fonts tend to be the least useful for body text and often used for headings and small passages of text. The geometric sans originated in Germany in the 1. Many geometric sans- serif alphabets of the period, such as those created by the Bauhaus art school (1. Designs considered geometric in principles but which are less descended from the Futura/Erbar/Kabel tradition include Bank Gothic, DIN 1. Eurostile and Handel Gothic. Humanist. Many have true italics rather than an oblique, ligatures and even swashes in italic. Sans-serif font: Serif font: Serif font (red serifs) In typography, a serif (/ Download fonts, free fonts, zephyr font, microsoft fonts, gothic fonts, scary fonts and graffiti. More 40 000 fonts on 911fonts.com! Purchase downloadable Adobe Type fonts for commercial use from best online collection. Try fonts from selection of high quality & professional desktop and web fonts. A spacious, modern version of a classic mid-century font, the Century Gothic design embodies the digital age with its sleek sans serif style, but still. Gothic Fonts - Page 1. 1001 Free Fonts offers a huge selection of free fonts. Download free fonts for Windows and Macintosh. Search Free Fonts has largest Free Fonts selection on the web. Over 13000 free fonts for Windows and Mac available to download. Free Fonts are categorized and sorted. Free-fonts-download.com Free Fonts Download for Windows and Mac. Best 100% Free Fonts collection for free downloading. Highest quality font for personal and. One of the earliest humanist designs was Edward Johnston's Johnston typeface of c. Gill Sans (Eric Gill, 1. Edward Johnston, a calligrapher by profession, was inspired by classic letter forms, especially the capital letters on the Column of Trajan. These include most popularly Hermann Zapf's Optima (1. Some humanist designs may be more geometric, as in Gill Sans and Johnston (especially their capitals), which like Roman capitals are often based on perfect squares, half- squares and circles, with considerable variation in width. These somewhat architectural designs may feel too stiff for body text. Others such as Syntax, Goudy Sans and Sassoon Sans more resemble handwriting, serif fonts or calligraphy. Frutiger, from 1. ![]() The category expanded greatly during the 1. Helvetica and Univers and also due to the need for legible fonts on low- resolution computer displays. Humanist sans- serif designs can (if appropriately proportioned and spaced) be particularly suitable for use on screen or at distance, since their designs can be given wide apertures or separation between strokes, which is not a conventional feature on grotesque and neo- grotesque designs. Other/mixed. For example, Neuzeit S has both neo- grotesque and geometric influences, as does Herman Zapf's URW Grotesk. Sans- serif fonts intended for signage, such as Transport and Highway Gothic used on road signs, may have unusual features to enhance legibility and differentiate characters, such as a lower- case . ![]() The strokes vary in width considerably. A particular subgenre of sans- serifs is those such as Rothbury, Britannic, Radiant and National Trust with stroke contrast, which have been called 'modulated' sans- serifs. They are nowadays often placed within the humanist genre, although they predate Johnston which started the modern humanist genre. These may take inspiration from calligraphy or painted lettering, grotesque or humanist fonts. However, Roman square capitals, the inspiration for much Latin- alphabet lettering throughout history, had prominent serifs. As a result, printing done in the Latin alphabet for the first three hundred and fifty years of printing was . Thus, Thomas Dempster's De Etruria regali libri VII (1. Etruscan epigraphy, and in c. Caslon foundry made Etruscan types for pamphlets written by Etruscan scholar John Swinton. The lettering style apparently became referred to as . Historian James Mosley, the leading expert on early revival of sans- serif letters, has written that . This makes tracing the descent of sans- serif styles hard, since a trend can arrive in the dated, printed record from a signpainting tradition which has left less of a record or at least no dates.) Around 1. Ordnance Survey began to use 'Egyptian' lettering, monoline sans- serif capitals, to mark ancient Roman sites. This lettering was printed from copper plate engraving. Much less influenced by classical models than the earliest sans- serif lettering, Figgins' type became extremely popular for commercial use. These were quite different in design, arrestingly bold and similar in aesthetic to the slab serif and . Intended for advertising, these typefaces, often display capitals, became very successful. Select headlines are in a sans- serif typeface. Sans- serif lettering and fonts were popular due to their clarity and legibility at distance in advertising and display use, when printed very large or very small. Because sans- serif type was often used for headings and commercial printing, many early sans- serif designs did not feature lower- case letters. Simple sans- serif capitals, without use of lower- case, became very common in uses such as tombstones of the Victorian period in Britain. In 1. 92. 2, master printer Daniel Berkeley Updike described sans- serif fonts as having . It was marketed as a sophisticated refinement of earlier sans- serifs, taking inspiration from Roman capitals and designer Eric Gill's experience carving monuments and memorials. As Updike's comments suggest, the more constructed humanist and geometric sans- serif designs were viewed as increasingly respectable, and were shrewdly marketed in Europe and America as embodying classic proportions (with influences of Roman capitals) while presenting a spare, modern image. A purely geometrical form of type is unsustainable. Futura’s capitals are inspired by Roman square capitals, with considerable variation in width. Helvetica’s are more uniform in width, following the grotesque model. Different designers have expressed different opinions on which style is preferable. By the 1. 96. 0s, neo- grotesque fonts such as Univers and Helvetica had become popular through reviving the nineteenth- century grotesques while offering a more unified range of styles than on previous designs, allowing a wider range of text to be set artistically through setting headings and body text in a single font. News Gothic, a 1. Gothic Italic no. Didone serifs of the period. An exception was the typefounder Thorne, who confused things by marketing his Antique under the name 'Egyptian'. In France it became Egyptienne, and to worsen the confusion, the French called sans- serif type 'Antique'. The name came from the Italian word 'grottesco', meaning 'belonging to the cave'. In Germany, the name became Grotesk. German typefounders adopted the term from the nomenclature of Fann Street Foundry, which took on the meaning of cave (or grotto) art. Caslon Foundry in Chiswell Street in 1. Eventually the foundry used Sans- serif in 1. At that time, Doric referred to a certain kind of stressed sans- serif types. Gothic: Not to be confused with blackletter typeface, the term was used mainly by American type founders. Perhaps the first use of the term was due to the Boston Type and Stereotype Foundry, which in 1. It is believed that those were the first sans serif designs to be introduced in America. The term probably derived from the architectural definition, which is neither Greek nor Roman. Wood (1. 86. 5), Lothian, Conner, Bruce Mc. Kellar. Although the usage is now rare in the English- speaking world, the term is commonly used in Japan and South Korea; in China they are known by the term heiti (Chinese: . Later, in British Standards Classification of Typefaces (BS 2. Simplices: In Jean Alessandrini's d. The Open. Document format (ISO/IEC 2. Rich Text Format can use it to specify the sans- serif generic font family name for a font used in a document. Particular attention is given to unusual uses and more obscure fonts, meaning this gallery should not be considered a representative sampling. Source Sans Pro Font Free by Adobe » Font Squirrel. Source Sans Pro Extra. Light. Source Sans Pro Extra. Light Italic. Source Sans Pro Light. Source Sans Pro Light Italic. Source Sans Pro Regular. Source Sans Pro Italic. Source Sans Pro Semibold. Source Sans Pro Semibold Italic. Source Sans Pro Bold. Source Sans Pro Bold Italic. Source Sans Pro Black. Source Sans Pro Black Italic. Source Sans Pro Extra. Light. Source Sans Pro Extra. Light Italic. Source Sans Pro Light. Source Sans Pro Light Italic. Source Sans Pro Regular. Source Sans Pro Italic. Source Sans Pro Semibold. Source Sans Pro Semibold Italic. Source Sans Pro Bold. Source Sans Pro Bold Italic. Source Sans Pro Black. Source Sans Pro Black Italic. SIL Open Font License v. This license can also be found at this permalink: https: //www. Copyright 2. 01. 0, 2. Adobe Systems Incorporated (http: //www. Reserved Font Name . All Rights Reserved. Source is a trademark of Adobe Systems Incorporated in the United States and/or other countries. This Font Software is licensed under the SIL Open Font License, Version 1. This license is copied below, and is also available with a FAQ at: http: //scripts. OFL—————————————————————————————- SIL OPEN FONT LICENSE Version 1. February 2. 00. 7—————————————————————————————- PREAMBLEThe goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others. The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives. 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