Colophon is an old art of acknowledging and recording the specifics of a publication. I mainly use it for recording the typeface used and printing information. I use a limited set of typefaces that I use over and over again. Do note the the following have been copied from published works and pertain to publishing details.

Tafsīr al-Tustarī is set in Minion Pro, an Adobe typeface designed by Robert Slimbach and released in 2000. Minion Pro is inspired by classical, old style typefaces of the late Renaissance, a period of elegant and highly readable type designs. It combines the aesthetic and functional qualities that make text type highly readable for computerized typesetting needs. The type was modified to create additonal glyphs needed for the composition of this work.

Printed on acid-free, Glatfelter offset 50 # extra bulk off-white paper made by the Glatfelter corporation of York, Pennsylvania. It provides superior opacity, print clarity, and meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). It was printed by the Friesens Corporation of Altona, Manitoba, Canada and perfect bound in Mohawk Loop Linen cover.

Marvels of the Heart is set in Minion Pro, an Adobe typeface designed by Robert Slimbach and released in 2000. Minion Pro is inspired by classical, old style typefaces of the late Renaissance, a period of elegant and highly readable type designs. It combines the aesthetic and functional qualities that make text type highly readable for computerized typesetting needs.

Printed on acid-free, Glatfelter offset 50 # extra bulk off-white paper made by the Glatfelter corporation of York, PA. It provides superior opacity, print clarity, and meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper). It was printed by the Friesens Corporation of Altona, Manitoba, Canada and perfect bound in 10 point full-color cover stock.

The main text was set in 11/14 Adobe Caslon Pro designed by Carol Twombly. for the Adobe Corporation. William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770.

Chapter headers are set in 14/16 Optima a humanist sans-serif typeface designed by Hermann Zapf in 1952, was released 1958 by the D. Stempel AG typefoundry in Frankfurt. It is an unusual sans-serif type. whose letters were based on the Golden Section and developed after studies and sketches done in Italy in 1950.

Drop caps are set in Brioso Pro, an adobe typeface designed by Robert Slimbach in 2002, this energetic type is modeled on his formal roman and italic script. In the modern calligrapher’s repertoire of lettering styles, roman script is the hand that most closely mirrors the oldstyle types that we commonly use today; it is also among the most challenging styles to master. Named after the Italian word for “lively,” Brioso moves rhythmically across the page with an energy that is tempered by an ordered structure and lucidity of form.

Title is set in Trajan Pro an adobe typeface designed by Carol Twombly in 1989. Trajan is an elegant typeface based on the inscription on the base of the Trajan column in Rome is an example of classic Roman letterforms, which reached their peak of refinement in the first century A.D. Since the inscription and its writing form manifests in only one case, Trajan is an all-capitals typeface.

Journey to God is set in Adobe Garamond Pro, an Adobe typeface designed by Robert Slimbach and released in 2000. Adobe Garamond Pro is a contemprary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon. Adobe Garamond Pro is an entirely new interpretation of Garamond’s designs based on the large range of unique sizes found in the Plantin-Moretus Museum in Antwerp, Belgium. Garamond, a French punchcutter, produced a refined array of book types in the mid-1500s that combined an unprecedented degree of balance and elegance, and stand as a pinnacle of beauty and practicality in typefounding. Robert Granjon designed some of the most beautifil italics that have a more sloped and energtic look that is both dynamic and practical. By modeling Garamond Premier Pro on these hand-cut type sizes, Slimbach has retained the varied optical size characteristics and freshness of the original designs, while creating a practical twenty-first century type family.

OLDER VERSIONS:

This volume is typeset in Adobe Minion Pro, a typeface designed by Robert Slimbach. The OpenType version was released in 2000. Minion Pro is inspired by classical, old style typefaces of the late Renaissance, a period of elegant and highly readable type designs. It combines the aesthetic and functional qualities that make type highly readable for text publishing needs. The main text of this volume was typeset in 11/13 point. The titles were set in Brioso Pro also by Robert Slimbach. The typefaces were modified to create additional glyphs needed for the transliteration needs of the Journal.

This volume of the Journal is typeset in Minion Pro, an Adobe typeface designed by Robert Slimbach. The OpenType version was released in 2000. Minion Pro is inspired by classical, old style typefaces of the late Renaissance, a period of elegant and highly readable type designs. It combines the aesthetic and functional qualities that make text type highly readable for computerized typesetting needs. The Minion Pro typeface was customized by Muhammad I. Hozien with asistance from Valerie J. Turner using Fontlab Studio 5 to create additional glyphs needed for the transliteration system of the Journal. The main text of this volume was typeset in Minon Pro 11/13 point with titles in Chronos Pro using Adobe InDesign CS3 on a Mac by Muhammad I. Hozien.

Typeset in Gentium (Latin: of the nations), an open source Unicode serif typeface designed by Victor Gaultney and released under the SIL Open Font License. Gentium is a typeface family designed to enable the diverse ethnic groups around the world who use the Latin and Greek scripts to produce readable, high-quality publications. It supports a wide range of Latin-based alphabets and includes glyphs that correspond to all the Latin ranges of Unicode. The design is intended to be highly readable, reasonably compact, and visually attractive.

 

Design by Themocracy