20 Typefaces

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KATHRYN BELL / DESIGNER

20 safeyt ecpC

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TABLE OF CONTENTS / USER INFORMATION

BDEG IJKLMCASLON / 5

CHELTENHAM / 7

HELVETICA NEUE / 21

BASKERVILLE / 1 BERKELEY / 3

FEUROSTILE / 9

FILOSOFIA / 11 FRUTIGER / 1

3 FUTURA / 15

GARAMOND / 17 G

ILL SANS / 19

INTERSTATE / 23

MELIOR / 25 M

ETA PLUS / 27

MINION / 29 M

RS. EAVES / 3

1

CA

TS

The table of contents is

designed with the content

highlighted in alphabetical

order in blue. As the 20

Typefaces book is flipped

through, this same mental-

ity is used throughout each

page. Using highlights of

blue to identify specific

characteristics of each

typeface featured. Each

highlighted letter may refer

to a typeface family fact or

a specified letter fact. So,

may your eyes follow the

enthusiastic and energetic

alphabet as it spans across

each page, revealing key

points about each typeface.

Quiz yourself on how well

you can identify a typeface

by using the front and back

cover’s alphabet as a test!

NOPR U WV XYZPALATINO / 3

3

MELIOR / 25 M

ETA PLUS / 27

MINION / 29 M

RS. EAVES / 3

1

ROCKWELL / 35

TRADE GOTHIC / 37

UNIVERS / 39

Q

BASKERVILLE’S LOWERCASE

HEAD-SERIFS ARE OBLIQUED.

B askerville’s typeface

family is a modern design

of the original types cut

in 1762 by British type

founder and printer John

Baskerville. During the

centuries since its creation,

Baskerville has remained

one of the world’s most

widely used typefaces.

Baskerville was created

for setting books, and its

modern revivals are mainly

suited to the setting of

continuous text. Uses like

Magazines, booklets, bro-

chures and pamphlets are

naturally seen. Its is also a

very legible design, with a

genial, attractive feel. More

than merely easy to read,

New Baskerville is inviting

to the reader. The 1978

high-contrast, sparkly look

of ITC New Baskerville is

well-suited to longer texts

and display uses.

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New Baskerville Roman New Baskerville Small Caps

ItalicItalic Old Style Figures

BoldBold ItalicBold Italic Old Style FiguresBold Small Caps

F BASKERVILLE’S WEIGHT

STRESS IS VERTICAL.

THE SUBTLE TRANSFER OF STROKE

WEIGHT FROM THICK TO VERY THIN.

ELEGANT SERIFS ARE

HEAVILY BRACKETED.

WRO

8/9 The et ditionem. Im etum qui unt faccati quo is ma eostia testo con conet autatem intupim hilluptium hi millore sernam, eossequas etque debis minihill upta perore porq reprem quis nons ectiate ni duci a doluptas aaligent. Iaectae volor fugit, sus dent eario. Ut ipid ut df idusdam asimusam, id expla accum quis eum et labori ipida foree quiae. Non niminullum por earum net volorrum faceperes aut exped quibus, qui ut elit, op mos modis aut et ut quo od que velique et autempo repr. Aci vol caepro por quae pudandic totam usali cias untotat urisque dolupta cust lare veniscia qui con res reptia nons quis santium fuga.

11/12 The et ditionem. Im etum qui unt faccati quo is machuo eostiate sto con conet velique et autempo repr. Equatus estota solorio. Itam esto hil maximus. Edicat et pre nihit omnim fuga. Nemoluptatia dignia de nihillatibus del et auiot viducitiunt exel abo por repudam ut idu el quic orere volenitat as resed it lame se molorro enim quibeaq uaeper busexp el perorep rano rentur. Ella nt volidis.

9/10 The et ditionem. Im etum qui uint faccati quoa is maes tiatesto con conet auatem int hilluptium hilo millore sernam, eossequas et que debis minihillupta de perore. Reprem quis nonsec tiate ni ducia doluptas porso aligent iaectae volorem fugi te, sus dent eario. Ut ipid ut idu dam asimusam, id expla bo. Accum quis eum et labor ipid quiae. Non niminu qui lum earum net volorrum fac por peres aut exped quibus, qui ut elit, ommos modis aut su et ut quo odela que veliq ut de et autempo repr. Uga Roratus de maximpo.

10/11 The et ditionem. Im etum qui unt faccati qiauo is ma eostiatesto con conet autatem inte hillup tium por hil milo lorepre sernam, eosseq uas etque debis minihupa llupta el perore repremqu dela quis nonsectiate ni ducia doluptas aligent. Iaectae te volorem fugit, sus dent del eario. Utipid ut idusdam asimusam, explabo. Pel Accum quis eum et la upa ori ipid es quiae. Non nimi in nulu mi earum net vol orru muca faceperes.

NEW BASKERVILLE / TRANSITIONAL / MATTHEW CARTER & JOHN QUARANTA / 2

BASKERVILLE’S WEIGHT

STRESS IS VERTICAL.

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P

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3 / BERKELEY / OLDSTYLE / FREDERIC W. GOUDY

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SMOOTH WEIGHT TRANSITIONS

AND CLASSIC X-HEIGHT.

11/12 The et ditionem Im etum qui unt facatiquo is mucho eostiate sto deco nonet veliqu el por et aute mpo repr.Equatus estota solorio Itam hil maximus. Edic ateo pre nihit omnim a fuga. Nemolupt el tiaes dignia nihillatibus empde corque porque del et aut vidu citiunt exel aboioe el repuda mucho idequsu sico orere por volie el ace n edo tat as resed itupde lilame se molorro.

9/10 The et ditionem. Im etum qui unt faccati quo i ma eostiat esto con coneto autatem int hilluptium hile millore sernam, peos olqu que debis minihil lupta pe del perore. El reprem quis nonsecti ate ni ducia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, id expla bo. Accum quis odel eum eta labori ipid elp quiae. Por Non niminullum earum net volorum facepe res del nume aut exped fac quibus por por qui ut elit.

10/11 The et ditionem. Im etum qui unt faccati quo is maq eostia testop con conet autatem intala hilluptium hiopel millore sernam, eos seq uasde te tique doebis minihilupta perore reprem quisd del nonsectiate nique duciael poraldo louptas pali gent. por iaectae volorem tar fugit, sus dent eario. Ut ipid ut idusdam asimusa amimo, id explabo. Accu quis eum et labori ipid tu quiae. Non niminullum earum net volo rrum. Aut exped quibus.

8/9 The et ditionem. Im etum qui unt faccati quo is el mano eates con conet autiatem inta hiluptium hil millore serao se nam, eossequ et que debis minihillupta perore reprem el quis nonsectiate ni du cia por doluptas aligent. iaectaev olo rem fugit, sus dent eariout el ipid utop idusdam asimusam, ex pla bo. Accum quis eum etp labori ipid quiae. Non niqueo nullumpo earum net volorrumto faceperes at exped quibus, de qui ut elit, que ommos modis hoss aut daet ut quo que veliqueel et por autempo repr. Aci gran volea epro el quae pud andic to totamus alicias untotat uris que dolupta cust veniscia. qui conru res reptiano nsequis el santium. Fuga paribus, arum nem. Ut laccum duntum a cus in. exet vendia vitae libus.

CHARACTERIZED BY ITS

CALLIGRAPHIC W

EIGHT STRESS.

FTHE W

HOLE FAMILY INCLUDES

TEXT COLOR THAT IS LIG

HT

AND INVITIN

G.

Berkeley was originally

designed under the name

of, Californian, Frederic W.

Goudy in 1938 for the

University of California

press. The UC Press still

owns the original typeface,

and the 1983 ITC version is

a careful redrawing by Tony

Stan. It has the flavor of

several other Goudy designs.

This is a typeface designed

for text applications, and

therefore, close attention was

paid to the relationships of

the weights. Styles like Book

and Medium are close to

each other in weight, with

larger jumps to the Bold and

the Black, used for emphasis

and contrast.

NOPQRSTU WV XYZ7?98

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Berkeley Black

Berkeley Black Italic

Berkeley Bold

Berkeley Bold Italic

Berkeley Book

Berkeley Book Italic

Berkeley Italic

Berkeley Medium

AMPLE ASCENDERS AND DESCEND-

ERS CREATE GREAT CHARACTER

LEGIBILITY.

SMALLER THAN MOST OTHER IT

C

DESIGNS OF THE PERIO

D.

THE “A” IS CONCAVE AND

HOLLOW AT THE APEX.

C aslon is based on the type designs of William Caslon, circa 1725. These in turn had been influenced by the Dutch types of the late seventeenth century.

Although old style in nature they have less stress than some of the earlier faces of the genre. The Adobe Caslon font family was based on specimen pages printed by Caslon between 1734 and 1770. Adobe Caslon is of good use for text setting in books, magazines and also advertising. The Caslon of Carol Twombly appeared with Adobe in 1990. It is relatively true to the original Caslon, although Twombly’s interpretation is better suited to longer texts. Adobe Caslon, with its ligatures, old style figures and swash letters, makes an elegant and classic impression.

THE G IS WITHOUT A SPUR.ABCDEGHIJKLMa

b lkhgfdc m 10jie65432

Regular Regular Small Caps


BoldBold ItalicBold Italic Old Style FiguresBold Old Style Figures

Semi Bold Semi Bold ItalicSemi Bold Italic Old Style FiguresSemi Bold Italic Small Caps

F

WRO

8/9 The et ditionem. Im etum qui unt faccati quo is ma eostia testo con conet autatem intupim hilluptium hi millore sernam, eossequas etque debis minihill upta perore porque reprem quis nons ectiate ni duci a doluptas aaligent. Iaectae volor fugit, sus dent eario. Ut ipid ut df idusdam asimusam, id expla accum quis eum et labori ipida foree quiae. Non niminul lum por earum net volorrum faceperes aut exped quibus, qui ut elit, op mos modis aut et ut quo od que velique et autempo repr. Aci vol caepro por quae pudandic totam usali cias untotatose urisque dolupta cust lare veniscia qui con res reptia nons quis santium fuga.labori ipida foree quiae. Non niminul lum por earum net volorrum faceperes aut exped quibus, qui ut elit, op mos modis aut et ut quo od que velique et autempo repr. Aci vol caepro por quae pudandic totam usali cia.

11/12 The et ditionem. Im etum qui unt faccati quo is machuo eostiate sto con conet velique et aute po repr. Equatus estota solorio. Itam esto hil maxi mus. Edicat et pre onihit omnim fuga. Nemoluptatia dignia de nihillatibus del et auiot viducitiunt exel abo por repudam ut idu el quic orere volenitat as resed un it lame se molorro enimqu quibeaq uaeper busexp el perorep rano rentur. Ella nt volidis graciaous.

9/10 The et ditionem. Im etum qui uint faccati quoa is maes tiatesto con conet auatem int hilluptium hilo millore que sernam, eossequas et que debis minihillupta de perore. Reprem quis nonsec tiate ni ducia loco doluptas porso aligent iaectae volorem fugi te, sus dent eario. Ut ipid ut idu dam asimusam, id expla bo. Accum quis eum et labor ipid quiae. Non niminu qui lum earum net volorrum fac por peres aut exped quibus, qui ut elit, ommos modis aut su et ut quo odela que veliq ut de et autempo repr. Uga Roratus de maxi mpo porque.

10/11 The et ditionem. Im etum qui unt faccati qiauos is ma eostiatesto con conet autatem inte hilluptium por hil milo lore sernam, eosseq uas etque debis minihupa llupta perore repremqu dela quis nonsectiate ni ducia el doluptas aligent. Iaectae te volorem fugit, sus dent del eario. Utipid ut idusdam asi musam, explabo. Pel Accum quis eum et la upa ori ipid es quiae. Non nimi in nulu mi earum net vol orru muca faceperes non ducia.

CHARACTERS A, V, AND W

HAVE AN ACUTE SLANT.

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PTHE ITALIC LOWERCASE

LETTERS P, Q, V, W

, AND Z ALL

HAVE A SUGGESTION OF A SWASH.

CASLON / OLD STYLE / CAROL TWOMBLY / 6

H

7 / CHELTENHAM / CLARENDON / TONY STAN


COUNTERS ARE NOW MORE OPEN

COMPARED TO THE ORIGINAL VERSION.

11/12 The et ditionem Im etum qui unt facati quo is mucho eostiate sto decon conet veliqu el por et autempo repr.Equatus estota solorio Itam hil maximus. Edic ateo pre nihit omnim a fuga. Nemolupt el tiaes dignia nihillatibus emp deco porque del et aut vidu citiunt exel aboioe el repuda mucho idequ sico orere por volie el ace n edo tat as resed itup lilame se molorro.

9/10 The et ditionem. Im etum qui unt faccati quo i ma eostiatesto con coneto auta tem int hilluptium hile millore sernam, peos olqu que debis minihil lupta pe del perore. El reprem quis nonsecti ate ni ducia dolu tas alige iaectae el v asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, explabo. Accum quis odel eum eta labori ipid elp quiae. Por Non niminullum earum net volorrum facepe res del nume aut exped fac quibus por por qui ut elit.

10/11 The et ditionem. Im etum qui unt faccati quo is maq eostia testop con conet autatem intala hilluptium hiopel millore sernam, eosseq uasde te tique doebis minihilupta perore reprem quisd del nonsectiate nique duciael poraldo louptas paligent. por iaectae volorem tara fugit, sus dent eario. Ut ipid ut idusdam asimusa amimo, id explabo. Accu quis eum et labori ipid tu quiae. Non niminullum earum net volorrum. Aut exped quibus.

8/9 The et ditionem. Im etum qui unt faccati quo is el mano eates con conet autiatem inta hiluptium hil millore serao se nam, eossequas et que debis minihillupta perore reprem el quis nonsectiate ni du cia por doluptas aligent. iaectaev olo rem fugit, sus dent eariout el ipid utop idusdam asimusam, explabo. Accum quis eum etp labori ipid quiae. Non niqueo nullum earum net volorrumto faceperes at exped quibus, de qui ut elit, ommos modis hoss aut daet ut quo que veliqueel et por autempo repr. Aci gran volea epro el quae pud andic to totamus alicias untotat uris que dolupta cust veniscia. qui conru res reptiano nsequis el santium. Fuga paribus, arum nem. Ut laccum duntum a cus in. exet vendia vitae libus.

A LARGER X-HEIGHT IS FEATURED.

F

THE TYPEFACE HAS NO ELEGANT

SENSUOUS LINES OR SUBTLE CURVES.

Cheltenham ITC, in its

present form, is the work

of designer Tony Stan. But

was originally designed by

architect Bertram Goodhue.

It was expanded by Mor-

ris Fuller Benton and

completed by Stan in 1975

with a larger x-height and

improved italic details. This

dramatically improved the

aesthetics of the face. ITC

Cheltenham is an example

of a modern yet classic

typeface. In its lighter

weights a monotone look

appears, while the bolder

designs are rich and dark

on the page. The original

Cheltenham is classified as

an old style serif typeface,

and was designed in 1896

by Bertram Grosvenor

Goodhue and Ingalls

Kimball for use by a New

York publisher. It is not

based on a single historical

model, and shows some

influences of the Arts and

Crafts Movement.

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Book

Book Condensed

Book Condensed Italic

Book Italic

Light

Light Condensed

Light Condensed Italic

Light Italic

Ultra

Ultra Condensed

Ultra Condensed Italic

Ultra Italic

Bold

Bold Condensed

Bold Condensed Italic

Bold Italic

THE LOWERCASE PROPORTIONS ARE

IN KEEPING WITH THE CAPS.

EUROSTILE HAS AN ULTRA

NARROW DESIGN.

Eurostile is based on geometric shapes and was designed by Aldo Novarese in 1962. Novarese originally made Eurostile for one of the best-known Italian

foundries, Nebiolo, in Turin. Eurostile was developed, because although the similar Microgramma came with a variety of weights, it only had capital letters. So, a decade after the creation of Microgram-ma, Novarese remade this with the creation of Eurostile, which added lower-case letters, a bold condensed variant and an ultra narrow design. This narrow design was referred to as Eurostile Compact, for a total of seven fonts. It has found some popularity in contemporary graphic design, as well as in science fiction novel and film artwork.

ITS LINEAR NATURE SUGGESTS

MODERN ARCHITECTURE.

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Eurostile CondensedObliqueExtended Two

BoldBold CondensedBold Extended TwoBold Oblique

DemiDemi Oblique

F

WRO

8/9 The et ditionem. Im etum qui unt faccati quo is ma eostia testo con conet autatem intupim hilluptium hi millorese erno lam, eossequas etque tu debis minihill upta perore porq reprem quis nons ectiate ni duci a doluptas aaligent. Iectae volor fugit, sus dent eario. Ut ipid ut df idusdam asimusam, id expla accum quis eum et labori ipida foree quiae. Non niminullum por earum net volorrum faceperes aut exped quibus, qui ut elit, op mos modis aut et ut quo od que velique et autempo repr. Aciop vol caepro por quae pudandic totam usali cias untotat urisque dolupta cust lare veniscia qui con res reptia nons quis san-tium fuga.

11/12 The et ditio nem. Im etum qui unt faccati quo is machuo eostiate sto con conet velique et aute empo repr. Equatus estota solorio. Itam esto hil maximus. Edicat etpo pre nihit omnim fuga. Nemoluptatia dignia de nihillatibus del et auiot viducitiunt exel abobo por repudam ut idupy el quic orere volenitat as resed it lame sew molorro enim quibeaq uaeper busexp el per orep rano rentur. Ella nt volidis.

9/10 The et ditionem. Im etum qui uint faccati quoa is maes tiatesto con conet auatem int hillupti um hilo millore sernam, eossequas et que debis minihillupta de perore rep rem quis nonsec tiatenio ducia doluptas porso alig ent iaectae volorem fugi te, sus dent eario. Ut ipid ut idu dam asimusam, id expla bo. Accum quis eum et labor ipid quiae. Nonp niminu qui lum earum net volorrum fac por peres aut exped quibus, qui ut elit, tu ommos modis aut su et ut quo odela que veliq ut de eautempo repr. Uga Roratus de maximpo.

10/11 The et diti onem. Im etum qui unt faccati qiauo is mastia testo con conet autate m inte hilluptium porqu hil milo lore serna me, eosseq uas etque debis minihupa llupta perore repremqu dela quis por nonsectiate ni ducia do luptas aligent. Iaectae te volorem fugit, sus dent del eario. muca facepe res. perore repremqu dela quis nonsectiate ni ducia con conet.

EUROSTILE / SANS SERIF / ALDO NOVARESE / 10

THE SQUARISH SHAPES WITH ROUNDED

CORNERS EVOKE THE APPEARANCE OF

TELEVISION SCREENS.

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P

H

11 / FILOSOFIA / DIDONE / ZUZANA LICKO


11/12 The et ditionem Im etum qui unt facati quo is mucho eostiate sto decon conet veliqu el por et aute mpo repr.Equatus estota solorio Itam hil maximus. Edic ateo pre nihit omnim a fuga. Nemolupt el tiaes dignia nihillatibus emp deco porque del et aut vidu citiunt exel aboioe el repuda mucho idequ sico orere por volie el ace n edo tat as resed itup lilame se.

9/10 The et ditionem. Im etum qui unt faccati quo i ma eostesto con coneto autatem int hillutium hile millore sernam, peos olqu que debis minihil lupta pe del perore. El reprem quis nonsecti ate ni ducia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, id explabo. Accum quis odel eum eta labori ipid elp quiae. Por Non niminullum earum net volorrum facepe res del nume aut exped fac quibus por por qui ut elit.

10/11 The et ditionem. Im etum qui unt faccati quo is maq eostia testop con conet autate mi intala hilluptium hiopel millo re sernam, eosseq uasde te tique doebis minihilupta perore reprem quisd del non sectiate nique duciael poraldo louptas paligent. por iaectae volorem tara fugit, sus dent eario. Ut ipid ut idusdam asi musa amimo, id explabo. Accu quis eum et labori ipid tu quiae. Non niminullum earum net volorrum. Aut exped quibus.

8/9 The et ditionem. Im etum qui unt faccati quo is el mano eates con conet autiatem inta hiluptium hil millore serao se nam, eossequas et que debis minihillupta perore reprem el quis nonsectiate ni du cia por doluptas aligent. iaectaev olo rem fugit, sus dent eariout el ipid utop idusdam asimusam, explabo. Accum quis eum etp labori ipid quiae. Non niqueo nullum earum net volorrumto faceperes at exped quibus, de qui ut elit, ommos modis hoss aut daet ut quo que veliqueel et por autempo repr. Aci gran volea epro el quae pud andic to totamus alicias untotat uris que dolupta cust veniscia. qui conru res reptiano nsequis el santium. Fuga paribus, arum nem. Ut laccum dun tum a cus in. exet vendia vitae libus.

SLIGHTLY BULGING ROUND SERIF

ENDINGS ARE COMMONLY SEEN.

F GEOMETRIC TRIANGLES FORMED

BY THE ANGLES OF THE K. V, W,

AND MANY OTHER LETTERS.

CLEAN LINES AND GEOMETRIC SHAPES

ARE FEATURED AMOUNGST THE FAMILY.

Filosofia is Zuzana Licko’s 1996 interpretation of a Bodoni, incorporating features including bulging round serif endings which often appeared in printed

samples of Bodoni’s work and reflect Bodoni’s letter-press origin. The Filosofia Regular family is often for text application. It is a bit rugged with reduced contrast to withstand the reduction to text sizes. However, The Filosofia Grand family is often used for display applications and is therefore more delicate and refined. It does have stylistic variants to provide flexibility for headline use.

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Filosofia RegularFilosofia BoldFilosofia Italic

Filosofia Small Caps Filosofia UnicaseFilosofia Fractions

Filosofia GrandFilosofia Grand BoldFilosofia Grand Caps

ASCENDERS AND DESCENDERS

ARE VERY PROMINENT.

Frutiger is a sans-serif

typeface by the Swiss type

designer Adrian Frutiger.

The new typeface, originally

called Roissy, was finished

in 1975 and installed at

the airport the same year.

Frutiger’s goal is to create a

sans serif typeface with the

rationality and cleanliness

that Univers has, but to also

use the organic aspects and

proportions of Gill Sans.

The result is that Frutiger

is a distinctive and legible

typeface. Frutiger’s simple

and legible, yet warm and

casual character has made

it popular today in small

print and advertising. Some

major uses of Frutiger are in

the corporate identity. The

availability of many variants

and weights as well as its

excellent legibility make

Frutiger a very versatile

font. It can be used for any

thing that needs a distinct

and clean or modern look.

FRUTIGER HAS VARIOUS ANGLES,

SIZES, AND DISTANCES.

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Frutiger Roman

LightLight CondensedLight ItalicItalic

BoldBold CondensedBold Italic

BlackBlack CondensedBlack Italic

CondensedUltra Black CondensedExtra Black Condensed

F

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11/12 The et ditio nem. Im etum qui unt faccati quo is machuo eostiate sto con conet velique et autempo repr. Equatus estota solorio. Itam esto hil maximus. Edicat et pre nihit omnim fuga. Nemoluptatia dignia de nihillatibus del et auiot viducitiunt exel abo por repudam ut idu el quic orere vole nitat as resed it lame se molorro enim quibeaq uaeper busexp el pero rep rano rentur.

9/10 The et ditionem. Im etum qui uint faccati quoa is maes tiatesto con conet auatem int hilluptium hilo millore sernam, eossequas et que debis minihillupta de perore. Reprem quis nonsec tiate ni ducia dolu ptas porso aligent iaectae volorem fugi te, sus dent eario. Ut ipid ut idu dam asimusam, id expla bo. Accu mi quis eum et labor ipid quiae. Non niminu qui lum earum net volorrum fac por peres aut exped quibus, qui ut elit, ommos modis aut su et ut quo odela que veliq ut de et autempo repr. Uga Roratus de maximpo.

10/11 The et ditionem. Im etum qui unt faccati qiauo is ma eostiatesto con conet autatem inte hilluptium por hil milo lore sernam, eosseq uas etque debis minihupa llupta perore repremqu dela quis nonsectiate ni ducia doluptas aligent. Iaectae te volorem fugit, sus dent del eario. Utipid ut idusdam asimusam, explabo. Pel Accum quis eum et la upa ori ipid es quiae. Gratcia si prote muca faceperes.

FRUTIGER / HUMANIST SANS / ADRIAN FRUTIGER / 14

APERTURES ARE WIDE TO EASILY

DISTINGUISH LETTERS FROM EACH OTHER.

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P

H

15 / FUTURA / SANS SERIF / PAUL RENNER


THE LOWERCASE LETTE

RS HAVE TALL A

SCEND-

ERS, WHICH RISE ABOVE TH

E CAP LINE.

THE UPPERCASE CHARACTERS PRESENT

PROPORTIONS SIMILAR TO THOSE OF

CLASSICAL ROMAN CAPITALS.

11/12 The et ditinem Im etum qui unt facati quo is mucho eostiate sto decon conet veliqu el por et autempo repr.Equatus estota solorio Itam hil maximus. Edic ateo pre nihit omnim a fuga. Nemolupt el tiaes dignia nihillatibus emp deco porque del et aut vidu citiunt exel aboioe el repuda mucho idequ sico orere por volie el ace n edo tat as resed itup lilame se molorro.

9/10 The et ditionem. Im etum qui unt faccati quo i ma eostiatesto con coneto auta tem int hilluptium hile millore sernam, peos olqu que debis minihil lupta pe del perore. El reprem quis nonsecti ate nidu cia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, explabo. Accum quis odel eum eta labori ipid elp quiae. Por Non niminullum earum net volorrum facepe res del nume aut exped fac quibus por por qui ut elit.

10/11 The et ditionem. Im etum qui unt faccati Tue quo is maq eostia testope con conet autatem intala hilluptium hiopel millore sernam, eosseq uasde te tique doebis mini hiloupta perore reprem quisd del non sectiate nique duciael poraldo louptas paligent. por iaectae di volorem tara fugit, sus dent eario. Ut ipid ut idusdam asimusa amimo, id explabo. Accu quis eum et labori ipid tu quiae. Non niminullum earum net volo prum. Aut exped quibus.

8/9 The et ditionem. Im etum qui unt faccati quo is el mano eates con conet autiatem inta hiluptium hil millore serao se nam, eossequas et que debis minihillupta perore reprem el quis nonsectiate ni du cia por doluptas aligent. iaectaev olo rem fugit, sus dent eariout el ipid utop idusdam asimusam, expla bo. Accum quis eum etp labori ipid quiae. Non niqueo nullum earum net volorrumto faceperes at exped quibus, de qui ut elit, ommos modis hoss aut daet ut quo que veliqueel et por autempo repr. Aci gran volea epro el quae pud andic to totamus alicias unto tat uris que dolupta cust veniscia. qui conru res reptiano nsequis el santium. Fuga paribus, arum nem. Ut laccum duntum a cus in. exet vendia vitae libus.

F

PERFECT CIRCLES, SQUARES AND TRIANGLES

WITH EVEN STROKES ARE CREATED WITH

THE MAJORITY OF LETTERS

Futura was designed between 1924 and 1926 by Paul Renner. It is based on geometric shapes that became representative visual

elements of the Bauhaus design style. At first, the radical new look was controversial and considered grotesque. The newness made an impression. The bold design has perfect geometric shapes with low contrast, even strokes. Volkswagen adopted this font and still uses it today. The unconventional strict geometric outlines make Futura identifiable.

NOPQRSTU WV XYZ7 ?98 :;”,.! &on

tsrqp vu zyxw

ALMOST PERFECTLY ROUND

STROKE OF THE O.

Futura BookBook Oblique

Light Light ObliqueOblique

CondensedCondensed ObliqueCondensed Light ObliqueCondensed Light Condensed BoldCondensed Bold ObliqueCondensed Extra BoldCondensed Extra Bold Oblique

Extra Bold Extra Bold Oblique

HeavyHeavy Oblique

BoldBold Oblique

WEDGED SHAPED SERIFS ARE SEEN

THROUGHOUT THE FAMILY.

G aramond was first released by D. Stempel AG in 1925. Stempel Garamond was based on the Egenolff Berner specimen of 1592 and was therefore a revival

of the genuine Garamond types. It has been one of the most famous Garamond interpretations and since its introduction in 1925, it has been one of the most frequently used text fonts. Stempel Garamond has its own unique temperament, with its own rhythm and sharpness that set it apart from other Garamonds.

ABCDEGHIJKLMa

b lkhgfdc m 10jie65432

Roman Stemple Garamond Small Caps



FA HORIZONTAL CROSS BAR IS

SEEN ON THE LOWEVER CASE E.

A MORE UPRIGHT STRESS IS

FOUND ON THE “O”.

WRO

8/9 The et ditionem. Im etum unt faccati quo is ma eostia testo con conet autatem intupim hillup tium hi millore sernam, eossequas etque debis minihill upta perore porq reprem quis nons ectiate ni duci a doluptas aaligent. Iaectae volor fugit, sus dent eario. Ut ipid ut df idusdam asimusam, id expla accum quis eum et labori ipida foree quiae. Non niminullum por earum net volorrum faceperes aut exped quibus, qui ut elit, op mos modis aut et ut quo od que velique et autempo repr. Aci vol caepro por quae pudandic totam usalicias untotat urisque dolupta cust lare veniscia qui con res reptia nons quis santium fuga.


9/10 The et ditionem. Im etum qui uint faccati quoa is maes tiatesto con conet auat em int hilluptium hilo millore sernam, eossequas et que poco debis minihillupta de perore. Reprem quis nonsec tiate ni ducia doluptas porso aligent iaectae volorem fugi te, sus dent eario. Ut ipid ut idudam asimusam, id expla bo. Accum quis eum et labor ipid quiae. Non niminu qui lum earum net volorrum fac por peres aut exped quibus, qui ut elit, ommos modis aut su et ut quo odela que veliq ut de et autempo repr. Uga Roratus maximpo prowo.

10/11 The et ditionem. Im etum qui unt faccati qiauo is ma eosti atesto conet autatem inte hillu ptium por hil milo lore sernam, eosseq uas etque debis minihupa llupta perore repremqu dela el quis nonsectiate ni ducia doluptas aligent. Iaectae volorem fugit, sus dent del eario. Utipid ut idusdam asimusam, explabo. Pel Accum quis eum et la upa ori ipid es quiae. Non nimi in nulu mi earum net vol orru muca faceperes.

GARAMOND / OLD STYLE / CLAUDE GARAMOND AND STEMPEL STAFF / 18

N QSTUV XYZ7

?98 :;”,.!&ontsrqp vu zyxw

P

H

19 / GILL SANS / HUMANIST-SANS / ERIC GILL


11/12 The et ditionem Im etum qui unt facati quo is mucho eostiate sto decon conet veliqu el por et aute mpo repr.Equatus estota solorio Itam hil maximus. Edic ateo pre nihit omnim a fuga. Nemolupt el tiaes dignia nihillatibus empde co porque del et aut vidu citiunt exel aboioe el repu da mucho idequ sico orere por volie el acen edo tat as resed itup lilame sequ molorro porque de lu.

9/10 The et ditionem. Im etum qui unt faccati quo i ma eostiat esto con coneto autatem int hil luptium hile millore sernam, peos olqu que debis minihil lupta pe del perore. El reprem quis non secti ate ni ducia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, id explabo. Accum quis odel eum eta labori ipid elp quiae. Por Non niminullum earum net volorrum facepe res del nume aut exped fac quibus por porqui ut elit non niminullu.

10/11 The et ditionem. Im etum qui unt faccati quo is maq eostia testop con conet autatem intala hilluptium hio pel millore sernam, eosseq uasde te tique doebis mini hilupta perore reprem quisd del nonsectiate nique duciael poraldo louptas paligent. por iaectae volorem tara fugit, sus dent eario. Ut ipid ut idusdam asimusa amimo, id explabo. Accu quis eum et labori ipid tu quiae. Non niminul lum earum net volorrum. Aut exped quibus.

8/9 The et ditionem. Im etum qui unt faccati quo is el mano eates con conet autiatem inta hiluptium hil millore serao se nam, eossequas et que debis minihillupta perore reprem el quis nonsectiate ni ducia por doluptas aligent. iaectaev olo rem fugit, sus dent eariout el ipid utop idusdam asimusam, explabo. Accum quis eum etp labori ipid quiae. Non niqueo nullum earum net volorrumto faceperes at exped quibus, de qui ut elit, ommos modis hoss aut daet ut quo que veliqueel et por autempo repr. Aci gran volea epro el quae pud andic to totamus alicias untotat uris que dolupta cust veniscia. qui conru res reptiano nsequis el santium. Fuga paribus, arum nem. Ut laccum duntum acus in. exet vendia vitae libus.

CLASSIC ROMAN LETTERFORMS,

NON GEOMETRIC SHAPES MAKE IT

REMARKABLY LEGIBLE. FTHE LIGHT FO

NT, WITH ITS H

EAVILY

KERNED ‘F’ AND TALL ‘T’, H

AS AN OPEN,

ELEGANT LOOK.

THE REGULAR FONT LOOKS M

ORE COMPACT,

WITH ITS FLAT-B

OTTOMED ‘D’, FL

AT-TOPPED ‘P’

AND ‘Q’, A

ND SHORT, TRIANGULAR-TOPPED ‘T.’

Gill sans’ family work

well together, but they were

not “mechanically” produced

from a single design as was

the case with the Helvetica

and Univers designs. Eric Gill

attempted to make the

ultimate legible sans-serif text

face. Gill Sans was designed

to function equally as well as

a text face and for display.

Success is due to each weight

having a distinct character of

its own. Gill Sans reflects Eric

Gill’s craftsmanship ethos,

even though the design was

developed by “industrialized”

methods. Gill Sans became

popular when, in 1929, Cecil

Dandridge commissioned Eric

Gill to produce it for the

London & North Eastern

Railway. It has also been used

for signs, advertising, and

timetables. The face is known

to be space-economical.

NOPQRSTU WV XYZ7?98 :;”,.! &on

tsrqp vu zyxw

Gill Sans

Light

Light Italic

Italic

Bold

Bold Italic

Bold Condensed

Bold Extra Condensed

Condensed

Extra Bold

Extra Bold Display

Ultra Bold

Ultra Bold Condensed

H elvetica Neue is a

timeless and neutral font

that can be used for all

types of communication.

It is a redrawn version of

Helvetica with better

uniformity between the

different weights. It was

developed at D. Stempel

AG, Linotype’s daughter

company and digitized in

1983. The studio manager

was Wolfgang Schimpf.

Helvetica Neue includes

differences in alignment

and the weights and widths

are designed to work as

one family. It also is part of

an easy-to-use numbering

system to identify various

styles and weights.


65432

FRoman

Italic

Condensed

Condensed Oblique

Extended

Extended Oblique

Light

Light Italic

Light Condensed

Light Condensed Oblique

Light Extended

Light Extended Oblique

Medium

Medium Italic

Medium Condensed

Medium Condensed Oblique

Medium Extended

Medium Extended Oblique

Bold

Bold Itlaic

Bold Condensed

Bold Condensed Oblique

Bold Oblique

Bold Extended

Bold Extended Oblique

Bold Outline

Black

Black Italic

Black Condensed

Black Condensed Oblique

Black Extended

Black Extended Oblique

Extra Black Condensed

Extra Black Condensed Oblique

Heavy

Heavy Italic

Heavy Condensed

Heavy Condensed Oblique

Heavy Extended

Heavy Extended Oblique

Thin

Thin Italic

Thin Condensed

Thin Condensed Oblique

Thin Extended

Thin Extended Oblique

Ultra Light

Ultra Light Italic

Ultra Light Condensed

Ultra Light Condensed Oblique

Ultra Light Extended

Ultra Light Extended Oblique

MOST IDENTIFIA

BLE LETTER.

WRO

8/9 The et ditionem. Im etum quiunt faccati quo is ma eostia testo con conet autatem intupim hillup tium hi millore sernam, eossequas etque debis minihill upta perore porq reprem quis nons ectiate ni duci a doluptas aaligent. Iaectae volor fugit, sus dent eario. Ut ipid ut df idusdam asimusam, id expla accum quis eum et labori ipida foree quiae. Non niminullum por earum net volorrum faceperes aut exped quibus, qui ut elit, op mos modis aut et ut quo od que velique et autempo repr. Aci vol caepro por quae pudandic totam usali cias untotat urisque dolupta cust lare veniscia qui con res reptia nons quis santium fuga.



10/11 The et ditionem. Im etum qui unt faccati qiauo is ma eostiatesto con conet autatem inte hilluptium por hil milope lore sernam, eosseq uas etque debis minihu pao llupta perore repremqu dela quis nonsectiate ni ducia doluptas aligent. Iaectae te volorem fugit, sus dent del eario. Utipid ut idusdam asimusam, explabo. Pel Accum quis eum et la upa ori ipid es quiae. Non nimi in nulu mi earum net vol orru muca faceperes gracious tu.

HELVETICA NEUE / GROTESQUE SANS / EDUARD HOFFMANN & MAX MIEDINGER / 22

UNIFORMITY BETWEEN DIFFERENT

WEIGHTS BUT DESIGNED TO WORK

TOGETHER AS ONE FAMILY.

N Q STUV XYZ7


P

H

23 / INTERSTATE / NEO-GROTESQUE / TOBIAS FRERE-JONES


TERMINALS ARE DRAWN AT A

90° ANGLE TO THE STROKE.


9/10 The et ditionem. Im etum qui unt faccati quo i ma eostiatesto con coneto auta tem int hilluptium hile millore sernam, peos olqu que debis minihil lupta pe del perore. El reprem quis nonsecti ate ni ducia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, id explabo. Accum quis odel eum eta labori ipid elp quiae. Por Non nimin el ullum earum net volorrum facepe res del nume aut tue exped fac quibus por por qui ut elit supe net.



THE TERMINALS OF ASCENDING AND

DESCENDING STROKES ARE CUT AT AN

ANGLE OF LOWERCASE LETTERS L, T, E, S

.

F

Interstate was created by

Tobias Frere-Jones, and

has grown since its intro-

duction in 1993. Its a large

sans serif family

with great legibility.

Interstate is based on

the signage alphabets of

the United States Federal

Highway Administration

letterforms seen and read

by U.S. drivers on a daily

basis. Clean, simple and

easy on the eyes is how

they are described. The

typeface lends itself par-

ticularly well for newspa-

per and magazine use.

NOQPRSTU WV XYZ7

?98:;”,.! &on

tsrqp vu zyxw

COUNTERS ARE OPEN, EVEN IN THE

BOLD AND BOLD CONDENSED WEIGHTS,

FURTHER CONTRIBUTING TO LEGIBILITY.

Regular

Regular Compressed

Regular Condensed

Black

Black Compressed

Black Condensed

Bold

Bold Compressed

Bold Condensed

Light

Light Compressed

Light Comdensed

M elior’s designer

is Hermann Zapf and is

a 20th century modern

face commissioned by

Stempel in 1952. The font

family possesses a broad

range of uses due to its

technical and formal

qualities. The overall

typeface design is based

on the rectangle. Used in

long texts, the Melior font

family gives the page a

distinction rarely found

in most faces. Likewise,

Melior can be used in

all sorts of short jobs.

The type was originally

intended as a newspaper

text face by Linotype.


65432

MeliorMelior BoldMelior Bold ItalicMelior Italic

FTHE OVERALL DESIGN IS

BASED ON THE RECTANGLE.

THE SQUARED-OFF CIRCLE

KNOWN AS THE SUPER-ELLIPSE.

WR


11/12 The et ditio nem. Im etum qui unt faccati quo is machuo eostiate sto con conet velique et autempo el repr. Equatus estotapo solorio. Itam esto hil maximus. Edicat etap pre nihit omnim fuga. Nemoluptatia dignia nihillatibus del et auiot viducitiunt exel aboqu por repudam ut idu el quic orere voleni si tat as resed it lame se molo rro enim quibeq uaeper busexp el pero rep rano rentur. Ella nt volidis.

9/10 The et ditionem. Im etum qui uint faccati quoa is maes tiatesto con conet auatem int hilluptium hilo millore sernam, eossequas et que debis minihillupta de perore. Reprem quis nonsec tiate ni ducia dolu ptas porso aligent iaectae volorem fugi te, sus dent eario. Ut ipid ut idu dam asimusam, id expla bo. Ac cum quis eum et labor ipid quiae. Non niminu qui lum earum net volorrum fac por peres aut exped quibus, qui ut elit, ommos modis aut el su et ut quo odela que veliq ut de et autempo repr. Uga Roratus de maximpo.

10/11 The et ditionem. Im etum qui unt faccati qiauo is ma eostiatesto con conet autatem inte hilluptium por hil milo lore sernam, eosseq uas etque debis minihupa llupta perore repremqu dela quis nonsectiate ni ducia doluptas aligent. Iaectae te volorem fugit, sus dent del eario. Utipid ut idusdam asimusam, explabo. Pel Accum quis eum et la upa ori ipid es quiae muca faceperes.

MELIOR / CLARENDON / HERMANN ZAPF / 26

N Q STUV XYZ7


PO

H

27 / METAPLUS / HUMANIST SANS / ERIK SPIEKERMANN


11/12 The et ditionem Im etum qui unt faca tiqu quo is mucho eostiate del sto decon conet veliquop el por et autempo repr.Equatus estota solorio el Itam hil maximus. Edicqu ateo pre nihit omnim apa fuga. Nemolupt el tiaes dignia nihillatibus empur deco porque del et auto vidu citiunt exel aboioe tu el repuda mucho ideque sico orere por volie el ace n edo tat as resed itup lilame se molorro.

9/10 The et ditionem. Im etu qui unt faccati quo i ma eosti atesto con coneto autatem int hilluptium hile millore sernam, peos olqu que debis minihil lupta pe del perore. El reprem quis nonsecti ate ni ducia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, id exp labo. Accum quis odel eum eta labori ipid elp quiae. Por Non niminullum earum net volorrum facepe res del nume aut exped fac quibus por por qui ut elit.

10/11 The et ditionem. Im etum qui unt faccati quo is maq eostia testop con conet autatem intala hilluptium hiopel millore sernam, El eos seq uas dequ tei tique doebis minihilupta perore reprem quisd del nonsecti ate nique duciael poraldo louptas paligent. por iaecta volorem tara fugit, sus de eario. Ut ipid ut idusdam asimusa amimo, id explabo. Accu quis eum et labori ipid tu quiae. Non niminullum earum net volorrum. Aut exped quibus.

8/9 The et ditionem. Im etum qui unt faccati quo is el manop eates con conet autiatem intalla hiluptium hil millore serao sequ nam, eossequas et que debis mini hillupta perore reprem el quis tue nonsectiate ni du cia por doluptas aligent. iaectaev olo rem fugit, sus dent eariout el ipid utop idusdam asimusam, explabo. Accum quis eum etp labori ipid quiae. Nonso niqueo nullum earum net volorun rumto faceperes at exped quibus, de qui ut elit, ommos modis hoss aut daet ut quo que velique el tu et por autempo repr. Aci gran si volea epro el quae pud andic to totamus alicias untotat uris que dolupta cust veniscia. qui conru res reptiano nsequis el santium. Fuga paribus, arum nem. Ut lac cum duntum a cus in. exet vendia vitae libus famiia tu lamar.

F DESIGNED AS A SMALL

POINT SIZE TYPEFACE.

IS LEGIBLE AND STURDY ENOUGH

TO BE READABLE FROM AN ANGLE.

Meta plus was

created in 1985 by Erik

Spiekermann. He was

founder of Meta Design in

1979, Germany’s largest

design firm. He left Meta

Design and is now a partner

with Eden Spiekermann. It

was also developed as a

commission, in 1986, for a

corporate font design for

the German Federal Post,

but was never adopted for

usage. The FF Meta font was

designed as a small point

size typeface and is legible

and sturdy enough to be

readable from an angle. The

FF Meta font works well on a

postage stamp, but also as

a display font for post boxes

and vehicle signage. It is

said to never mix the origi-

nal six weight FF Meta with

FF MetaPlus nor the new

FF Meta family, because it

has different spacing and

kerning, and some newly

redesigned characters.


tsrqp vu zyxwMeta Plus Book Roman

Meta Plus Book Italic

Meta Plus Book Caps

Meta Plus Book Caps Italic

Meta Plus Normal Roman

Meta Plus Normal Italic

Meta Plus Normal Caps

Meta Plus Normal Caps Italic

Meta Plus Meduim Roman

Meta Plus Meduim Italic

Meta Plus Meduim Caps

Meta Plus Meduim Caps Italic

Meta Plus Black Roman

Meta Plus Black Italic

Meta Plus Bold Roman

Meta Plus Bold Italic

Meta Plus Bold Caps

Meta Plus Bold Caps Italic

DESIGNED AS A SMALL

POINT SIZE TYPEFACE.

M inion was designed

by Robert Slimbach in 1990.

It was inspired by classical,

old style typefaces of the late

Renaissance, a period of

elegant, beautiful, and highly

readable type designs. Minion

combines the aesthetic and

functional qualities that make

text type highly readable.

Rounding out the family are

the many ligatures, oldstyle

figures, swashes, and other

added glyphs that make it

one of the most elegantly

versatile font super families.

RIGIDLY STRAIGHT LINES CAN BE

SEEN THROUGHOUT THE FAMILY

AND CREATE AN ELEGANCE.


65432

Minion Regular

Black

Bold

Bold Italic

Italic

SemiBold

Semi Bold Italic

Display Italic

Display Regular

F

WRO


11/12 The et ditionem. Im etum qui unt faccati quo is machuo eostiate sto con conet velique et autempo repr. Equatus estota solo rio. Itam esto hil maximus. Edicat et pre nihit omnim fuga. Nemoluptatia dignia de nihillatibus del et auiot viducitiunt exel abo porire pudam ut idu el quic orere volenitat as resed it lame se molorro enim quibeaq uaeper busexp el perorep rano rentur. Ella nt volidis.

9/10 The et ditionem. Im et qui uint faccati quoa is maes tiatesto con conet auatem int hilluptium hilo millore sernam, eossequas et que debis minihillupta de perore. Reprem quis nonsec tiate ni du cia doluptas porso aligent iaectae volorem fugi te, sus dent eario. Ut ipid ut idu dam asimusam, id expla bo. Accum quis eum et labor ipid quiae. Non niminu qui lum earum net volorrum por peres aut exped quibus, qui ut elit, ommos modis aut su et ut quo odela que veliq ut de et autempo repr. Uga Roratus de maximpo porque.

10/11 The et ditionem. Im etum qui unt faccati qiauo is ma eostiatesto con conet au tatem inte hilluptium por hil milo lore sernam, eosseq uas etque debis minihupa llupta perore repremqu dela quis el nonsectiate ni ducia doluptas aligent. Iaectae tequ volorem fugit, sus dent del eario. Utip ido ut idusdam asimusam, explabo. Pel Accum quis eum et la upa ori ipid es quiae. Non nimi in nulu mi earum net vol orru muca faceperes.

MINON / OLD STYLE / ROBERT SLIMBACH / 30

STURDY STROKES GIVE THE MINION

FONT DESIGN A GRACEFULNESS.

N Q STUV XYZ7


P

H

31 / MRS EAVES / TRANSITIONAL / ZUZANA LICKO

AB DE G IJKLMa b lkhgfdc m 10jie 65432

SERIFS AT TOP AND BOTTOM.

11/12 The et ditionem Im etum qui unt facati quo is mucho eostiate sto decon conet veliqu el por et autempo repr.Equatus estota solorio Itam hil el maximus. Edic ateo pre nihit omnim a fuga. Por Nemolupt el tiaes dignia nihillatibus emp decop Se porque del et aut vidu cu itiunt exel aboioe el repuda mucho idequ sico orere por volie el ace n edo tat as resed itup lila me se molorro.

9/10 The et ditionem. Im etum qui unt faccati quo i ma eostiatesto con coneto autatem int hilluptium hile millore por sernam, peos olqu que debisos minihil lupta pe del perore. El reprem quis nonsecti ate ni ducia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, id explabo. Accum quis ode eum eta labori ipid elp quiae. Porqu Non niminullum earum neto volorrum facepe res del numeo aut exped fac quibus por por qui ut elit lamor de roso.

10/11 The et ditionem. En Im etum qui unt faccati el quo is maq eostia testop con conet autatem intala hillu ptium hiopel millore serna me, eosseq uasde te tique Su doebi s minihilupta perore reprem quisd del nonsectia te nique duciael poraldo son louptas paligent. por iaectae volorem tara fugit, sus dent eario. Ut ipid ut idusdam asimusa amimo, id explabo. Accu quis eum et labori ipid tu quiae. Non niminullum earum net volorrum. Aut exped quibus.

8/9 The et ditionem. Im etum qui unt faccati quo is el mano eates con conet autiatem inta hiluptium hil millore serao se nam, eossequ et que debis minihillupta perore reprem el quis nonsectiate ni du cia por doluptas aligent. iaectaev olo rem fugit, sus dent eariout el ipid utop idusdam asimusam, ex plabo. Accum quis eum etp labori ipid quiae. Non niqueo nullum earum net volorrumto faceperes exped quibus, de qui ut elit, ome mos modis hoss aut daet ut quo que veliqueel et por autempo repr. Aci gran volea epro el quae pud andic to totamus alicias untotat uris que dolupta cust veniscia. qui conru res reptiano nsequis el santium. Fuga paribus, arum nem. Ut laccum duntum a cus in. exet vendia vitae.

OPEN LOWER COUNTER

AND SWASHLIKE EAR.

F A SHARP SPUR SUGGESTING

A VESTIGIAL SERIF.

C

NO SERIF AT THE APEX OF

THE CENTRAL JUNCTIO

N.

Mrs Eaves was created by Zuzana Licko in 1996. Mrs Eaves is a revival of the types of English printer and punchcutter John Baskerville, and is

related to contemporary Baskerville typefaces. Like Baskerville, Mrs Eaves also has a near vertical stress, departing from the old style model. The overall stroke weight of Mrs Eaves restores some of the feeling and design of letterpress printing’s unpredictability. It is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type busi-ness, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves.

NOPQRSTU WV XYZ7


FLOWING SWASHLIKE TAIL.

RomanFractions

Bold Italic

Petite CapsSmall Caps

ASYMM

ETRICAL

CHARACTERISTICS

Palatino is the name of

a large typeface family that

began as an old style serif

typeface. It is designed by

Hermann Zapf, initially

released in 1948 by the

Linotype foundry. Palatino

is named after 16th century,

Italian master of calligraphy,

Giambattista Palatino. Also,

Palatino is based on the

humanist typefaces of the

great Italian Renaissance,

which mirror the letters

formed by a broad nib

pen, giving a calligraphic

grace appeal. However, the

characteristics found within

the Renaissance letters do

differ from Hapf’s Pala-

tino’s. With lighter strokes,

Palatino has allowed for

larger proportions, and

is also considered much

easier to read, becoming a

popular text typeface to use.

Within the typeface family

a wide variety of weights

and variations are available.

Under the collaboration of

Zapf and Akira Kobayashi

the family was expanded.

FOOT SERIFS IDENTIFIABLE ON

THE LETTERS H, M, AND N.


65432

Roman Small Caps

LightLight Italic

ItalicItalic Old Style FiguresMedium Italic Medium


BlackBlack Italic

F

WRO




10/11 The et ditionem. Im etum qui unt faccati qiauo is ma eostiatesto con conet autatem inte hilluptium por hil milo lore sernam, eosseq uas etque debis minihupa llupta perore repremqu dela quis nonsectiate ni ducia doluptas aligent. Iaectae te volorem fugit, sus dent del eario. Utipid ut idusdam asimusam, explabo. Pel Accum quis eum et la upa ori ipid es quiae. Non nimi in nulu mi earum net vol orru muca faceperes.

PALATINO / OLD STYLE / HERMANN ZAPF / 34

THE TAIL DESIGN OF THE

Q IS VERY DISTICTIVE.

HAIR LINE SERIFS ALL


N Q STUV XYZ7


P

H

35 / ROCKWELL / SLAB-SERIF / VINCENT FIGGINS


ROCKWELL HAS VERY HEAVY

SERIFS WITH NO BRACKETING.


9/10 The et ditionem. Im etum qui unt faccati quo ima eostiatesto con coneto auta tem int hilluptium hile millo sernam, peos olqu que debi minihil lupta pe del perore. El reprem quis nonsecti ate ducia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, id explabo. Accum quis odel eum eta labori el ipid elp quiae. Por Non nim inullum earum net volorrum me facepe res del nume aut exped fac quibus por por qui ut elit.

10/11 The et ditionem Im etum qui unt faccati quo is maq eostia testop con conet autatem intala hilluptium hiopel millore sernam, eosseq uasde te tique doebis minihilupta perore reprem quisd del nonsectiate nique duciael poraldo louptas paligent. por iaectae volorem tara fugit, sus dent eario. Ut ipid ut idusdam asimusa amimo, id explabo. Accu quis eum et labori ipid tu quiae. Non niminullum earum net volorrum. Aut exped quibus.


BLUNT, STRAIGHT-EDGED SERIFS.

F

THERE IS ALMOST NO THICK-THIN

CONTRAST IN THE STROKE WEIGHTS.

Rockwell can trace its

roots back to the London

type founder, Vincent

Figgins, who released the

first successful slab, or

“square,” serif typeface in

1815. Unlike classical

serif faces, this design

had blunt, straight-edged

serifs and nearly no thick-

thin contrast in the stroke

weights. The Rockwell

family, first issued in 1933,

is Monotype’s answer to

this typographic style.

Rockwell is an very robust

design that evokes a feeling

of straightforward honesty

when set in a composition.

A strong, adaptable display

face is what Rockwell is

welknown for. Specifically,

headlines and posters.


tsrqp vu zyxwRockwell

Condensed

Bold

Bold Condensed

Bold Italic

Extra Bold

Light

Light Italic

Italic

Trade Gothic is a sans-

serif typeface first designed

in 1948 by Jackson Burke.

It was designed for flyers

newspapers, datasheets,

catalogues, but particularly

for headlines and classified

advertising. Trade Gothic

does not display as a

unifying structure across

all members of its family,

although this dissonance

does add a bit of earthy

naturalism to its appeal.

LARGE X-HEIGHT’S CAN BE SEEN



65432

Trade Gothic Roman

Condensed 18Condensed 18 Oblique

Light Light ObliqueOblique

Bold Bold Condensed 20Bold Condensed 20 Oblique

Bold 2Bold 2 Oblique

F

WRO

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10/11 The et ditionem. Im etum qui unt faccati qiauo is ma eostiatesto con conet autatem intequ hilluptium por hil miloser nam, eosseq uas etque debis minihupa llupta el perore repremqu dela quis nonsectiate ni ducia does luptas aligent. Iaectae te volorem fugit, sus dent del eario. Utipid ut idusdam asimusam, explabo. Pel Accum quis eum et la upa ori ipid es quiae. Non nimi in nulu mi earum net vol orru muca faceperes.

TRADE GOTHIC / GROTESQUE SANS / JACKSON BURKE / 38

IT’S FAIRLY NARROW PROPORTIONS

IS CLEARLY IDENTIFIABLE.

N Q STUV XYZ7


P

H

39 / UNIVERS / GROTESQUE-SANS / ADRIAN FRUTIGER


DETERMINES IT’S NOT HELVETICA

BECAUSE IT LACKS A SPUR.

DIAGONAL STROKES OF

THE K MEET AT THE STEM.


9/10 The et ditionem. Im etum qui unt faccati quo i ma eostiatesto con coneto autatem int hilluptium hile millore sernam, peos olqu que debis minihil lupta pe del perore. El reprem quis nonsecti ate ni ducia dolu tas alige iaectae el vol asre Ut fugit, sus dent eario. Ut edaipid ut idusdam asimu em, id explabo. Accum quis odel eum eta labori ipid elp quiae. Por Non niminullum earum net volorrum facepe res del nume aut exped fac quibus por por qui ut elit.



TWO STORIED, STRAIGHT

BACK, NO BASELINE CURL.

F

Univers was released in 1957 by the Deberny and Peignot foundry in the city of Paris. It displays a variety of weights and styles. This is how Adrian Frutiger allows Univers to

be applied to many types of applications such as text, headlines, packaging, and signage. The legibility and variety of styles also make Univers flexible and easy to use. It is a very interesting alternative to Helvetica and is referred to as “The thinking man’s Helvetica”. Univers creates a more modern interface and makes for a more suitable body text. The Univers family is knownto consist of a numerical system that includes assigned numbers, not names, for each type of variation of weight, width, and slope. This system is a technique also applied to the updated version of Univers. In 1997 Frutiger actually reworked the entire Univers family and named it Linotype Univers.

NOPQRSTUWV XYZ7?98 :;”,.! &on

tsrqp vu zyxw

THE SQUARING OF ROUND

STROKES IN LETTERS.

55 Univers55 Oblique

45 Light 45 Light Oblique

57 Condensed57 Condensed Oblique47 Condensed Light Oblique47 Condensed Light 67 Condensed Bold67 Condensed Bold Oblique

75 Black 75 Black Oblique73 Black Extended73 Black Extended Oblique

65 Bold65 Bold Oblique63 Bold Extended63 Bold Extended Oblique

53 Extended53 Extended Oblique93 Extra Black Extended93 Extra Black Extended Oblique

NOPQRSTUWV XYZ7?98 :;”,.! &on

tsrqp vu zyxw

TSNOP R U WV XYZQ

KATHRYN BELL / DESIGNER

Documents

20 Typefaces