serif - Community College of Baltimore Countyfaculty.ccbcmd.edu/.../font_book_serif_new.pdf · Bodoni poster 18/20 For fun I like to jump cars while reading a quote by Albert Einstein

serif

Baskerville page 2 Baskerville page 3

abcdefghijklMnopqrstuvwxyz !,&*”? abcdefghijklmnopqrstuvwxyz 0123456789

for fun i like to jump cars while reading a quote by albert einstein.Baskerville regular 26/28

For fun I like to jump cars while reading a quote by Albert Einstein.Baskerville italic 26/28

For fun I like to jump cars while reading a quote by Albert Einstein.Baskerville semi Bold 24/30

For fun I like to jump cars while reading a quote by Albert Einstein.Baskerville Bold 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.Baskerville Bold italic 24/26

baskerville is a transitional typeface designed in 1752 by john baskerville in birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style centaur and bodoni. baskerville was a result of trying to improve on the typeface caslon giving careful attention to drawing refined letterforms that retained the idea of the hand. baskerville was popular most of the 18th century when the fell out of style for the more modern bodoni

Baskerville regular 12/14

baskerville is a transitional serif typeface designed in 1757 by john baskerville (1706-1775) in birmingham, england. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of william centaur, and the modern styles of giambattista bodoni and firmin didot.


baskerville is a transitional serif typeface designed in 1757 by john baskerville (1706-1775) in birmingham, england. baskerville is classified as a transitional typeface, positioned between the old style typefaces of william centaur, and the modern styles of giambattista bodoni and firmin didot.


baskerville is a transitional serif designed in 1757 by john baskerville (1706-1775) in birMinghaM, england.

Baskerville regular all caps 10/12

Baskerville is a transitional serif typeface designed by John Baskerville in England.

Baskerville semi Bold 12/14

Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706-1775) in Birmingham, England.

Baskerville italic 12/14

baskerville

Baskerville, BemBo, and saBon overlay page 5Baskerville, BemBo, and saBon comparison page 4

acegjkMopr uw abegjkmqrtBaskerville

ACEGJKMOPR UW abegjkmqrtsaBon

ACEGJKMOPR UW abegjkmqrtBemBo

acegjkMor Baskerville BemBo

acegjkMor Baskerville saBon

ACEGJKMOR BemBo saBon

ejgart

ejgart

ejgart

Baskerville BemBo saBon

BemBo page 7


BemBo page 6

For fun I like to jump cars while reading a quote by Albert Einstein.BemBo regular 26/28

For fun I like to jump cars while reading a quote by Albert Einstein.BemBo italic 26/28

For fun I like to jump cars while reading a quote by Albert Einstein.BemBo semi Bold 24/26

for fun i like to jump cars while reading a quote by albert einstein.BemBo Bold 24/30

For fun I like to jump cars while reading a quote by Albert Einstein.BemBo Bold italic 24/26

Monotype Bembo, issued in 1929, is based on the roman cut by Francesco Griffo for Cardinal Bembo’s tract “de Aetna” in 1495. It owes its beauty and legibility in all sizes to the well proportioned letterforms and clear detail. It has been carefully redrawn to capture the spirit and intention of the original.

BemBo regular 12/14

The result is a face of timeless beauty, making it very popular for text. The Bembo italic fonts were adapted from a face of Giovanni Tagliente These fonts have an easy, natural grace when used on their own, and are perfect companions to the roman fonts. Bembo is one of the most beautiful and distinctive typefaces and has been widely used for book text, advertising and display work over the last 60 years.

BemBo regular 10/12

Monotype Bembo, issued in 1929, is based on the roman cut by Francesco Griffo for Cardinal Bembo’s tract “de Aetna” in 1495. It owes its beauty and legibility in all sizes to the well proportioned letterforms and clear detail. It has been carefully redrawn to capture the spirit and intention of the original.

BemBo regular 9/11

Monotype Bembo, issued in 1929, is based on the roman cut for Cardinal Bembo’s tract “de Aetna” in 1495. It owes its beauty and legibility in all sizes to the well proportioned letterforms and clear detail. It has been carefully redrawn to capture the spirit and intention of the original.

BemBo Bold10/12

Bembo, issued in 1929, is based on the roman cut by Francesco Griffo for Cardinal Bembo’s tract “de Aetna” in 1495.

BemBo extra Bold italics 12/14

MOnOTyPE BEMBO, IssUEd In 1929, Is BAsEd On ThE ROMAn CUT By FRAnCEsCO GRIFFO FOR CARdInAl BEMBO’s TRACT “dE AETnA” In 1495.

BemBo regular all caps 9/11

bembo std

Bodoni page 9


Bodoni page 8

for fun i like to jump cars while reading a quote by albert einstein.Bodoni Book 26/28

For fun I like to jump cars while reading a quote by Albert Einstein.Bodoni Book italic 20/22

For fun I like to jump cars while reading a quote by Albert Einstein.Bodoni roman 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.Bodoni poster 18/20

For fun I like to jump cars while reading a quote by Albert Einstein.Bodoni Bold 24/26

For fun I like to jump carsBodoni Bold italic 24 pt

bodoni is the name given to typefaces designed by giambattista bodoni in 1798. the typeface is classified as didone modern. bodoni followed the ideas of baskerville, as found in the printing type baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. bodoni’s typeface has a narrower underlying structure with flat, unbracketed serifs. the face has extreme contrast between thick and thin strokes, and an overall geometric construction.

Bodoni Book 12/14

Bodoni’s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction.

Bodoni roman 10/12


Bodoni roman 9/11

bodoni’s typeface has a narrower structure with flat, unbracketed serifs. the face has extreMe contrast between thick and thin strokes, and an overall geoMetric construction.

Bodoni Book caps 10/12


Bodoni Bold italic 12/14

bodoni std

didone page 10 Bodoni page 11

acegjkMopr uw abegjkmqrtBodoni

ACEGJKMOPR UW abegjkmqrtdidot

ACEGJKMOPR UW abegjkmqrtWalBaum

oo aagg ww Bodoni Baskerville

the other sides of bodoni. here bodoni is elegant in all caps. he is 36pt tall and narrow. now he is sporting lower case at 36pt and still elgant, but not as elegant as the uppercase.

When bodoni gets mad and quite bold he gets to be garish and heavy handed, but when he is feeling whimsical and fun his italic mood is quite pleasing

when bodoni was smaller he was not as elegant infact he was down right illegible

Bookman page 13


Bookman page 12

for fun i like to jump cars while reading a quote by albert einstein.Bookman light 22/22

For fun I like to jump cars while reading a quote by Albert Einstein.Bookman medium 21/21

For fun I like to jump cars while reading a quote by Albert Einstein.Bookman demi 20/20

For fun I like to jump cars while reading a quote by Albert Einstein.Bookman Bold 20/20

For fun I like to jump cars while reading a quote by Albert Einstein.

Bookman light italic 20/20

For fun I like to jump cars while reading a quote by Albert Einstein.Bookman demi italic 20/20

bookman old style is a serif typeface derived from old style antique designed by alexander phemister in 1858 for Miller and richard foundry.

it was designed as an alternative to caslon, with straighter serifs, making it more suitable for book and display applications. it maintains its legibility at small sizes, and can be used for headlines and in advertising.

Bookman 12/14


Bookman 10/12


Bookman 9/11

Bookman is a serif typeface derived from Old Style Antique designed by Alexander Phemister in 1858

Bookman demi 10/12

Bookman is a serif typeface derived from Old Style designed by Alexander Phemister in 1858

Bookman light italic 10/12

Bookman is a serif typeface derived from Old Style Antique designed by Alexander Phemister in 1858

Bookman Bold 12/14

itc bookman

caslon page 15


caslon page 14

for fun i like to jump cars while reading a quote by albert einstein.caslon Book 26/26

For fun I like to jump cars while reading a quote by Albert Einstein.caslon Book italic 26/28

For fun I like to jump cars while reading a quote by Albert Einstein.caslon Bold 22/22

For fun I like to jump cars while reading a quote by Albert Einsteincaslon Bold 22/22

For fun I like to Jump Cars While Readingcaslon Bold italic 22/22

For fun I like to Jump Cars While Readingcaslon Black 22/22

caslon was a typeface designed by william caslon in 1734 and was extremely popular in the early 18th century. Many looked to caslon as the model of good typography. highly regarded for its personality while still being stylish and having lots of variety. it was strongly revived in the late 19th century, producing many versions

caslon Book 12/14

caslon was a typeface designed by william caslon in 1734 and was extremely popular in the early 18th century. Many looked to caslon as the model of good typography. highly regarded for its personality while still being stylish and having lots of variety. it was strongly revived in the late 19th century, producing many versions

caslon Book 10/12

caslon was a typeface designed by william caslon in 1734 and was extremely popular in the early 18th century. Many looked to caslon as the model of good typography. highly regarded for its personality while still being stylish & having lots of variety. it was strongly revived in the late 19th century, producing many versions

caslon Book 9/11

Caslon was a typeface designed by William Caslon in 1734 and was extremely popular in the early 18th century. Many looked to Caslon as the model of good typography. Highly regarded for its personality while still being stylish and having lots of variety. It was strongly revived in the late 19th century, producing many versions

caslon Bold 10/11

Caslon was a typeface designed by William Caslon in 1734 and was extremely popular in the early 18th century. Many looked to Caslon as the model of good typography. Highly regarded for its personality while still being stylish and having lots of variety. It was strongly revived in the late 19th century, producing many versions

caslon italic 11/12

itc caslon 224

caslon comparison page 17caslon comparison page 16

acefcaslon

ACEFsaBon

acefBaskerville

kabefogmcaslon

KabefogmsaBon

kabefogmBaskerville

KabefogmWeiss

centaur page 19


centaur page 18

for fun i like to jump cars while reading a quote by albert einstein.centaur regular 26/26

For fun I like to jump cars while reading a quote by Albert Einstein.centaur regular italic 26/28

For fun I like to jump cars while reading a quote by Albert Einstein.centaur Bold 26/26

for fun i like to jump cars while reading a quote by albert einsteincentaur small caps 26/18

For fun I like to Jump Cars While Reading A Quote By Albert Einstein.centaur sWash capitals 24/28

WWyzxv ioghjcentaur expert 26/26

centaur is an old style serif typeface originally drawn as titling capitals by bruce rogers in 1914 for the Metropolitan Museum of art. the typeface is based upon several renaissance models. rogers’ primary influence for the roman was nicholas jenson’s 1475 laertis, considered the model for the modern roman alphabet.

centaur regular 12/14

centaur is an old style serif typeface originally drawn as titling capitals by bruce rogers in 1914 for the Metropolitan Museum of art. the typeface is based upon several renaissance models. rogers’ primary influence for the roman was nicholas jenson’s 1475 considered the model for the modern roman alphabet.


centaur is an old style serif typeface originally drawn as titling capitals by bruce rogers in 1914 for the Metropolitan Museum of art. the typeface is based upon several renaissance models. rogers’ primary influence for the roman was nicholas jenson’s 1475 laertis, considered the model for the modern roman alphabet.


centaur is an old style serif typeface originally drawn as titling capitals in 1914 for the metropolitan museum of art. the typeface is based upon several renaissance models. rogers’ primary influence for the roman was nicholas jenson’s 1475 laertis, considered the model for the modern roman alphabet.

centaur small caps 10/10

Centaur is an old style serif typeface originally drawn as titling capitals in 1914 for the Metropolitan Museum of Art. The typeface is based upon several Renaissance models.

centaur italic 12/14

Centaur was originally drawn as titling capitals by Bruce Rogers in 1914 for the Metropolitan Museum of Art. The typeface is based upon several Renaissance models.

centaur italic 12/14

centaur regular big

clarendon page 21

abcdefghijklMnopqrstuvwxyz !,&*”?

abcdefghijklmnopqrstuvwxyz 0123456789

clarendon page 20

for fun i like to jump cars while reading a quote by albert einstein.clarendon roman 22/24

For fun I like to jump cars while reading a quote by Albert Einstein.clarendon light 22/24

For fun I like to jump cars while reading a quote by Albert Einstein.clarendon semi Bold 20/22

For Fun I lIkE to jump cArs whIlE rEAdIng A quotE by AlbErt EInstEIn.clarendon Bold all caps 24/26

i like to jumpclarendon roman 42

clarendon is an english slab-serif typeface that was created in england by robert besley for the fann street foundry in 1845 . besley went as far as trying to patent the typeface, though this failed. the original matrices and punches remained at stephenson blake & latterly at the type Museum, london.

clarendon regular 12/14

clarendon is an english slab-serif typeface that was created in england by robert besley for the fann street foundry in 1845 . besley went as far as trying to patent the typeface, though this failed. the original matrices and punches remained at stephenson blake and latterly at the type Museum, london.


clarendon is an english slab-serif typeface that was created in england by robert besley for the fann street foundry in 1845 . besley went as far as trying to patent the typeface, though this failed. the original matrices and punches remained at stephenson blake and latterly at the type Museum, london


clarendon is an english slab-serif typeface that was created in england by robert besley for the fann street foundry in 1845.

clarendon regular all caps 10/12

ClArEndon Is An EnglIsh slAb-sErIF typEFACE thAt wAs CrEAtEd In EnglAnd by robErt bEslEy For thE FAnn strEEt Foundry In 1845.

clarendon light all caps 10/12

clarendon roman

garamond page 23


garamond page 22

for fun i like to jump cars while reading a quote by albert einstein.garamond 26/38

For fun I like to jump cars while reading a quote by Albert Einstein.garamond italic 22/24

For fun I like to jump cars while reading a quote by Albert Einstein.garamond Bold 24/26

for fun i like to jump cars while reading a quote by albert einstein.garamond small caps 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.garamond Bold italic 24/26

garamond is the name given to a group of old style serif typefaces named for claude garamond. garamond’s letterforms convey a sense of fluidity and consistency. some unique characteristics in his letters are the small bowl of the a and the small eye of the e. long extenders and top serifs have a down-ward slope.

garamond regular 12/14

garamond is the name given to a group of old style serif typefaces named for claude garamond. it’s letterforms convey a sense of fluidity and consistency. some unique characteristics in his letters are the small bowl of the a and the small eye of the e. long extenders and top serifs have a downward slope.


garamond is the name given to a group of old style serif typefaces named for claude garamond. it’s letterforms convey a sense of fluidity and consistency. some unique characteristics in his letters are the small bowl of the a and the small eye of the e. long extenders and top serifs have a downward slope.


some unique characteristics in letters are the small bowl of the a and the small eye of the e.

garamond caps 10/12

Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e.

garamond italic 12/14

Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e.

garamond Bold 12/14

garamond large

a

garamond vs saBon page 25garamond vs saBon page 24

abcdef gkMop abefgjkmrtgaramond

ABCDEF GKMOP abefgjkmrtsaBon

efgMgaramond

EFGMsaBon

e Egaramond saBon

goudy page 27


goudy page 26

for fun i like to jump cars while reading a quote by albert einstein.goudy 24/24

For fun I like to jump cars while reading a quote by Albert Einstein.goudy italic 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.goudy Bold 22/24

For fun I like to jump cars while reading a quote by Albert Einstein.goudy Bold italic 24/24

for fun i like to juMp cars while reading a quote by albert einstein.goudy caps 24/24

goudy is an old-style serif typeface originally created by frederic w. goudy for american type founders n 1916.

suitable for both text and display applications, goudy is a graceful, balanced design with a few eccentricities, including the upward-curved ear on the g and the diamond shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the sharply canted hyphen. the uppercase italic q has a strong calligraphic quality.

goudy 12/14

goudy is an old-style serif typeface originally created by frederic w. goudy in 1916.

goudy is a graceful, balanced design with eccentricities, including the upward-curved ear on the g and the shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the hyphen.

goudy 10/12

goudy is an old-style serif typeface originally created by frederic w. goudy in 1916.

goudy is a graceful, balanced design with eccentricities. the upward-curved ear on the g and the shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the sharply canted hyphen.

goudy 9/11

Goudy is a graceful, balanced design with eccentricities, including the upward-curved ear on the g and the shape of the dots of the i, j, and the points found in

goudy Bold 10/12

Goudy is a graceful, balanced design with eccentricities, including the upward-curved ear on the g and the shape of

goudy italic 10/12

Goudy is a graceful, balanced design with eccentricities, including the upward-curved ear on the g and the shape

goudy Bold italic 10/12

goudy regular

goudy Big page 29goudy comparison page 28

acefgknMop ruwabefgjkmrtwxgoudy

acefgknMop ruwabefgjkmrtwxBaskerville

ACEFGKNMOP RUWabefgjkmrtwxWeiss

ACEFGKNMOP RUWabefgjkmrtwxsaBon

ACEG JLMOP RTWadfgijkp rtuy

meridien page 31


meridien page 30

for fun i like to jump cars while reading a quote by albert einstein.meridien 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.meridien italic 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.meridien Bold 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.meridien medium 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.meridien Bold italics 24/26

Méridien, a glyphic old style serif text face was released. the face shows inspi-ration of the work of nicholas jenson, and in Méridien frutiger’s ideas of letter construction, unity, and an ever-present organic quality of form are first ex-pressed together.

meridien 12/14

Méridien, a glyphic old style serif text face was released. the face shows inspiration of the work of nicholas jenson, and in Méridien frutiger’s ideas of letter construction, unity, and an ever-present organic quality of form are first ex-pressed together.

meridien 10/12

Méridien, a glyphic old style serif text face was released. the face shows inspiration of the work of nicholas jenson, and in Méridien frutiger’s ideas of letter construction, unity, and an ever-present organic quality of form are first expressed together.

meridien 9/11

Méridien’s letter construction, unity, and an ever-present organic quality of forM are first expressed together.

meridien small caps 10/12

Méridien’s letter construction, unity, and an ever-present organic quality of form are first expressed together.

meridien italic 12/14

Méridien’s letter construction, unity, and an ever-present organic quality of form are first expressed together.

meridien Bold 12/14

Meridien large

saBon page 33

ABCDEFGhiJKlMNOPqRstUvWxyz !,&*”? abcdefghijklmnopqrstuvwxyz 0123456789

saBon page 32

For fun i like to jump cars while reading a quote by Albert Einstein.saBon 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.saBon italic 24/26

For fun I like to jump cars while reading a quote by Albert Einstein.saBon Bold 24/26

for fun i like to jump cars while reading a quote by albert einstein.saBon small caps 22/20

For fun I like to jump cars while reading a quote by Albert Einstein.saBon Bold italics 24/26

sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan tschichold in the period 1964–1967.

saBon 12/14

Design of the roman is based on types by Claude Garamond particularly a specimen printed by the Frankfurt printer Konrad Berner. Berner had married the widow of a fellow printer Jacques sabon, the source of the face’s name. the typeface is frequently described as a Garamond revival.

saBon 10/12

Design of the roman is based on types by Claude Garamond particularly a specimen printed by the Frankfurt printer Konrad Berner. Berner had married the widow of a fellow printer Jacques sabon, the source of the face’s name. the typeface is frequently described as a Garamond revival.

saBon 9/11

sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan Tschichold in the period 1964–1967.

saBon small caps 10/12

Sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan Tschichold in the period 1964–1967.

saBon italic 12/14

Sabon is the name of an old style serif typeface designed by the German born typographer and designer Jan Tschichold

saBon Bold 12/14

sabon Roman

Weiss page 35

AbCdEFGhijKlMNOPqRstUvWxyz !,&*”? abcdefghijklmnopqrstuvwxyz 0123456789 flfi

Weiss page 34

For fun i like to jump cars while reading a quote by Albert Einstein.Weiss 26/28

For fun I like to jump cars while reading a quote by Albert Einstein.Weiss italic 22/24

For fun I like to jump cars while reading a quote by Albert Einstein.Weiss Bold 24/24

For fun I like to jump cars while reading a quote by Albert Einstein.Weiss extra Bold 24/26

FOR FUN i liKE tO jUMP CARs WhilE REAdiNG A qUOtE by AlbERt EiNstEiN.Weiss all caps 18/20

Rudolf Weiss designed this typeface in 1926 for the bauer foundry of Frankfurt. Weiss is based on typefaces from the italian Renaissance, and is one of the earliest contemporary serif types to have italics based on the chancery style of writing. the vertical strokes that are heavier at the top than at the bottom are unusual, and give Weiss a distinct beauty. Weiss is a legible text type and an elegant display face for headlines or titles.

Weiss 12/14


Weiss 10/12


Weiss 9/11

Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance

Weiss Bold 10/12

RUdOlF WEiss dEsiGNEd this tyPEFACE iN 1926 WEiss is bAsEd ON tyPEFACEs FROM thE itAliAN RENAissANCE

Weiss all caps 10/12

Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance

Weiss italics 10/12

Weiss big large

serif o’s page 36

o

o

o

O

o

O

o

o

o

o

o O

Baskerville BemBo Bodoni Bookman

caslon centaur clarendon garamond

goudy meridien saBon Weiss

Documents

serif - Community College of Baltimore Countyfaculty.ccbcmd.edu/.../font_book_serif_new.pdf · Bodoni poster 18/20 For fun I like to jump cars while reading a quote by Albert Einstein