Typography for Print s2937137 Yingxin Li
Cover:
TYPEFACES FOR DESIGNERS Introduction of Core Typefaces for Designers
Size: 10 inch x 8 inch
Ideas:
Introduction of Core Typefaces for Designers
CONTENTS Charper 1: Avenir Charper 2: Baskerville Charper 3: Braggadocio Charper 4: Brush Scropt MT Charper 5: Calibri Charper 6: Arial Charper 7: Candara Charper 8: Century Gothic Charper 9: Copperplate Charper 10: Helvetica Charper 11: Optima Charper 12: Times New Roman Charper 13: Verdana Biliography
06 08 10 12 14 16 18 20 22 24 26 28 30 33
Colours:
Introduce the Typeface: BASKERVILLE B
AVENIR
askerville 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 Caslon, and the newer styles of Giambattista Bodoni & Firmin Didot.
Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1988, and released by Linotype GmbH, now a subsidiary of Monotype Corporation.
T
he word avenir is French for "future". The font takes inspiration from the early geometric sans-serif typefaces Erbar (1922), designed by Jakob Erbar, and Futura (1927), designed by Paul Renner. Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the two-story lowercase a is more like Erbar, and also recalls Frutiger's earlier namesake typeface, Frutiger.
Avenir was originally released in 1988 with three weights, each with a roman and oblique version, and used Frutiger's two-digit weight and width convention for names: 45 (book), 46 (book oblique), 55 (text weight), 56 (text weight oblique), 75 (bold), and 76 (bold oblique). The typeface family was later expanded to six weights, each with a roman and an oblique version.
Frutiger considers Avenir his finest work. 'The quality of the draughtsmanship - rather than the intellectual idea behind it-is my masterpiece. (...) It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what's crucial is that I developed the typeface alone, in peace and quietno drafting assistants, no-one was there. My personality is stamped upon it. I'm proud that I was able to create Avenir.'
The Baskerville typeface is the result of John Baskerville's intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Baskerville's typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville's ideals of perfection, where he chose simplicity and quiet refinement. His background as a writing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in the Baskerville Italic.
fifty other classics. In 1758, he was appointed printer to the Cambridge University Press. It was there in 1763 that he published his master work, a folio Bible, which was printed using his own typeface, ink, and paper. The perfection of his work seems to have unsettled his contemporaries, and some claimed the stark contrasts in his printing damaged the eyes. Abroad, however, he was much admired, notably by Pierre Simon Fournier, Giambattista Bodoni (who intended at one point to come to England to work under him), and Benjamin Franklin.
In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some
BRUSH SCRIPT MT BRAGGADOCIO B
rush Script is a casual connecting script typeface designed in 1942 by Robert E. Smith for the American Type Founders (ATF).
B
raggadocio is a geometrically constructed sans-serif stencil typeface designed by W.A. Woolley in 1930 for the Monotype Corporation. The design was based on Futura Black.
Though a stencil face, Braggadocio bears comparison with the heavier weighted Didone faces like Thorowgood, Poster Bodonii, and Fat Face. A product of the Art Deco era, Braggadocio shares similarities with Architype Albers and Futura Black, the typeface used in the wordmark of Au Bon Pain, a U.S. restaurant-bakery chain. The lowercase characters a, f, c, s and y have terminals similar to the Fat Face model. The face is atypical in a topological sense in that none of the characters has a circular counter-form (hole).
The face exhibits an exuberant graphic stroke emulating the look of handwritten written letters with an ink brush. Lowercase letters are deliberately irregular to further effect the look of handwritten text. The typeface was introduced in 1942 and saw near immediate success with advertisers, retailers, and in posters. Its popularity continued through the 1950s, and waned as influence of the International Typographic Style grew in the 1960s. The typeface has regained considerable popularity for its nostalgic association with the post WW2 era. Along with Dom Casual and Mistral, it is one of the best-known casual script typefaces.
Fonts: Body: SimSun-ExtB Regular Title: Circle Pattern Regular
12pt Light: ABCDEFG abcdefg
ABCDEFG
14pt 18pt 24pt 30pt 36pt 48pt 60pt
HIGKLMN
OPQRSTU
VWXYZ
Book Oblique:
abcdefg
higklmn
opqrstu
vwxyz
Avenir Black
ABCDEFG abcdefg Heavy:
ABCDEFG abcdefg
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