TYPEFACES FOR DESIGNERS Introduction of Core Typefaces for Designers
Written By Yingxin Li
First published in the Australia in 2015 by Blurb, Australia Office also in San Francisco London. Yingxin Li 2015 TYPEFACES FOR DESIGNERS: Introduction Of Core Typefaces For Designers All rights reserved. No part of this publication may be resproduced, stored in a retrieval system, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prrior permission of the publisher.
Printed in Australia
ACKNOWLEDGEMENT
I would like to thank those who helped me with the topic, layouts and contents. I am particularly to thank to two people, who gave me much supports througt the whole semester: Dominique and Aurelie. Yingxin Li
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
AVENIR 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 sansserif 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. 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
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mind. And what's crucial is that I developed the typeface alone, in peace and quiet-no drafting assistants, no-one was there. My personality is stamped upon it. I'm proud that I was able to create Avenir.' 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.
Light: ABCDEFG abcdefg
ABCDEFG
HIGKLMN
OPQRSTU
VWXYZ
Book Oblique:
abcdefg
higklmn
opqrstu
vwxyz
ABCDEFG abcdefg Heavy:
ABCDEFG abcdefg
Avenir Black 7
BASKERVILLE 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 Caslon, and the newer styles of Giambattista Bodoni & Firmin Didot.
T
he 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.
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In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some 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.
Regular: ABCDEFG abcdef g
ABCDEFG
HIGKLMN
OPQRSTU
VWXYZ
abcdef g
higklmn
opqrstu
vwxyz
Italic: ABCDEFG abcdef g SemiBold:
ABCDEFG abcdef g
Baskerville Bold 9
BRAGGADOCIO
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
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Architype Albers and Futura Black, the typeface used in the wordmark of Au Bon Pain, a U.S. restaurantbakery 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).
A B C D E
a b c d e
F G H I G
f g h i g
K L M N O
k l m n
P Q R S T
U V W X Y Z
Braggadocio Regulai
o p q r
s t u v w x
y z
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BRUSH SCRIPT MT
B
rush Script is a casual connecting script typeface designed in 1942 by Robert E. Smith for the American Type Founders (ATF). 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.
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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.
Brush Script MT:
ABCDEFG
ABCDEFG abcdefg
HIGKLMN
OPQRSTU
VWXYZ
Brush Script Std:
abcdefg
higklmn
opqrstu
vwxyz
Braggadocio Italic
ABCDEFG abcdefg Nanum Brush Script:
ABCDEFG abcdefg 13
CALIBRI
C
alibri is a humanist sans-serif typeface family designed by Lucas de Groot. In Microsoft Office 2007, it replaced Times New Roman as the default typeface in Word and replaced Arial as the default in PowerPoint, Excel, Outlook, and WordPad. It continues to be the default in Microsoft Office 2010 and 2013.
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Calibri is part of the ClearType Font Collection, a suite of fonts from various designers released with Windows Vista. All start with the letter C to reflect that they were designed to work well with Microsoft's ClearType text rendering system, a text rendering engine designed to make text clearer to read on LCD monitors.
Light: ABCDEFG abcdefg
ABCDEFG
HIGKLMN
OPQRSTU
VWXYZ
abcdefg
higklmn
opqrstu
vwxyz
Italic: ABCDEFG abcdefg Bold Italic: ABCDEFG abcdefg
Calibri Bold 15
ARIAL Arial, sometimes marketed or displayed in software as Arial MT, is a sans-serif typeface and set of computer fonts. Fonts from the Arial family are packaged with all versions of Microsoft Windows, some other Microsoft software applications, Apple Mac OS X and many PostScript 3 computer printers.
T
he typeface was designed in 1982 by a 10-person team,led by Robin Nicholas and Patricia Saunders, for Monotype Typography.It was created to be metrically identical to the popular typeface Helvetica, with all character widths identical, so that a document designed in Helvetica could be displayed and printed correctly without having to pay for a Helvetica license. The Arial typeface comprises many styles: Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic, Extra Bold, Extra Bold Italic, Light, Light Italic, Narrow, Narrow Italic, Narrow Bold, Narrow Bold Italic, Condensed, Light Condensed,
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Bold Condensed, and Extra Bold Condensed. The extended Arial type family includes more styles: Rounded (Light, Regular, Bold, Extra Bold); Monospaced (Regular, Oblique, Bold, Bold Oblique). Many of these have been issued in multiple font configurations with different degrees of language support. The most widely used and bundled Arial fonts are Arial Regular, Italic, Bold, and Bold Italic; the same styles of Arial Narrow; and Arial Black. More recently, Arial Rounded has also been widely bundled.
Regulai:
ABCDEFG
ABCDEFG abcdefg
HIGKLMN
OPQRSTU
VWXYZ
abcdefg
higklmn
opqrstu
vwxyz
Italic: ABCDEFG abcdefg Bold Italic: ABCDEFG abcdefg
Arial Bold 17
CANDARA
C
andara is a humanist sans-serif typeface designed by Gary Munch and commissioned by Microsoft.Candara’s verticals show both entasis and ekstasis[clarification needed] on opposite sides of stems, high-branching arcades in the lowercase, large apertures in all open forms, and unique ogee curves on diagonals. Its italic includes many calligraphic and serif font influences, which are common in modern sans-serif typefaces. Calibri and Corbel, from the same family,
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have similar designs and spacing.The family supports most of the WGL4 character set. OpenType features include automatic ligature sets, numerals (tabular, proportional, oldstyle and lining), numerator, denominator, scientific inferior subscripts, and small caps. It is also distributed with various free Office viewers, the Microsoft Office Compatibility Pack and the Open XML File Format Converter for Mac.
Regular:
ABCDEFG
ABCDEFG abcdefg
HIGKLMN
OPQRSTU
VWXYZ
abcdefg
higklmn
opqrstu
vwxyz
Italic: ABCDEFG abcdefg Bold Italic:
ABCDEFG abcdefg
Candara Bold 19
CENTURY GOTHIC Century Gothic is a geometric sans-serif typeface released by Monotype Imaging in 1991. It is strongly influenced by the font Futura, though with a higher x-height, and its design history also derives from two separate typefaces intended as Futura competitors. It is a digital typeface that has never been made into actual foundry type.
W
hile many geometric sans-serif typefaces have been released to compete with the popular typeface Futura, Century Gothic is perhaps unique in its origin: it redraws one to match the design proportions of a second. Distinctive, Futura-derived features of Century Gothic are its single-storey lowercase a and g. However, it has a much higher x-height (height of lowercase letters), an effect which promotes readability especially at small print sizes, and which
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was particularly popular in the 1970s for generalpurposetypefaces, making it less similar to Futura than many other knockoff typefaces of the period. Century Gothic is quite a light typeface, especially in default weight. While its structure is similar to Futura, its regular style is between Futura's book and light weights. Its bold weight resembles Futura's medium style more than its bold style.
Regular:
ABCDEFG
HIGKLMN
OPQRSTU
VWXYZ
abcdefg
higklmn
opqrstu
vwxyz
ABCDEFG abcdefg Italic: ABCDEFG abcdefg Bold Italic: ABCDEFG abcdefg
Century Gothic Bold 21
COPPERPLATE The typeface is classified as a serif typeface but it has similar characteristics of a sanserif. The stroke and with of the typeface is similar to sanserif, such as Univers.
T
he typefaces serifs are bracketed and are constant trough. The serifs are not noticeable at first glance when used in smaller point sizes but can still be visible within inspection. The serifs have a design and look of letters that were engraved in actual copperplate. There is a distinctive design to the serifs that some might consider a drawback. All the serifs use are the exact same style, such as on the terminal of the character A or H, and it seems to be overused. For instance the letter J has a two sided serif where the tail is which seems to look odd compared to modern typefaces with serifs. Another thing that is odd is that the horizontal serif of characters, such as in the letter T, goes above the capline, or meanline in the instance of small caps, and below the baseline, such as the in the letter L. The serifs do work really well in some characters.
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The typeface has been constructed out of capital letters and small caps. This would make it most usable for headlines and header design. It is essential to know that the small caps of the character are not just a smaller version of the capital letter. Although it has the x-height of a lowercase letter the thickness of the horizontal stroke remains the same as the capital letter of the typeface. It would not be beneficial to use it in large body copy because it would make it more difficult to read. Having the body text in all capital letter would make it difficult to read because it would give the illusion of block like shapes and it would not have the visual contras that upper and lowercase letter create to help us read more rapidly.
ABCDEFG
HIGKLMN
OPQRSTU
VWXYZ
Regualr: ABCDEFG abcdefg
abcdefgh
igklmno
p q r s t u
vwxyz
Light: ABCDEFG abcdefg
Copperplate Bold 23
HELVETICA
K Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Edouard Hoffmann. It is a neo-grotesque or realist design, one influenced by the famous 19th century typeface Akzidenz-Grotesk and other German and Swiss designs.
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nown as the "invisible typeface" due to the extent of its visibility and influence, it is among of the most popular typefaces of the 20th century, its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and 60s. Over the years a wide range of variants have been released in different weights, widths and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica include the termination of all strokes on exactly horizontal or vertical lines and unusually tight letter spacing, which give it a dense, compact appearance.
Regular:
ABCDEFG
ABCDEFG abcdefg
HIGKLMN
OPQRSTU
VWXYZ
abcdefg
higklmn
opqrstu
vwxyz
Helvetica Bold
Light: ABCDEFG abcdefg Oblique:
ABCDEFG abcdefg 25
OPTIMA
Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima’s design follows humanist lines; its italic is merely an oblique variant typical of realist sansserif typefaces such as Helvetica and Univers.
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u
nconventional for a contemporary sans, Optima’s capitals (like those of Palatino, Hans Eduard Meier’s Syntax and Carol Twombly's Trajan) are directly derived from the classic Roman monumental capital model, reflecting a reverence for Roman capitals as an ideal form. In the Bitstream font collection, Zapf Humanist 601 is provided as an Optima clone. Other Optima clones include Optane from the WSI Fonts collection, Opulent by Rubicon Computer Labs Inc., Ottawa from Corel, CG Omega and Eterna. Freely available implementations include MgOpen Cosmetica (Available with open source license) and URW Classico (available with URW Font package from Ghostscript). Linux Biolinum is a libre font inspired by it.
Regular:
ABCDEFG
ABCDEFG abcdefg
HIGKLMN
O P Q R ST U
VW XY Z
Italic:
abcdefg
higklmn
opqrstu
vwxyz
ABCDEFG abcdefg Bold Italic:
ABCDEFG abcdefg
Optima Bold 27
TIMES NEW ROMAN Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent at the English branch of Monotype. It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated.
T
he font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface named Plantin as the basis for his design, but made revisions for legibility and economy of space. Morison's revision became known as Times New Roman and made its debut in the 3 October 1932 issue of The Times newspaper. After one year, the design was released for commercial sale.
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Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004 have caused the newspaper to switch typeface five times since 1972. However, all the new fonts have been variants of the original New Roman typeface.
Regular:
ABCDEFG
HIGKLMN
OPQRSTU
VWXYZ
abcdefg
higklmn
opqrstu
vwxyz
ABCDEFG abcdefg Italic:
ABCDEFG abcdefg
Bold Italic:
ABCDEFG abcdefg
Times New Roman Bold 29
VERDANA
Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand hinting done by Thomas Rickner, then at Monotype. Demand for such a typeface was recognized by Virginia Howlett of Microsoft's typography group.
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The name "Verdana" is based on verdant (something green), and Ana (the name of Howlett's eldest daughter). Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen.[3] The lack of serifs, large x-height, wide proportions, loose letter-spacing, large counters, and emphasized distinctions between similarly-shaped characters are chosen to increase legibility.
Regular:
ABCDEFG
ABCDEFG abcdefg
HIGKLMN
OPQRSTU
VWXYZ
abcdefghi
gklmnop q r s t u v
wxyz
Verdana Bold
Bold Italic:
ABCDEFG abcdefg
Italic:
ABCDEFG abcdefg 31
BILIOGRAPHY Frutiger,A. (2008). The Complete Works.Retrieved from: http://en.wikipedia.org/wiki/ Avenir_%28typeface%29 Lawson, Alexander S. (1990). Anatomy of a Typeface, Boston Meggs, Philip B. & Carter, Rob (1993), Typographic Specimens: The Great Typefaces, New York Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopoedia of Type Faces. Retrieved from: http://en.wikipedia.org/wiki/Braggadocio_%28typeface%29 Levienon, Raph. (2014)."Microsoft’s ClearType Font Collection: A Fair and Balanced Review". Typographica. Retrieved from:http://en.wikipedia.org/wiki/Calibri Ramde, Dinesh (2010). "Century Gothic a font of wisdom.Retrieved from:http:// en.wikipedia.org/wiki/Century_Gothic Winters, Eleanor: Mastering Copperplate - A Step-by-Step Manual for Calligraphers. Watson Lars, M; Victor, M; Axel, L; Kupferschmid, Indra: Helvetica forever. Story of a typeface. Retrieved from:http://en.wikipedia.org/wiki/Helvetica Lawson, Alexander S.,(1990). Anatomy of a Typeface.Retrieved from:http:// en.wikipedia.org/wiki/Times_New_Roman
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