A to Z: A Guide to 20 Useful Typefaces by Alec Helwig by Alec Helwig

a guide to 20 useful typefaces

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Layout Guide and Table of Contents

layout guide 4 5

A Z 6

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The title of the typeface.

The designer, design year, and classification of the typeface. *

A description of the typeface and its history. *

The page number and name of the typeface on the spread.

A full alphabetic repertoire of the typeface.

4 characters that help to distinguish the typeface. *

Paragraphs that display 4 different point sizes and leadings.

A list of the typefaces individual styles.

These sections are displayed in New Baskerville Regular. The page number, folio heading, and table of contents are all displayed in Trade Gothic Regular.

table of contents Adobe Caslon 1 Berkeley 3 ITC Cheltenham 5 Eurostile 7 Filosofia 9 Frutiger 11 Futura 13 Gill Sans 15 Helvetica Neue 17 Interstate 19 Melior 21 Meta Plus 23 Minion 25 Mrs Eaves 27 New Baskerville 29 Palatino 31 Rockwell 33 Stempel Garamond 35 Trade Gothic 37 Univers 39

This is a type specimen book that focuses on twenty different typefaces. It is meant to be used as a tool to help determine the right typeface for your project. It shares a brief history, a list of styles, and a full alphabetic repertoire for each typeface. It also shows how the typeface appears in 4 different point sizes, and explains how the typeface can be distinguished.

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Adobe Caslon

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “A” of the typeface has the defining characteristic of a concave, hollow apex.

The upper case “G” is also a defining character because it is without a spur, unlike many serif typefaces.

The upper case “V” of the typeface, along with the upper case “A” and “W”, all have an acute slant.

Adobe Caslon’s italics have a rhythmic calligraphic stroke, and some characters, like the lower case “p”, all have a swash suggested.

Adobe Caslon Designer: Carol Twombly Design Year: 1990 Classification: Serif

Caslon is the name of a number of typefaces/revivals designed by William Caslon. The earliest design dates back to 1722, and many different versions have been produced since then. However, each of these variants still maintained the same structure and integrity of the original. Caslon is cited as the first original typeface of English origin, but some consider it to be of Dutch origin. It’s impact was immediately noticeable and it was used in many historic documents, including the U.S. Declaration of Independence. The Adobe Caslon variant was designed by Carol Twombly in 1990, and was based on Caslon's own specimen pages from the 1700’s. The typeface itself is a serif typeface, and it is characterized by short ascenders and descenders, high contrast between strokes, and bracketed serifs.

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Lorem ipsum dolor sit amet, consectetur adipiscing elit, deu. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca sodales lorem sed dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat.

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Lorem ipsum doloresa alssisit amet, de consectetur adipiscing elit. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent sodales lorem sed dolor laoreet at.

Regular regular small caps Italic Italic Oldstyle Semibold semibold small caps Semibold Italic Semibold Oldstyle Italic Bold Bold Oldstyle Bold Italic Bold Oldstyle Italic

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Berkeley

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “A” of the typeface is a defining character because of its slanted apex, which slants to the right of the letter form.

The upper case “J” and “Q” are also defining because they descend below the baseline, unlike most upper case letter forms.

The upper case “X” is a defining character due to its cross stroke having a distinct curve, citing the typefaces calligraphic style.

Another characteristic of the typeface is the curved strokes found in lower case letters like “k” and “y”. This also reflects calligraphy.

Adobe Berkeley Designer: Frederic Goudy Design Year: 1937 Classification: Old-style Serif

Berkeley Old Style is a typeface that was designed in 1937 by Frederic Goudy. He was asked by a friend if he would draw a typeface to be exclusively used with the University of California Press at Berkeley, and this very typeface is what he delivered. Because of this exclusivity, however, the rest of the graphic design community was not introduced to it until 1956 when it was purchased by Lanson Monotype, and distributed it as metal type. It did not pick up popularity because of changing technology, but in the early 1980s, International Typeface Corporation (ITC) gathered specimens to revive the original University of California design. It is a serif typeface, characterized by calligraphic weight stress, smooth transitions of stoke weight, and classic x-height.

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Oldstyle Regular Oldstyle Italic Oldstyle Black Oldstyle Black Italic

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ITC Cheltenham

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “A” of the typeface is a defining character because of its apex, which extends to a squared end.

The upper case “G” is also a defining character because of its outlying, right-facing spur.

Another characteristic of the capital letters in ITC Cheltenham are the rounded barbs found on some letters, such as this “T”.

The lower case “j” is another defining character, due to the “hook” found in its descender.

ITC Cheltenham Designer: Tony Stan Design Year: 1975 Classification: Clarendon Serif

Cheltenham is the name of a typeface designed in 1896 by Bertram Grosvenor Goodhue and Ingalls Kimball to be used by the Cheltenham Press, a New York publisher. It isn’t based on a single historical face, but shows influence from the Arts and Crafts Movement. Cheltenham Bold Condensed and Bold Condensed Italic are well known for being used in the headlines of the New York Times. ITC Cheltenham is a variant designed by Tony Stan, and it was completed in 1975. It provides a larger x-height and improved italic features. Cheltenham itself is an old style serif typeface.

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Lorem ipsum doloresa alssisit essama amet, de consectetur de adipiscing elit. Nullam et interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesentel dano meeden.

Light Light Italic Light Condensed Light Condensed Italic Book Book Italic Book Condensed Book Condensed Italic Bold Bold Italic Bold Condensed Bold Condensed Italic Ultra Ultra Italic Ultra Condensed Ultra Condensed Italic

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Eurostile

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The most distinguishing characteristic about Eurostile is its consistent use of geometry in its counters and edges.

A characteristic that sets Eurostile apart from its predecessor, Microgamma, is its inclusion of lower case letters.

The lower case “y” in Eurostile lacks a strong connection between the arm and stem of the letter form, creating a rigid edge.

The number “1” also has a very distinct feel to it, with its overhanging arm on its left side.

Eurostile Designer: Aldo Novarese Design Year: 1962 Classification: Sans-serif

Eurostile is a sans-serif typeface that was designed in 1962 by Aldo Novarese, and was directly based on another typeface he made a decade earlier, Microgamma. It was created because although Microgamma was already a successful typeface, it had only upper-case letters. So Novarese created Eurostile, a full typeface with lower-case letters, a bold condensed version and also an ultra narrow design for a total of seven fonts. It’s a popular font for display, and because of it’s squarish shapes and rounded corners it has been seen in science fiction work and more contemporary graphic design.

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Lorem ipsum doloresa alssisit albanis amet, de consecteture adipiscing elit. Nullam et interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent es rand.

Medium Oblique Condensed Extended Two Bold Bold Oblique Bold Condensed Bold Extended Two Demi Demi Oblique

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Filosofia

ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “C” of the typeface is a defining character in that it encompasses perfect symmetry with its definitive barbs and stroke weight.

The upper case “W” has some defining characteristics as well, namely the cross bar and counter created by the intersecting arms in the center.

The lower case “k” is another defining letter because of the hairline strokes that make up the arm and serif. This is seen in all of the serifs in the typeface.

The number “2” is also a defining character because of the hairline stroke that descends below the baseline.

Filosofia Designer: Zuzana Licko Design Year: 1996 Classification: Old-stlye Serif

Filosofia was designed in 1996 by typeface designer Zuzana Licko. She designed the typeface for her magazine, Emigre, which included other typefaces that she had designed. Filisofia was heavily influenced by Bodoni, an old-style typeface designed in 1798. It was designed for text applications. It has a rugged appeal, but has reduced contrast to help it adjust to different type sizes.

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Lorem ipsum elsa doloresa alssisit amet, de consectetur adipiscing entu elit. Nullam interdum, leo indis volutpat ultricies, justo dui agravida tellus, eu varius diam risus ut dolor. Praesent de sodales lorem sed dolor laoreet at.

Regular Italic smallcaps unicase Grand grandcaps Bold Grand Bold fractions

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Frutiger

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The capital and lowercase “K” are defining characters because the diagonal arms and legs meet at the stem at a 45° angle.

The upper case letters of Frutiger differ from it’s cousin Univers in that they are much more circular.

The upper case “Q” of the typeface is a defining character because its tail descends the baseline.

The lower case “a” is a distinguishing character with its use of stroke weight, baseline curl, and its obscurely shaped counter.

Frutiger Designer: Adrian Frutiger Design Year: 1975 Classification: Humanist Sans-serif

Frutiger is the name of a series of typefaces named after the man who designed them, Adrian Frutiger. It was designed by Frutiger when it was commissioned that Charles De Gaulle International Airport needed a new directional sign system. Frutiger wanted this new typeface to be clean like his previously designed Univers, but have proportions akin to Gill Sans. The resulting Frutiger typeface has been a great success, boasting distinct legibility no matter where it is used. It was released publicly in 1976, and consists of a distinct numbering system to determine point size like many of Adrian Frutiger’s typefaces.

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Lorem ipsum doloresa alssisit amet, ode etude consectetur a adipiscing elit. Nullam interdum, leo in volutpat ultricies, justo dui gravida eftellus, eu varius diam risus ut dolor. Praesent prons ate else .

45 Light 46 Light Italic 47 Light Condensed 55 Roman 56 Italic 57 Condensed 65 Bold 66 Bold Italic 67 Bold Condensed 75 Black 76 Black Italic 77 Black Condensed 87 Extra Black Condensed 95 Ultra Black

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Futura

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

One notable trait Futura has is that the upper case characters have proportions similar to those of Roman capitals.

Another attribute of the typeface is the near-even stoke weight throughout, which is employed to lower contrast.

The lower case “f”, “b”, “d”, “h”, “k”, “l”, and “t” all have very tall ascenders that rise above the cap line.

The easiest way to distinguish Futura from other typefaces is by looking at its counters, most noticeably the nearly perfect circle “o”.

Futura Designer: Paul Renner Design Year: 1925 Classification: Sans-serif

Futura is a typeface that was designed between 1924 and 1926 by Paul Renner. It was inspired by the visual design elements embodied by the Bauhaus design style of the time. Although Renner himself wasn’t associated with the Bauhaus, he believed in many of the same design ideas that they did and believed a modern typeface should reflect something modern, not rebuild an existing design. That being said, the design of Futura is very geometric in its letter forms. It is a sans-serif typeface that is heavily based on the aforementioned geometry, as well as near-even stroke weight that help lower contrast.

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Lorem ipsum dolor sit amet, consectetur giz adipiscing elit, deu. Nullam qued interdum, leo insa volutpat ultricies, justo dui gravida tellus, dieu varius diam risus but dolor. Praesent secra sodales lorem sed dolor laoreet at pretium ipsum varius. Nulla odioda leorea, sodales placerat.

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Lorem ipsum elsadoloresa alssisit amet, de consectetur adipiscing elda elit. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent sodales lorem sed dolor laoreet at.

Light Light Oblique Medium Medium Oblique Book Book Oblique Bold Bold Oblique Extra Bold Extra Bold Oblique Heavy Heavy Oblique

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Gill Sans

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghi j kl mno pqrstuvw xyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “M” is based off of the proportions of a square, and the middle strokes meet at the center of the square.

The lower case characters pay homage to the lower case of Carolingian script; this is noticeable in the “a” and “g”.

The lower case, italic “p” and “e” show that Gill Sans was also influenced by calligraphy, much like other typefaces of the time period.

Another notable character would be the question mark, once again suggesting the calligraphic influence of this typeface.

Gill Sans

Designer: Eric Gill Design Year: 1926 Classification: Humanist Sans-serif Gill Sans is a sans-serif typeface designed by Eric Gill. He designed it in 1926, and two years later it was released as a full typeface by Monotype Corporation. It gained considerable population in 1929 when it was commissioned to be used on the London and North Eastern Railway. It is heavily influenced by Edward Johnston’s Johnston typeface, used for London Underground. Eric Gill had worked on that typeface while an apprentice to Johnston. It is distributed as a system font in Mac OS X, as well as being bundled with certain Microsoft products. It is a legible sans-serif typeface, as it was designed to be exactly that.

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Lorem ipsum dolor sit amet, consectetur adipiscing elit, deu. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca sodales lorem en sed dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat sit amet desdiam leo armor volut lo.

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Light Light Italic Regular Italic Condensed Bold Bold Italic Bold Condensed Extra Bold Extra Bold Display Extra Bold Condensed Ultra Bold Ultra Bold Condensed

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Helvetica Neue

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The capital “G” of the typeface is a defining character due to its prominent spur. This sets it apart from Univers and Arial.

The upper case “R” also has some distinguishing characteristics, the most notable being that the leg has a calligraphic stroke.

Another way to distinguish Helvetica Neue is that its strokes are typically cut either vertically or horizontally, like in this “t”.

A characteristic of Helvetica Neue that sets it apart from the original Helvetica is the use of heavier punctuation marks.

Helvetica Neue Designer: Max Miedinger, Eduard Hoffmann Design Year: 1983 Classification: Grotesque Sans-serif Helvetica is one of the most celebrated and popular typefaces of it’s time, and it was designed by Max Miedinger and Eduard Hoffmann in 1957. It was actually designed to compete with a dominant typeface of the time, Akzidenz-Grotesk. The idea behind it was to create a typeface that had great clarity, was aesthetically neutral, and could be used on a multitude of signage. And with Helvetica, they achieved that and much more. Helvetica Neue is a variant of the original, designed in 1983 with designer Erik Spiekermann at the helm of the project. The variant improved structural unity throughout, as well as improved legibility and heavier punctuation.

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Lorem ipsum dolor sit amet, consectetur adipiscing un elit, deu. Nullam interdum, leo in volutpat esa ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca sodales lorem sed dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat.

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Lorem ipsum un doloresa alssisit elsa muamet, de consectetur el adipiscing elit. Nullam interdum, leo in volutpat ultricies, justo dui gravida da tellus, eu varius diam risus ut dolor. Praesent sodales lorem.

23 Ultra Light Extended • 23 Ultra Light Extended Oblique 25 Ultra Light • 26 Ultra Light Oblique 27 Ultra Light Condensed • 27 Ultra Light Condensed Oblique 33 Thin Extended • 33 Thin Extended Oblique 35 Thin • 36 Thin Oblique 37 Thin Condensed • 37 Thin Condensed Oblique 43 Light Extended • 43 Light Extended Oblique 45 Light • 46 Light Oblique 47 Light Condensed • 47 Light Condensed Oblique 53 Extended • 53 Extended Oblique 55 Roman • 56 Oblique 57 Condensed • 57 Condensed Oblique 63 Medium Extended • 63 Medium Extended Oblique 65 Medium • 66 Medium Oblique 67 Medium Condensed • 67 Medium Condensed Oblique 73 Bold Extended • 73 Bold Extended Oblique 75 Bold • 75 Bold Outline • 76 Bold Oblique 77 Bold Condensed • 77 Bold Condensed Oblique 83 Heavy Extended 83 Heavy Extended Oblique 85 Heavy • 86 Heavy Oblique 87 Heavy Condensed • 87 Heavy Condensed Oblique 93 Black Extended 93 Black Extended Oblique 95 Black • 96 Black Oblique 97 Black Condensed 97 Black Condensed Oblique 107 Extra Black Condensed 107 Extra Black Condensed Oblique

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Interstate

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

Because it was made mainly for signage, the counters throughout the typeface are wide open to improve legibility, as seen in this “P”.

The ascending terminals of the lower case letter forms are all cut at an angle, like in the lower case “d”.

The descenders are also cut in this way, all of them are drawn at a 90° angle to the baseline, like in the “q”.

These terminal cuts can also be found on curved strokes. These angled cuts were designed to improve readability.

Interstate Designer: Tobias Frere-Jones Design Year: 1993-99 Classification: Sans-serif Interstate is the name of a neo-grotesque typeface designed by Tobias Frere-Jones between 1993 and 1999, and it is most notably related to the FHWA Series fonts, and alphabet created for the Federal Highway Administration in 1949. While it’s made for signage, it has qualities that make it suitable for text in print and on screen. Because of this quality it gained popularity in the 90s. This typeface is used in a number of organizations as their visual identity and branding materials, including Southwest Airlines, Sainsbury’s Supermarkets, and West London College. Also in 2006 the US Army launched its Army Strong as campaign, using Interstate as the main typeface.

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Lorem ipsum dolor sit amet, consectetur adipiscing meelit, deu. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca sodale lorem sed dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat.

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Lorem ipsum doloresa alssisit uda me amet, de consectetur a adipiscing elit. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent sodales lorem.

Light Light Condensed Light Compressed Regular Condensed Compressed Bold Bold Condensed Bold Compressed Black Black Condensed Black Compressed

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Melior

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The overall design of the typeface was based on the design of the rectangle, as seen in many of the upper case letters.

A characteristic of Melior that makes it easily recognizable is the imposed “super ellipse” in the capital letters, mainly “O”.

The upper case “Q” carries a heavy stroke for a tail, alluding to Hermann Zapf’s rich calligraphic history.

The lower case “g" is a notable character due to the thin stroke that connects the bowl to the descending stroke.

Melior

Designer: Hermann Zapf Design Year: 1952 Classification: Clarendon Serif Melior is the name of a type family designed in 1952 by Hermann Zapf. It was designed in the same year as another Zapf typeface, Optima, and received less recognition because of it. It is a serif typeface, recalling Hermann Zapf’s love of calligraphy. This can be seen in the curved strokes of the lower case.

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Lorem ipsum dolor sit amet, consectetur adipiscing elit, deu. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca sodale lorem sed dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat.

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Lorem ipsum me doloresa alssisit amet, esconsectetur adipiscing elit. Niullamn alde interdum, leo in de ad volutpat ultricies, ajusto dui gravida tellus, deu varius diam grisus et albut dolor. Praesent en sodales lorem altsed al dolores klaorm.

Lorem ipsum eldoloresa alssisit et un amet, de consectetur esadipiscing elit. Nullama interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent sodales lorem.

Medium Italic Bold Bold Italic

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Meta Plus

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “K” in the typeface is very distinctive, as the arm and leg meet the stem at only a single point.

Some of the capital letters in Meta Plus have angled terminals on their strokes, like in “L.”

The lower case letters also have angled terminals on them, and more frequently then the upper case. They are also found on the ascenders and descenders.

The lower case “m” varies from that of other typefaces because of the slightly extended terminal on the left vertical stroke.

Meta Plus Designer: Erik Spiekermann Design Year: 1986 Classification: Humanist Sans-serif

Meta Plus, also known as FF Meta, is a humanist typeface that was designed in 1986 by Erik Spiekermann. It was initially commissioned to be the typeface for the German Federal Post, but was never actually adopted for use. It was designed to be a basic, easy-to-read sans-serif typeface because it was meant to be displayed mainly on postage and post office vehicles. It has been used in many different medias, from magazines like I.D. and Reason to corporate identities like the Mozilla Foundation.

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Normal Roman Normal Italic normal caps normal caps italic Medium Roman Medium Italic medium caps medium caps italic Book Roman Book Italic book caps book caps italic Bold Roman Bold Italic bold caps bold caps italic Black Roman Black Italic

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Minion

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefg hijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “Q” has a very distinguishing tail, giving it an almost calligraphic quality and reflecting upon its Renaissance inspired roots.

The lower case “g” is a distinguishing character because of the jagged link between the bowl and loop.

The lower case “j” is a distinguishing character because of the calligraphic descender stroke, as well as the terminal stroke.

Another distinguishing character in the typeface is the “?”, and it perhaps shows the typeface’s Renaissance inspiration the most.

Minion Designer: Robert Slimbach Design Year: 1990 Classification: Old-style Serif

Minion is the name of a typeface designed in 1990 by type designer Robert Slimbach. He designed it as an employee at Adobe Systems, inspired by late Renaissance-era type. A unique feature of Minion is that it has support for Regular and Display optical sizes in Regular and Italic fonts, making it extremely versatile as a typeface in the graphic design community.

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Lorem ipsum alta doloresa alssisit amet, de consectetur adipiscing esra elit. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent sodales lorem sed dolor laoreet at.

Regular Italic Regular Display Italic Display Semibold Semibold Italic Bold Bold Italic Black

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Mrs Eaves

ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “G” is a distinguishing character because of its sharp spur, and also the barbed terminal on the top.

Another distinct character is the upper case “Q” because of its flowing, swash-like tail.

Another defining letter is the upper case “W” because it lacks a serif at the apex of the central junction.

Also, the lower case “g” is a defining character because of its wide open counter and swash-like ear.

Mrs Eaves Designer: Zuzana Licko Design Year: 1996 Classification: Transitional Serif

Mrs Eaves is a typeface designed by Zuzana Licko in 1996, and it was licensed by Emigre, a type foundry run by Licko and her husband. It is a revival of the typeface Baskerville, and is related to that typeface heavily. The name of the typeface is also an interesting story, for it is named after the housekeeper of John Baskerville, who eventually became his wife. The typeface can be found in WordPress’ logotype. It’s also on the covers and spines of the Penguin Classics from Penguin Books. It is a revival focusing on the flatness of lithography in comparison to letterpress printing. Mrs Eaves also has a thicker stroke than most revivals of Baskerville.

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Lorem ipsum doloresa sit amet, consectetur adipiscing alfelit, deu. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca alpha odales lorem sed dolor laoreet at mepretium ipsum varius. Nulla odioda leo, sodales placerat. Praesent secalo sodales lorem sed.

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Lorem ipsum alsadoloresa alssisit amet, de consectetur adipiscing alchirelit. Nullam interdum, leo inda volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut doloresa. Praesent sodales lorem sed dolor laoreet at.

Roman Italic small caps petite caps fractions Bold

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New Baskerville

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

One attribute of New Baskerville as a typeface is that it has a lot of focus placed upon the contrast between thick and thin strokes.

A notable character is the upper case “Q” because of its swash tail, alluding to Baskerville’s writing mastery.

A way that Baskerville tried to improve upon Caslon’s work was to sharpen the serifs and to taper them as well.

Another unique trait that New Baskerville has is the shifted axis of rounded letters to a more vertical position.

New Baskerville Designer: John Baskerville Design Year: 1978 Classification: Transitional Serif

Baskerville is a transitional serif typeface that was designed by John Baskerville in 1757. It’s classified as transitional because it was seen as a transition between the old type styles of William Caslon and the more modern type styles of Giambattista Bodoni. The typeface itself was a result of Baskerville trying improve upon the work of William Caslon by making the contrast between strokes thicker, and the serifs sharper and tapered. New Baskerville is a variant of the original designed by George Jones for International Typeface Corporation.

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Roman Italic Italic Old Style small caps Bold Bold Italic Bold Italic Old Style bold small caps

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Palatino

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The capital “E”, “F” and “L” are more narrow than the other capital letters because they are set in Roman inscriptions.

Letters in Palatino all retain a calligraphic quality, easily seen in letters like “X”, “Y”, “S”, and “R.” It is also obvious in the lower case italic.

The serif on the right stroke of the lowercase “h”, “n”, and “m” are on one side only.

All of the ascenders in the typeface are rather tall, and this is especially apparent in the lower case “t”.

Palatino Designer: Hermann Zapf Design Year: 1948 Classification: Old-style Serif

Palatino is an old-style typeface developed in 1948 by German typeface designer Hermann Zapf. It was named after 16th century calligraphy master Giambattista Palatino, and it is highly based on the humanist typefaces of the Italian Renaissance but with a calligraphy like grace. It remains even today as one of the most used serif typefaces worldwide, mostly due to it’s high readability. It bears many similarities to many of Hermann Zapf’s other typefaces, but is easily one of his greatest works as a typeface designer.

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Lorem ipsum dolor sit amet, consecteturisa adipiscing elit, deu. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca sodale lorem se dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat.

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Lorem ipsum doloresa alssisit sludia amet, de consectetur ut adipiscing elit. Nullam interdum, leo in volutpat ultricies, justo dui gravidasi tellus, meu varius diam risus ut dolor. Praesent sodales lorem.

Light Light Italic Roman Roman Italic Medium Medium Italic Bold Bold Italic Old Style Bold Old Style Italic Old Style Bold Italic Black Black Italic small caps

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Rockwell

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “A” of Rockwell is one of the most distinctive, because of the heavy slab serif on its apex.

Overall, Rockwell is one of the most easily distinguishable typefaces because of its mono weighted strokes and slab serifs.

The lower case “o” is also a distinguishing character because it shows the geometric detail that was put into the design.

Another notable character is the lower case “t” because of the sharply cut angle on the top of the stem.

Rockwell Designer: Frank Pierpont Design Year: 1934 Classification: Slab Serif

Rockwell is the name of a slab serif (or Egyptian) typeface that was designed in 1934 by Monotype foundry’s in-house design studio, which was supervised by Frank Hinman Pierpont. It is a geometric typeface that has a mono weighted stroke, therefore it is a better typeface for display then it is for lengthy bodies of text. It’s based on a more condensed slab serif design called Litho Antique. It has been used by The Guinness World Records, Docklands Light Railway, and other display medias.

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Lorem ipsum dolor sit amet, consectetur ut adipiscing elit, deu. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca soda lorem sed dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat.

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Lorem ipsum doloresa alssisit unum et amet, de consectetur tradipiscing elit. Nulam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent sodales lorem.

Light Light Italic Regular Italic Bold Bold Italic Bold Condensed Extra Bold

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Stempel Garamond

ABCDEFGHI J KLMNOPQRSTUVWXY Z abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The upper case “J” of the typeface is very distinct because of the descending stroke, uncommon among upper case letter forms.

The upper case “Z” is also a very distinguishing character because of the distinct barb on the top stroke's terminal.

A unique characteristic of the lower case “a” is how small the bowl is, and also the area underneath the bowl.

Another distinct character is the ampersand because of the curvature of the cross stroke and terminal.

Stempel Garamond Designer: Claude Garamond Design Year: 1925 Classification: Old-style Serif Garamond is the name of a group of old style serif typefaces that were named after Claude Garamond, a punch-cutter from Paris, France. He developed his type punches in the 1540s, and since then the typeface has seen many different foundries and reinterpretations. Stempel Garamond is one of the many variants, designed in 1925. It has been said to be the closest revival of Garamond’s original typeface, and is frequently used for that reason and also for its number of different weights.

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Lorem ipsum dolor sit amet, consectetur efradipiscing elit, deu. Nullam un interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus frut dolor. Praesent seca sodales lorem sed dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat.

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Roman Italic Italic Oldstyle small caps Bold Bold Italic Bold Oldstyle Bold Italic Oldstyle

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Trade Gothic

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

One distinct character in Trade Gothic is the upper case “Q” because of the tail that begins inside the counter and exits symmetrically.

Other notable characteristics of Trade Gothic are the wide open counters, as seen in this lower case “g”.

Another distinct character is the lower case “r” because of its short arm.

Another attribute of this typeface is the small amount of variation in terms of stroke weight. This is apparent throughout the typeface.

Trade Gothic Designer: Jackson Burke Design Year: 1948 Classification: Sans-serif

Trade Gothic is a typeface that was designed in 1948 by Jackson Burke. It differs from other sans-serif type families in many ways, mainly because it does not display the unifying family structure that types like Helvetica and Univers do. It is a sans-serif typeface itself, and is often utilized for headlines along with multimedia and advertising.

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Medium Oblique Bold Bold Oblique Condensed No. 18 Bold No.2 Bold No. 2 Oblique Condensed No.20

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Univers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 ” ’ ! ? : ; . , &

The capital “G” of the typeface is a defining character because it lacks a spur, which Univers’ cousin Helvetica does not lack.

The capital and lowercase “K's” are also notable characters due to the fact that their diagonal arms and legs meet at the stem at a 45° angle.

Another characteristic of the capital letters in Univers is the subtle squaring of rounded strokes, as seen in “O”.

The lower case “a” is the most defining character, with its straight back, baseline curl, and a 90° angle at the top of the bowl.

Univers Designer: Adrian Frutiger Design Year: 1954 Classification: Sans-serif

Univers is a sans-serif typeface developed in 1954 by Swiss typeface designer Adrian Frutiger. It is heavily based off of the design of the 1896 typeface AkzidenzGrotesk, and was released in 1957 along with two other typefaces, Helvetica and Folio, both of which also drew heavy influence from Akzidenz-Grotesk. One characteristic of Univers that sets it apart from typefaces of the time period is the way the different weights and variations are designated. Instead of names, a number system was implemented to designate weight and width. Univers enjoyed great popularity in the 1960’s and 1970’s, and was a huge part of the Swiss Style design movement that swept the United States during that time.

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Lorem ipsum dolor sit amet, consectetur adipiscing elit, deu. Nullam interdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent seca so lorem se dolor laoreet at pretium ipsum varius. Nulla odioda leo, sodales placerat.

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Lorem ipsum doloresa alssisit luce et amet, de consectetur radipiscing elit. Nullam vinterdum, leo in volutpat ultricies, justo dui gravida tellus, eu varius diam risus ut dolor. Praesent sodales.

45 Light 45 Light Oblique 47 Condensed 47 Condensed Light 53 Extended 55 Regular 55 Oblique 57 Condensed 57 Condensed Oblique 63 Bold Extended 65 Bold 65 Bold Oblique 67 Bold Condensed 67 Bold Condensed Oblique 73 Black Extended 75 Black 75 Black Oblique 93 Extra Black Extended

written & designed by Alec Helwig