Alexis Reid | Type Specimen Book

Page 1

t y peface s



six typefaces

compiled by alexis reid


copyright Š 2013 by alexis reid all rights reserved. published in springfield, missouri by alexis reid's shit show & friends


for mrs. eaves. i miss you.



preface

preface

p r e fa c e preface if i was to use one typeface for the rest of my life, it would be mrs. eaves. however, she and i have been banned from each other, and it takes six other typefaces to fill that void. in these pages are those six.

PREFACE


ontent

hey you

howdy

hey there ahoy

g'day oh hey


13 filosofia

25

neutraface

47 didot

55 futura

65

adobe caslon

75 clarendon


cap height

ascender height

x-height

descender height

Clarendon

Didot

Futura

Adobe Caslon Pro

Neutraface

Filosophia


type anatomy

11



FILOSOFIA Classification: Didone Designer: Zuzana Licko Year: 1996


FILOSOFIA

Born in Czechoslovakia, in 1961, Zuzana Licko moved to the United States and studied graphic communications in college. After graduating, she founded EmigrĂŠ Design with her husband, and together they created the EmigrĂŠ journal. Using her new Macintosh compiuter and a bitmap font tool, she began creating fonts for the magazine.

a brief history

"After college we did all sorts of design-related odd jobs. There was no direction. Then, in 1984 the Macintosh was introduced, we bought one, and everything started to fall into place. We both, each in our own way, really enjoyed this machine. It forced us to question everything we had learnt about design. We both enjoyed that process of exploration, of how far you could push the limits." Before working with computers, Licko's favorite typeface was Bodoni with it's "clean lines and geometric shapes and variety of headline style choices." However, it was difficult to use at small sizes. Licko created Filosofia as a revival of Bodoni, and incorporated rounded serifs. She didn't work directly from Bodoni, but rather judged by eye in order to keep measurements similar to the original. She also designed muliple versions: "Regular" can be reduced in size and used in text, while "Grand" is more delicate, and can be used in display applications.


bodoni sharp serifs flat baseline serifs

strong stroke contrast

vs

softer stroke contrast

concave baseline serifs rounded serifs

filosofia

filosofia

15


REGULAR

ITALIC

BOLD

a bB C A cD dE e Ff gG hH iI jJ K k Ll M mN nO o Pp Qq Rr sS Tt uU vV w W xX yY zZ a Bb Cc Dd Ee Ff G A g hH iI jJ K k Ll m MN n Oo Pp Qq Rr sS Tt uU vV w W Xx Yy Zz a b A BC cD dE e Ff G g h H iI jJ K k Ll M mN n Oo Pp Qq Rr sS T t uU vV w W xX yY zZ


aA bB cC D d eE fF G gH h Ii Jj Kk Ll M m Nn Oo Pp Qq Rr Ss Tt Uu Vv W wX x Yy Zz

SMALL CAPS

aA bB cC dD eE fF G gH h Ii jJ kK lL M mN nO o Pp Q q Rr Ss Tt Uu Vv W w Xx Yy Zz

GRAND CAPS

Aa Bb Cc Dd Ee Ff Gg H h Ii jJ Kk Ll M m Nn Oo Pp Qq Rr Ss Tt Uu Vv W w Xx Yy Zz

GRAND BOLD

filosofia

17



6 pt

You read best what you read most.

8 pt

You read best what you read most.

10 pt

You read best what you read most.

12 pt

You read best what you read most.

14 pt

You read best what you read most.

18 pt

You read best what you read most.

24 pt

You read best what you rea

30 pt

You read best what yo

36 pt

48 pt

60 pt

72 pt

You read best wha

You read best

You read be


cap height baseline

Hello you. ascender height

x-height

descender height

FILOSOFIA ANATOMY & EARMARKS

concave horizontal strokes concave serifs

Typography horizontal stress

rounded serifs

double-story a

double-story g

ball terminals


lyphs

#$&'\^_`|~ ¡¿ ¤*:;=,+-./?¨¦°±´¶¸·ˆ˜–—•÷‡†‹›−

[({<«»>})] 0123456789 @©® ¼½¾‰% º¹²³™ ££§¥¢ ÀÁÃÂÄÅ ÆnjРÈÉÊË ÌÍÏÏ ÑŠ ÒÓÔÕÖØ ÙÚÛÜ ÝŸ ß àáâãäå æç èéêë ƒ ìíîï ðñœš òóôõöø þÞ ùúûüµ ýÿ filosofia

21


YOU NEED TO USE SOMETHING

that is not necessarily intrinsically more legible,

but that people are used to seeing.

you read best what you read most. However, those preferences for typefaces such as Times Roman

exist by habit,

because those typefaces have been around longest. When those typefaces first came out, THEY WERE NOT WHAT PEOPLE WERE USED TO EITHER. Maybe some of my typefaces will eventually

REACH THIS POINT OF ACCEPTANCE, and therefore become more legible;

two hundred years from now,

who knows? – Zuzana Licko


ROMAN CAPS italic small caps grand caps grand caps roman unicase grand bold roman BOLD CAPS italic GRAND BOLD CAPS grand unicase bold italic

filosofia weights

23



Neutraface Classification: Geometric San Serif Designer: Christian Schwartz Year: 2002


NEUTRAFACE a brief history

Neutraface is based on signage from buildings designed by architect Richard Neutra, who was mentored by Frank Lloyd Wright. Designer Christian Schwartz designed a typeface based on this signage. He developed an entire lowercase alphabet that did not previously exist, as well as alternative fonts that followed letters that varied from building to building. Although he initially designed Neutraface as a display typeface, Schwartz also developed a text version with a larger x-height and increased contrast. He had no actual samples of the lettering, but used a lot of interpretation and referenced Futura, Nobel, and Tempo. With an excessive number of features, like Alternative Italic Small Caps, Neutraface was designed to be the most complete geometric san serif family ever,


cap height cap x-height baseline

Howdy.

ascender height x-height

descender height

NEUTRAFACE ANATOMY & EARMARKS

dropped cross-bars

Atypical horizonal stress

slight stroke contrast

double-story a

neutraface

27


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


z

Z

z

NEUTRA TEXT

Z

z

z

Z

z

z

z

z

z

Z

z

z

Z

z

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

BOLD

z

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

DEMI

Z

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

BOOK

Z

abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

LIGHT

z

Z

z

neutraface

29


NEUTRA SLAB TEXT

BOLD

abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

DEMI

abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

BOOK

abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

LIGHT

abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz


W E I G H T S

neutraface

31


ABCDE A BCDE FGHIJ FGHIJ KLMNO K LMNO KLMNO PQRST P Q R ST PQRST

N E U T R A FAC E

D I S P L AY


neutraface

33

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

TITLING

MEDIUM

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ

LIGHT

THIN

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz


MEDIUM BOLD

hijklmnopqrstuvwxyz ABCDEFGHI JKL MNOP QRST UVWX YZ

hijklmnopqrstuvwxyz ABCD EFGH I J K L MNOP QRST U VW X YZ

TITLING

LIGHT

hijklmnopqrstuvwxyz ABCDEFGH I JK L MNOP QRS T U VWX YZ

abcdefghijklmnopqrstuvwxyz

THIN

h i j k l m n o p q rs t uv w x y z AB CD E F G H I JK L MN OP Q R S T U VW X Y Z


N E U T R A FA C E SLAB D I S P L AY


ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

a b c d e f g h i j k l m n o p q r st u v w xyz


Z

z

Z

z

Z

z

Z

z

z

neutraface

HEY HEY condensed

neutraface

37


{([ <.: = #$% + ;, > ] ) }

1 2 3 4 5 6 7 8 9

a NEUTRA DISPLAY NUMERALS


abcdef ghijkl mnopq rstuv ne u t ra disp l ay dra f ti ng


N E U T R A FA C E S L A B D I S P L AY S T E N C I L

N E U T R A FAC E

ABCDEFGHIJKLMNOPQ RSTUVWXYZ 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


A aB bC cD d Ee Ff G gH h Ii Jj K k Ll M mN nO oP p Q q Rr Ss Tt U u V vW wX xY y Zz neutraface

41


Jolly housewives Thin made inexpensive meals book small caps using quick-frozen vegetables. Medium Sixty zippers Light were quickly picked Demi Italic from the woven jutebold bag. small caps Jaded zombies light small caps acted quaintly Book but kept driving demi small caps italic their oxen forward. Bold Six big juicy steaks Book Italic sizzled in abook pan small caps italic as five workmen Text left the quarry. Bold Italics forDisplay meals! Grumpy wizards Light Italic make toxic brew demi small caps for the evil queen Bold andLight Jack. Hark! bold italic small caps Toxic jungle water vipers Demi quietly drop on small caps italic light zebras. Titling


ĞĻŸPĤŚ

%%%(()) *++,-./&'!" 000000 111111111 22222222 333333 444444 555555 666666 777777 888888 999999 :;<<=>>?¿ @@ [[\]]{|} ffiflfbffffifffl ffhffiffíffîffïffjffkffl fftfhfífîfïfjfkft ¡ $$¢¢££¥¥§§§ «^`¯~©®°°¶» ÀÁÂÃÄÄÅÅÆÆ ÇÇ ÈÉÉÊË ÌÍÎÏ ÐÐ ÑÑ ÒÓÔÕÖÖ ØØ ÙÚÛÜÜ ÝÝ ÞÞßss ààááââããäåæ çèèéêêëë ììííîîïï ðñ òòóóôôõõö øùùúúûûü ýýþÿÿÿ

ĀĀĀĀāĂĂĂĂ㥥ĄĄą ĆĆćĈĈĉČČč ĎĎďĐĐđ ĒĒēĖĖėĘĘęĚĚě ĜĜĜĜĝĞĞĞĞğĢĢĢĢģ ĤĤĥ ĪīĮĮįİİıı ĴĴĵ ĶĶķ ĹĹĺĻĻļĽĽľŁŁł ŃŃńŅŅņŇŇň ŌŌōŐŐő ŒŒœœ ŔŔŕŖŖŗŘŘř ŚŚśŜŜŝŠŠšȘȘș ŢŢţŤŤťȚȚț ŪŪūŬŬŭŮŮůŰŰűŲŲų Ÿ ŹŹźŻŻżŽŽž ȷ‰‰‰‰‰‰ 43 ‹›€€€™∑ †‡•…


A AAAA 72

AAAAA AAAAA A A A AA

64 48 36 30

A A A A A

24

A A A A A

18

A A A A A A

A

A

A

A

A

A

A

A

A

A

A

A

A

A

A

A

A

A A

A A

A A

A

14 12 10 8 6


AAAAA 72

64 48 36

AAAAA AAAA A A A A A A A A A A A

18

A A A A A

24

A A A A A

30 14 12

A A

A A

A

10 8

A A

6

A A A

A A

A A

A A A A

A

A

A A A A A



DIDOT Classification: Modern (Didone) Designer: Firmin Didot Year: 1784–1811


DIDOT

Didot was originally developed by Firmin Didot in Paris, France. It was inspired by John Baskerville's experimentation in increased stroke contrast, and was developed around the same time as Giambattista Bodoni's Bodoni typeface.

a brief history

Didot is part of the Modern typeface family, characterized by horizonatal stress, flat and unbracketed serifs, and high stroke contrast.Many early digital versions of the face suffered from a type syndrome called "dazzle," where the hairline strokes in smaller point sizes disappear altogether. Some adaptations have counteracted that by increasing stroke weight in smaller point sizes, including those by Adrian Frutiger for Linotype foundry, and by Jonathan Hoeffler for H&FJ. Hoeffler did his redesign in 1991 as part of the reinvention of Harper's Bazaar magazine, and was asked to include the hairline serifs and maintian them over a range of sizes, something commercial cuts of Bodoni didn't do. Hoeffler expanded a 1819 version of the typeface, and designed many accompanying characters, including italics and a range of seven "optical sizes" designed to be used at a range of different point sizes. These were designed for each of the faces six styles, for a total of 42 fonts.


d

regular

d italic

d

bold

d

headline

didot

49


Hey there. cap height

baseline

ascender height

descender height

DIDOT ANATOMY & EARMARKS

concave t ascender

type

rounded terminals

flat serifs

strong horizonal stress strong stroke contrast

x-height


didot r e g u l a r

ABCDEF a b c d e f

GHIJKLM g h i j k l m

NOPQRST n o p q r s t

UVWXYZ u v w x y z

didot

51


didot i t a l i c

ABCDEF a b c d e f

GHIJKLM g h i j k l m

NOPQRST n o p q r s t

UVWXYZ u v w x y z


g l

y p h s

< = > : ; ÷ ! $ % ¢ £ ¥ ¼ ½ ¾ 0 1 2 0 1 2 À À Á à á â Ç Ç ç È È É Ì Ì Í Í Ð Ð ð ı Ł Ł Ñ Ñ ñ Ò Ò Ó ò ó ô Š Š š Ù Ù Ú Ý Ý Ÿ ƒ Þ Þ Œ Œ œ Ω π † Ω ℮ ∂ ∞ ∫ ≈

' ¨ & § ‰ 3 3 Á ã

( ) + , - . / [ \ ] ^ _ ` { & * ? @ ¡ ¿ ©

É Î ð ł ñ Ó õ

Ê Ê Ë Ë è é ê ë Î Ï Ï ì ì í í î î ï ï

Ú Ÿ ß œ ‡ ∆ ≠

4 4 Â ä

5 5 Â å

6 6 Ã å

7 7 Ã æ

" # × ± ® | } ~

8 9 8 9 Ä Ä Å Å Æ Æ æ

ł Ô Ô Õ Õ Ö Ö Ø Ø ö ø Û Û Ü Ü ù ú û ü µ ÿ ý Ž Ž þ € ℓ ™ ∏ ∑ √ ≤ ≥ ◊  didot

53



FUTURA Classification: Geometric San Serif Designer: Paul Renner Year: 1927


Ahoy.

ascender height

cap height

baseline

x-height

descender height

FUTURA ANATOMY & EARMARKS

pointed apex

Aarg

single-story a single-story g

open tail


BOUTFUTUR

Designed by Paul Renner in 1927, Futura was based on geometric shapes that became characteristic of the Bauhaus movement from 1919–1933. It was originally released in light, medium, bold, and bold oblique, and other weights were added later, including extra bold, which was designed by Edwin Shaar in 1952. Futura was originally designed with small capitals and oldstyle figures, but these were dropped from the metal issue of the type. The typeface is based on near-perfect circles, squares, and triangles, and with tall ascenders, and a strokes nearly identical in weight. Many geometric sans serifs were subsequently based on Futura. It has been re-released by several foundries since its original release, and has been used by everyone from Wes Anderson to the astronauts on the first moon landing. futura

57


F U T U LRIAG H T F U T RBUO RO AK F UM T UERDAI U M F U T UHREAAV Y F U T UBROAL D XTR AT B LD FU UO RA


FUTURA

ABCDEFGHIJKLMNOPQRSTUV abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTU abcdefghijklmnopqrstuvwxy

ABCDEFGHIJKLMNOPQRSTUV abcdefghijklmnopqrstuvwxy ABCDEFGHIJKLMNOPQRSTU abcdefghijklmnopqrstuvwx

ABCDEFGHIJKLMNOPQRS abcdefghijklmnopqrstuv

ABCDEFGHIJKLMNOPQR abcdefghijklmnopqrstu futura

59


FUTUR FUTUR FUTUR


FUTURA CONDENSED

LIGHT ABCDEFGHIJKLMNOPQRSTUVW ABCDEFGHIJKLMNOPQRSTUVW MEDIUM ABCDEFGHIJKLMNOPQRST ABCDEFGHIJKLMNOPQRSTUV BOLD ABCDEFGHIJKLMNOPQRS ABCDEFGHIJKLMNOPQRST EXTRA BOLD ABCDEFGHIJKL ABCDEFGHIJKLMNOPQR futura

61


THE TRULY MODERN IS WHAT WE HOLD TODAY TO BE TIMELESSLY PERFECT.

– PAUL RENNER


hello futura

63



ADOBE

CASLON

Classification: Transitional Designer: William Caslon, Carol Twombly Year: 1725–1762, 1990


cap height baseline

G’day.

ascender height

x-height

descender height

adobe caslon anatomy & earmarks

A typographer concave apex

horizontal stress

rounded terminals

double-story g

double-story a

slightly concave serifs

slanted ascender serifs


about adobe caslo Adobe Caslon is a revival of Caslon, designed in the 18th century by William Caslon. Caslon is the first typeface with cited English origins. It is characterized by short ascenders and descenders, bracketed serifs, and somewhat high contrast. It shares many of theses characteristics with Dutch Baroque typefaces designed around the same time, and may be based on faces designed by Voskens or Van Dyck. The typeface gained popularity during the British Arts and Crafts movement from 1840–1880. Benjamin Franklin used Caslon exclusively, and both the Declaration of Independence and the Constitution were set in Caslon.

Hot type, phototypesetting, and digital fonts have all introduced various changes to Caslon through the years, with many releases of the font with varying levels of fidelity to the original face. Adobe Caslon is one such variation, used widely today, and was designed in 1990 by Carol Twombly.

caslon

67


O N L M JK Z Y X W V U T S R Q IP H G F E D C B A


o ln xyzjkm vw rstu q ip efgh cd ab adobe caslon

69


when in doubt, use caslon. – William Caslon


bold

abcdefghijklmnopqrstu

bold small caps

abcdefghijklmnopqrst

BOLD CAPS

ABCDEFGHIJKLMNO

bold italic

abcdefghijklmnopqrstuv

b o l d s m a l l c a p s i ta l i c

abcdefghijklmnopqrstu

B O L D I TA L I C C A P S

ABCDEFGHIJKLMNOP

semibold semibold small caps

abcdefghijklmnopqrstu

abcdefghijklmnopqrst

SEMIBOLD CAP S

ABCDEFGHIJKLMNO

semibold italic

abcdefghijklmnopqrstuv

s e m i b o l d i ta l i c s m a l l c a p s

abcdefghijklmnopqrstu

S E M I B O L D I TA L I C C A P S

ABCDEFGHIJKLMNOP

regular

abcdefghijklmnopqrstuv

regular small caps

abcdefghijklmnopqrst

REGULAR CAPS

ABCDEFGHIJKLMNOP

italic

abcdefghijklmnopqrstuvw

i ta l i c s m a l l c a p s

abcdefghijklmnopqrstu

I TA L I C C A P S

ABCDEFGHIJKLMNOP

adobe caslon

71


A BB CC D D EE

G H H II JJ K K M N N O O PP M R SS TT U U R


72 60 A

A

A

A

48 A

A

36 A

A 30 24

A 18 14

A 12 10 8 6

K

A

A

adobe caslon

73



CLARENDON Classification: Slab Serif Designer: Robert Besley Year: 1845


a brief history

CLARENDON

The first slab serifs were designed to be oddities. Clarendon is an early slab serif font, with rounded brackets that connect its serifs, and that give bolder faces more weight, although they are a problem in lighter versions, where they can become overpowering. Clarendon was originally designed without a book face, nor italics, and thus is rarely used in text. It was designed by Robert Besley in 1845 and subsequently patented. However, the patent expired three years later, and many other foundries were quick to copy the face. The name Clarendon is often used as a general term for all bracketed slab-serif faces. Clarendon was used frequently by the German Empire during WWI, as well as for wanted posters in the American Old West.


cap height baseline

Oh hey.

ascender height x-height

descender height

CLARENDON ANATOMY & EARMARKS

hey gal tall x-height

rounded brackets

ball terminals

slab serifs

double-story a

double-story g

clarendon

77


WEIGHTS


LIGHT

abcdefghijklmnopqrstuvwx

abcdefghijklmnopqrstuvwxy

ABCDEFGHIJKLMNOPQRS REGULAR

abcdefghijklmnopqrstuvw

abcdefghijklmnopqrstuv wx

ABCDEFGHIJKLMNOPQRS HEAVY

abcdefghijklmnopqrstuvw abcdefghijklmnopqrstuvwx

ABCDEFGHIJKLMNOPQRS BOLD

abcdefghijklmnopqrstuv

ABCDEFGHIJKLMNOPQRSTUVW

ABCDEFGHIJKLMNOPQR BLACK

abcdefghijklmnopqrstuvw

abcdefghijklmnopqrstuvwx

ABCDEFGHIJKLMNOPQRS abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ

CONDENSED

abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ

BOLD CONDENSED

clarendon

79


ibliograph

Schwartz, Christian. "House Industries - Fonts." House Industries - Fonts. House Industries, n.d. Web. 05 Dec. 2013.

BĂŠjean, Pascal. "Emigre Fonts: Interview with Zuzana Licko." Emigre Fonts: Interview with Zuzana Licko. Emigre, 2010. Web. 05 Dec. 2013.

Licko, Zuzana. "Mrs Eaves Design Information: Emigre Fonts." Mrs Eaves Design Information: Emigre Fonts. Emigre, 1996. Web. 05 Dec. 2013.

"Select Your Language." Adobe Caslon. Adobe, n.d. Web. 05 Dec. 2013.

"Fonts by Appearance." Identifont. Linotype, n.d. Web. 05 Dec. 2013.


this book was created using adobe cs5 software and a macbook pro. it was printed on whitewash construction paper by the french paper company, on missouri state university's campus in springfield, missouri, using a canon ip3600 series printer. edition __/2

back matter

81


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.