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? â&#x20AC;&#x201C; 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: 1784â&#x20AC;&#x201C;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 1919â&#x20AC;&#x201C;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: 1725â&#x20AC;&#x201C;1762, 1990
cap height baseline
Gâ&#x20AC;&#x2122;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 1840â&#x20AC;&#x201C;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. â&#x20AC;&#x201C; 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