24 Fonts Anna Driscoll
Contents
Futura Futura Bold Futura Light Gill Sans Helvetica Helvetica Bold Helvetica Light Janson
Sans Serif Sans Serif Sans Serif Sans Serif Sans Serif Sans Serif Sans Serif Serif
Futura Futura Bold Futura Light Gill Sans Helvetica Helvetica Bold Helvetica Light Janson
Sans Serif Sans Serif Sans Serif Sans Serif Sans Serif Sans Serif Sans Serif Serif
Meta Minion Optima Palatino Sabon Serifa Univers Univers Light Condensed
Sans Serif Serif Sans Serif Serif Serif Serif Sans Serif Sans Serif
Baskerville
8
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John Baskerville was an English buisnessman most well known for his typeface Baskerville. Created in Birmingham, 1757, it is a transitional serif typeface, positioned between the old style typeface Caslon and the modern style of Didot and Bodoni. To improve on the typefaces of William Caslon, he increased the contrast between thick and thin strokes, while also creating a more vertical axis for rounded letters. During his life, Baskerville also created different
John Baskerville was an English businessman most well known for his typeface Baskerville. Created in Birmingham, 1757, it is a transitional serif typeface, positioned between the old style typeface Caslon and the modern style of Didot and Bodoni. To improve on the typefaces of William Caslon, he increased the contrast between thick and thin strokes, while also creating a more vertical axis for rounded letters. During his life, Baskerville also created different inks and a smoother kind of paper, which would make his typefaces more legible. In 1758, following a meeting with Benjamin Franklin, it was decided that his typeface will be used in federal government publishing. The popularity of the Baskerville typeface de
8pt / 9.5pt
9.5pt / 11.5pt
9.5pt / 12pt
baskerville
John Baskerville was an English businessman most well known for his typeface Baskerville. Created in Birmingham, 1757, it is a transitional serif typeface, positioned between the old style typeface Caslon and the modern style of Didot and Bodoni. To improve on the typefaces of
10
John Baskerville (1706 - 1775) was an English businessman most well known for his typeface Baskerville. Created in Birmingham, 1757, it is a transitional serif typeface, positioned between the old style typeface Caslon and the modern style of Didot and Bodoni. To improve on the typefaces of William Caslon, he increased the contrast between thick and thin strokes, while also creating a more vertical axis for rounded letters. During his life, Baskerville also created different inks and a smoother kind of paper, which would make his typefaces more legible. In 1758, following a meeting with Benjamin Franklin, it was decided that his typeface will be used in federal government publishing. The popularity of the Baskerville typeface declined as more modern typefaces like Bodoni and Didot were soon created but it revived again over time. 10pt / 12.5pt
z f
baskerville
zf
Bembo
12
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Francesco Griffo, also known as Francesco da Bologna, was born in 1450 in Bologna, Italy. He was a type founder, punch cutter, and type designer- trained in Bologna. In 1495, he worked for the house Aldus Manutius of Venice, cutting punches for the press. Considered the first modern type designer because he created types for the mechanical craft of printing. Along with his project of Bembo, Griffo invented the first italic types. He helped the Manutius printing business make a fortune. 1496 was when he cut Pietro Bembo’s “de Aetna” and soon afterward in 1502 parted ways with Manutius. Griffo goes on to cut an italic typeface for Gershom Soncino printer in Fano, and eventually in 1516 he opened his own printing workshop in Bologna, where
Francesco Griffo, also known as Francesco da Bologna, was born in 1450 in Bologna, Italy. He was a type founder, punch cutter, and type designer- trained in Bologna. In 1495, he worked for the house Aldus Manutius of Venice, cutting punches for the press. Considered the first modern type designer because he created types for the mechanical craft of printing. Along with his project of Bembo, Griffo invented the first italic types. He helped the Manutius printing business make a fortune. 1496 was when he cut Pietro Bembo’s “de Aetna” and soon afterward in 1502 parted ways with Manutius. Griffo goes on to cut an italic typeface for Gershom Soncino printer in Fano, and eventually in 1516 he opened his own printing workshop in Bologna, where his frst publication featured his third cut alphabet. Unfortunately, Griffo’s life ended, supposedly, by hanging in 1518 after inflicting wounds that led to death during a conflict with his son-in-law. The typeface Bembo was cut by Francesco Griffo while working
7.5pt / 8.5pt
8.5pt / 9pt
8.5pt / 9.5pt
bembo
Francesco Griffo, also known as Francesco da Bologna, was born in 1450 in Bologna, Italy. He was a type founder, punch cutter, and type designertrained in Bologna. In 1495, he worked for the house Aldus Manutius of Venice, cutting punches for the press. Considered the first modern type designer because he created types for the mechanical craft of printing. Along with
14
Francesco Griffo, also known as Francesco da Bologna, was born in 1450 in Bologna, Italy. He was a type founder, punch cutter, and type designer- trained in Bologna. In 1495, he worked for the house Aldus Manutius of Venice, cutting punches for the press. Considered the first modern type designer because he created types for the mechanical craft of printing. Along with his project of Bembo, Griffo invented the first italic types. He helped the Manutius printing business make a fortune. 1496 was when he cut Pietro Bembo’s “de Aetna” and soon afterward in 1502 parted ways with Manutius. Griffo goes on to cut an italic typeface for Gershom Soncino printer in Fano, and eventually in 1516 he opened his own printing workshop in Bologna, where his frst publication featured his third cut alphabet. Unfortunately, Griffo’s life ended, supposedly, by hanging in 1518 after inflicting wounds that led to death during a conflict with his son-in-law. The typeface Bembo was cut by Francesco Griffo while working in Venice under the printing house of Aldus Manutius. It was named after scholar, poet, literary theorist and cardinal, Pietro Bembo. The typeface is credited with, while having a calligraphic feel, it’s popularity of often being a book typeface. Bembo’s design also allows for a print that is consistent in texture as well as color. It was specifically created for a sixtypage essay by Cardinal Pietro Bembo. 8.5pt / 9pt
y v
bembo
vy
Bodoni
16
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Giambattista Bodoni was born in Italy on February 16, 1740. He created 300 plus different typefaces and published multiple books revolving around type. At 28 he became in charge of the official press of the Duke of Parma, Italy. He worked there until his death in 1813. Giambattista was said to be the creator of modern roman typeface. Bodoni is considered one of the first modern typefaces. The typeface is inspired Baskerville and Didot. Bodoni was one of the main fonts in the 18th century but in the 21st century the later versions of the text are used in advertising and the older versions of the text are used in printing fine books. The text is not in
Giambattista Bodoni was born in Italy on February 16, 1740. He created 300 plus different typefaces and published multiple books revolving around type. At 28 he became in charge of the official press of the Duke of Parma, Italy. He worked there until his death in 1813. Giambattista was said to be the creator of modern roman typeface. Bodoni is considered one of the first modern typefaces. The typeface is inspired Baskerville and Didot. Bodoni was one of the main fonts in the 18th century but in the 21st century the later versions of the text are used in advertising and the older versions of the text are used in printing fine books. The text is not good for large quantities of writing because instead of leading your eye left to right it causes the viewers eye to go up and down. This text is also hard to read in a small font
7.5pt / 9pt
8pt / 9pt
9pt / 10pt
bodoni
Giambattista Bodoni was born in Italy on February 16, 1740. He created 300 plus different typefaces and published multiple books revolving around type. At 28 he became in charge of the official press of the Duke of Parma, Italy. He worked there until his death in 1813. Giambattista was said to be the creator of modern
18
Giambattista Bodoni was born in Italy on February 16, 1740. He created 300 plus different typefaces and published multiple books revolving around type. At 28 he became in charge of the official press of the Duke of Parma, Italy. He worked there until his death in 1813. Giambattista was said to be the creator of modern roman typeface. Bodoni is considered one of the first modern typefaces. The typeface is inspired Baskerville and Didot. Bodoni was one of the main fonts in the 18th century but in the 21st century the later versions of the text are used in advertising and the older versions of the text are used in printing fine books. The text is not good for large quantities of writing because instead of leading your eye left to right it causes the viewers eye to go up and down. This text is also hard to read in a small font because the thin lines become thinner and almost unable to identify. The font is described as a new simple and clear typeface. Giambattista Bodoni was born in Italy on February 16, 1740. 9pt / 11pt
a j
bodoni
a j
Centaur
20
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Bruce Rogers (1870 - 1957) was one of the leading American typographers of the 20th century. He was an author, an illustrator, a book designer, and a typographer. Roger designed the roman capitals of Centaur for the Metropolitan Museum in 1912. Subsequently, lowercase letters were added by the Monotype Corpration’s cutting of the Centaur for machine composition. This type face was based on roman type by Nicholas Jenson and it is unique in that the tail of ‘J’ that descends below the baseline and points down. The center bar of the uppercase
Bruce Rogers (1870 - 1957) was one of the leading American typographers of the 20th century. He was an author, an illustrator, a book designer, and a typographer. Roger designed the roman capitals of Centaur for the Metropolitan Museum in 1912. Subsequently, lowercase letters were added by the Monotype Corpration’s cutting of the Centaur for machine composition. This type face was based on roman type by Nicholas Jenson and it is unique in that the tail of ‘J’ that descends below the baseline and points down. The center bar of the uppercase ‘E’ has serifs while lowercase ‘e’ has a diagonal bar. In 1935, Rogers completed his masterpiece, the Oxford Lectern Bible using a 22 pt. version of Centaur. Recapturing the spirit of an early type, he was praised for
8.5pt / 10.5pt
9.5pt / 11.5pt
10pt / 12pt
centaur
Bruce Rogers (1870 - 1957) was one of the leading American typographers of the 20th century. He was an author, an illustrator, a book designer, and a typographer. Roger designed the roman capitals of Centaur for the Metropolitan Museum in 1912. Subsequently, lowercase letters were added by the
22
Bruce Rogers (1870 - 1957) was one of the leading American typographers of the 20th century. He was an author, an illustrator, a book designer, and a typographer. Roger designed the roman capitals of Centaur for the Metropolitan Museum in 1912. Subsequently, lowercase letters were added by the Monotype Corpration’s cutting of the Centaur for machine composition. This type face was based on roman type by Nicholas Jenson and it is unique in that the tail of ‘J’ that descends below the baseline and points down. The center bar of the uppercase ‘E’ has serifs while lowercase ‘e’ has a diagonal bar. In 1935, Rogers completed his masterpiece, the Oxford Lectern Bible using a 22 pt. version of Centaur. Recapturing the spirit of an early type, he was praised for creating imaginative designs. His achievement of over 500 books in his lifetime, he was awarded a gold metal from the Academy of Arts and Letter. 10.5pt / 12/5pt
B U
centaur
B U
Cheltenham
24
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Cheltenham is a typeface developed in 1896 by American architect Bertram Goodhue. Goodhue was best known for his involvement in what was known as the “gothic revival” as he designed numerous churches and buildings around the 20th century, however, he also had a strong interest in more traditional art. He published his own quarterly art magazine and also took part in illustration and book design. This all helped lead him to developing type. In
Cheltenham is a typeface developed in 1896 by American architect Bertram Goodhue. Goodhue was best known for his involvement in what was known as the “gothic revival” as he designed numerous churches and buildings around the 20th century, however, he also had a strong interest in more traditional art. He published his own quarterly art magazine and also took part in illustration and book design. This all helped lead him to developing type. In 1896, Goodhue was commissioned to create a type for a church altar book by Daniel Berkeley Updike of the
7pt / 9pt
9pt / 11pt
10pt / 12pt
cheltenham
Cheltenham is a typeface developed in 1896 by American architect Bertram Goodhue. Goodhue was best known for his involvement in what was known as the “gothic revival” as he designed numerous churches and buildings around the 20th century, however, he also had a strong interest in more traditional art. He
26
Cheltenham is a typeface developed in 1896 by American architect Bertram Goodhue. Goodhue was best known for his involvement in what was known as the â&#x20AC;&#x153;gothic revivalâ&#x20AC;? as he designed numerous churches and buildings around the 20th century, however, he also had a strong interest in more traditional art. He published his own quarterly art magazine and also took part in illustration and book design. This all helped lead him to developing type. In 1896, Goodhue was commissioned to create a type for a church altar book by Daniel Berkeley Updike of the Boston based Merrymount Press. 11.5pt / 13.5pt
m w
cheltenham
m w
Didot
28
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Didot is a modern typeface that was developed from 1784 to 1811 by the Didot family. They were well experienced in typography, as well as printing, punch-cutting and publishing. Didot was strongly influenced by Baskerville’s stroke contrast and condensed armature. Firmin Didot had the role of cutting out the letterforms and casting them as type. The other brother, Pierre Didot, was the one that applied the casted type in print. In 1818, Pierre typesetted Voltaire’s La Henriade in Didot. It is often referred to as his
Didot is a modern typeface that was developed from 1784 to 1811 by the Didot family. They were well experienced in typography, as well as printing, punch-cutting and publishing. Didot was strongly influenced by Baskerville’s stroke contrast and condensed armature. Firmin Didot had the role of cutting out the letterforms and casting them as type. The other brother, Pierre Didot, was the one that applied the casted type in print. In 1818, Pierre typesetted Voltaire’s La Henriade in Didot. It is often referred to as his masterwork. Didot has strong similarities to Giambattista Bodoni’s font, Bodoni. Both typefaces have high contrast strokes with an increased stress. A version of Didot was commissioned and used by CBS for many years next to its famous eye logo. Didot is a modern
7.5pt / 10pt
8.5pt / 10pt
8.5pt / 10.5pt
didot
Didot is a modern typeface that was developed from 1784 to 1811 by the Didot family. They were well experienced in typography, as well as printing, punch-cutting and publishing. Didot was strongly influenced by Baskerville’s stroke contrast and
30
Didot is a modern typeface that was developed from 1784 to 1811 by the Didot family. They were well experienced in typography, as well as printing, punch-cutting and publishing. Didot was strongly influenced by Baskervilleâ&#x20AC;&#x2122;s stroke contrast and condensed armature. Firmin Didot had the role of cutting out the letterforms and casting them as type. The other brother, Pierre Didot, was the one that applied the casted type in print. In 1818, Pierre typesetted Voltaireâ&#x20AC;&#x2122;s La Henriade in Didot. It is often referred to as his masterwork. Didot has strong similarities to Giambattista Bodoniâ&#x20AC;&#x2122;s font, Bodoni. Both typefaces have high contrast strokes with an increased stress. A version of Didot was commissioned and used by CBS for many years next to its famous eye logo.
9pt / 11pt
i G
didot
Gi
Frutiger
32
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Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places before starting his own studio in 1961. Frutiger was originally named Roissy. Frutiger was created for the Charles De Gaulle International Airport in France. It was introduced in 1976 it was easy to read in multiple sizes and angles. He wanted to combine aspects from Univers and Gill Sans in order to achieve this new
Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places before starting his own studio in 1961. Frutiger was originally named Roissy. Frutiger was created for the Charles De Gaulle International Airport in France. It was introduced in 1976 it was easy to read in multiple sizes and angles. He wanted to combine aspects from Univers and Gill Sans in order to achieve this new font. Frutiger has been fixed up and re introduced in many different versions, such as Frutiger Next, Frutiger Arabic, Neue Frutiger, and Frutiger Greek variants. It is used in signs and maps, as well as in brands. Adrian Frutiger was born
7.5pt / 9pt
7.5pt / 9.5pt
8pt / 10.5pt
frutiger
Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 19491951. He worked
34
Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places before starting his own studio in 1961. Frutiger was originally named Roissy. Frutiger was created for the Charles De Gaulle International Airport in France. It was introduced in 1976 it was easy to read in multiple sizes and angles. He wanted to combine aspects from Univers and Gill Sans in order to achieve this new font. Frutiger has been fixed up and re introduced in many different versions, such as Frutiger Next, Frutiger Arabic, Neue Frutiger, and Frutiger Greek variants. It is used in signs and maps, as well as in brands. Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places before starting his own studio in 1961. 8pt / 10pt
N J
frutiger
JN
Frutiger Light
36
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Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places before starting his own studio in 1961. Frutiger was originally named Roissy. Frutiger was created for the Charles De Gaulle International Airport in France. It was introduced in 1976 it was easy to read in multiple sizes and angles. He wanted to combine aspects from Univers and Gill Sans in order to achieve this new font. Frutiger has been fixed up and re introduced in
Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places before starting his own studio in 1961. Frutiger was originally named Roissy. Frutiger was created for the Charles De Gaulle International Airport in France. It was introduced in 1976 it was easy to read in multiple sizes and angles. He wanted to combine aspects from Univers and Gill Sans in order to achieve this new font. Frutiger has been fixed up and re introduced in many different versions, such as Frutiger Next, Frutiger Arabic, Neue Frutiger, and Frutiger Greek variants. It is used in signs and maps, as well as in brands. Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple
7.5pt / 9pt
7.5pt / 9.5pt
8pt / 10.5pt
frutiger light
Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places
38
Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places before starting his own studio in 1961. Frutiger was originally named Roissy. Frutiger was created for the Charles De Gaulle International Airport in France. It was introduced in 1976 it was easy to read in multiple sizes and angles. He wanted to combine aspects from Univers and Gill Sans in order to achieve this new font. Frutiger has been fixed up and re introduced in many different versions, such as Frutiger Next, Frutiger Arabic, Neue Frutiger, and Frutiger Greek variants. It is used in signs and maps, as well as in brands. Adrian Frutiger was born in Switzerland in 1928. He is a famous Swiss type designer who designed multiple fonts some of the most known are Avenir, Univers, Avenir Next, Humanist 777, and Frutiger. He studied in Zurich School of Arts and Crafts from 1949-1951. He worked in multiple places before starting his own studio in 1961. Frutiger was originally named Roissy, and created for the Charles De Gaulle International Airport. 8pt / 10pt
Y W
frutiger light
Y
W
Futura
40
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Paul Renner was born August 9th, 1878 in Wernigerode, Germany. He has two major written works, The Art of Typography and Typography as Art, but he has written seven books in all. He experimented with combining Gothic and Roman typefaces as well as with geometric typefaces, which lead to the birth of the Futura font. In addition to Futura, Paul Renner designed Architype Renner, Plak,
Paul Renner was born August 9th, 1878 in Wernigerode, Germany. He has two major written works, The Art of Typography and Typography as Art, but he has written seven books in all. He experimented with combining Gothic and Roman typefaces as well as with geometric typefaces, which lead to the birth of the Futura font. In addition to Futura, Paul Renner designed Architype Renner, Plak, Ballade, Renner Antiqua, Futura Black, and
7pt / 9pt
9.5pt / 12.5pt
11pt / 15pt
futura
Paul Renner was born August 9th, 1878 in Wernigerode, Germany. He has two major written works, The Art of Typography and Typography as Art, but he has written seven books in all. He experimented with combining Gothic and Roman typefaces as well as with geometric typefaces, which lead to the birth of the Futura font. In addition to
42
Paul Renner was born August 9th, 1878 in Wernigerode, Germany. He has two major written works, The Art of Typography and Typography as Art, but he has written seven books in all. He experimented with combining Gothic and Roman typefaces as well as with geometric typefaces, which lead to the birth of the Futura font. In addition to Futura, Paul Renner designed Architype Renner, Plak, Ballade, Renner Antiqua, Futura Black, and Futura Light. Most notable of those listed is Architype Renner, which was an experimental-type font. 12pt / 15pt
b c
c b futura
cb cb
Futura Bold
44
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Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentieth-century Germany. Nazis were fascinated with Gothic type while Renner believed that Roman type was more German than Gothic. He created Futura in 1928 both as a new form of Grotesk and as a means of striking a balance between capitals and lower case more effective
Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentieth-century Germany. This was the time the Nazis were fascinated by the effect of sans serif and Gothic type on their national identity. While Renner believed that Roman type was more German than Gothic. Renner created Futura both as a new form of Grotesk and as a means of striking a balance between capitals and lower case more effective than that of Herbert Bayer’s “universal alphabet” Unfortunately, Renner’s affinity towards Roman typefaces
6pt / 8pt
6.5pt / 8.5pt
7.5pt / 9.5pt
futura bold
Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through
46
Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentiethcentury Germany. Nazis were fascinated with Gothic type while Renner believed that Roman type was more German than Gothic. He created Futura in 1928 both as a new form of Grotesk and as a means of striking a balance between capitals and lower case more effective than that of Herbert Bayer’s “universal alphabet” Unfortunately, Renner’s affinity towards Roman typefaces would eventually lead to his dismissal from his teaching post in 1933 by the Nazis.
8pt / 11pt
k 7
futura bold
k 7
Futura Light
48
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentieth-century Germany. This was the time the Nazis were fascinated by the effect of sans serif and Gothic type on their national identity. While Renner believed that Roman type was more German than Gothic. Renner created Futura both as a new form of Grotesk and as a means of striking a balance between capitals and lower case more effective than that of Herbert Bayer’s “universal alphabet”
7.5pt / 10pt
8.5pt / 10.5pt
8.5pt / 11pt
futura light
born designer and teacher most known for inventing the geometric sans-serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and
Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentieth-century Germany. Nazis were fascinated with Gothic type while Renner believed that Roman type was more German than
Paul Renner (1878 1956) is an Austrian-
50
Paul Renner (1878 - 1956) is an Austrian-born designer and teacher most known for inventing the geometric sans serif typeface Futura. Renner began his career as a “book artist” in Munich where he became a member of the Deutscher Werkbund. There he also taught with Georg Trump and Jan Tschichold at the printing school. Renner lived through tumultuous industrial and political change in twentieth-century Germany. Nazis were fascinated with Gothic type while Renner believed that Roman type was more German than Gothic. He created Futura in 1928 both as a new form of Grotesk and as a means of striking a balance between capitals and lower case more effective than that of Herbert Bayer’s “universal alphabet” Unfortunately, Renner’s affinity towards Roman typefaces would eventually lead to his dismissal from his teaching post in 1933 by the Nazis.
9pt / 11pt
q L
futura light
qL
Gill Sans
52
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Gill Sans is a sans-serif typeface designed by Eric Gill.The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. In addition, Gill had sketched a design for Cleverdon, intended as a guide for him to make future notices and announcements.Gill further developed it into a complete font family after Stanley Morison commissioned the development of Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in
Gill Sans is a sans-serif typeface designed by Eric Gill.The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. In addition, Gill had sketched a design for Cleverdon, intended as a guide for him to make future notices and announcements.Gill further developed it into a complete font family after Stanley Morison commissioned the development of Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in 1928 by Monotype Corporation.Gill Sans became popular when in 1929 Cecil Dandridge commissioned Eric Gill to produce Gill Sans to be used on
7.5pt / 8.5pt
8pt / 9.5pt
9pt / 11pt
gill sans
Gill Sans is a sans-serif typeface designed by Eric Gill.The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. In addition, Gill had sketched a design for Cleverdon, intended as a guide
54
Gill Sans is a sans-serif typeface designed by Eric Gill.The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. In addition, Gill had sketched a design for Cleverdon, intended as a guide for him to make future notices and announcements.Gill further developed it into a complete font family after Stanley Morison commissioned the development of Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in 1928 by Monotype Corporation.Gill Sans became popular when in 1929 Cecil Dandridge commissioned Eric Gill to produce Gill Sans to be used on theLondon and North Eastern Railway for a unique typeface for all the LNERâ&#x20AC;&#x2122;s posters and publicity material.Gill Sans is a sansserif typeface designed by Eric Gill.The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. In addition, Gill had sketched a design for Cleverdon. 8.5pt / 10pt
t e
gill sans
et
Helvetica
56
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas develop a new sans-serif typeface.
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983, Linotype published its Neue Helvetica®, based on the earlier
7pt / 9.5pt
8pt / 10pt
8pt / 11pt
helvetica
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor
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Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983, Linotype published its Neue Helvetica®, based on the earlier Helvetica™. It is considered the official typeface of the twentieth century. Helvetica is simple and well proportioned and one of the most popular typefaces of all time. 8.5pt / 11.5pt
A N
helvetica
N
Helvetica Bold
60
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry,
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983,
7pt / 9.5pt
8pt / 10pt
8pt / 11pt
helvetica bold
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer
62
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983, Linotype published its Neue Helvetica®, based on the earlier Helvetica™. It is considered the official typeface of the twentieth century. Helvetica is simple. 8.5pt / 11.5pt
h u
uh uh helvetica bold
hu
Helvetica Light
64
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983, Linotype published its Neue Helvetica®, based on the earlier
7pt / 9.5pt
8pt / 10pt
8pt / 11pt
helvetica light
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and
66
Max Miedinger was born in Zurich, Switzerland, on December 24,1910. From 1926 to 1930, he attended classes at the Kunstgewerbeschule in Zurich and later worked at Globus department store’s advertising studio as a typographer. For 10 years, from 1947 to 1956, he was a customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near Basle. In 1956, he became a freelance graphic artist in Zurich. Eduard Hoffmann, the swiss director who established the Haas Typefoundry, entrusted Miedinger to develop a new sans-serif typeface. In 1957, He produced the Haas-Grotesk face. After 2 years, he introduced the full series of weights and the typeface changes its name from Neue Haas Grotesk to Helvetica™. In 1983, Linotype published its Neue Helvetica®, based on the earlier Helvetica™. It is considered the official typeface of the twentieth century. Helvetica is simple and well proportioned. 8.5pt / 11.5pt
S 8
helvetica light
S 8
Janson
68
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Janson is an old-style serif typeface named for Dutch punch-cutter and printer Anton Janson (1620–1687). Research in the 1970s and early 1980s, however, concluded that the typeface was the work of a Hungarian punch-cutter, Miklós (Nicholas) Tótfalusi Kis (1650– 1702). Tótfalusi Kis traveled to Amsterdam in 1680 to serve as an apprentice under Dirk Voskens; he and cut several typeface while working under Voskens, producing a roman-text face about 1685 upon which present-day Janson is based. A revival of the face was designed in 1937 by Chauncey H. Griffith of the Mergenthaler Linotype foundry. The revival was
Janson is an old-style serif typeface named for Dutch punch-cutter and printer Anton Janson (1620–1687). Research in the 1970s and early 1980s, however, concluded that the typeface was the work of a Hungarian punch-cutter, Miklós (Nicholas) Tótfalusi Kis (1650–1702). Tótfalusi Kis traveled to Amsterdam in 1680 to serve as an apprentice under Dirk Voskens; he and cut several typeface while working under Voskens, producing a roman-text face about 1685 upon which present-day Janson is based. A revival of the face was designed in 1937 by Chauncey H. Griffith of the Mergenthaler Linotype foundry. The revival was taken from the original matrices, held since 1919 by the Stempel Foundry, Mergenthaler’s exclusive agent in Europe.The most common digital version, Janson Text, comes from a metal version produced by Hermann Zapf
8pt / 9pt
8pt / 9.5pt
9pt / 10.5pt
janson
Janson is an oldstyle serif typeface named for Dutch punch-cutter and printer Anton Janson (1620–1687). Research in the 1970s and early 1980s, however, concluded that the typeface was the work of a Hungarian punch-cutter, Miklós (Nicholas) Tótfalusi Kis (1650–1702). Tótfalusi Kis traveled
70
Janson is an old-style serif typeface named for Dutch punch-cutter and printer Anton Janson (1620–1687). Research in the 1970s and early 1980s, however, concluded that the typeface was the work of a Hungarian punch-cutter, Miklós (Nicholas) Tótfalusi Kis (1650–1702). Tótfalusi Kis traveled to Amsterdam in 1680 to serve as an apprentice under Dirk Voskens; he and cut several typeface while working under Voskens, producing a roman-text face about 1685 upon which present-day Janson is based. A revival of the face was designed in 1937 by Chauncey H. Griffith of the Mergenthaler Linotype foundry. The revival was taken from the original matrices, held since 1919 by the Stempel Foundry, Mergenthaler’s exclusive agent in Europe.The most common digital version, Janson Text, comes from a metal version produced by Hermann Zapf in the 1950s atStemple, based on Kis’ original matrices.Despite its 17th-century origins, Janson is used in a wide variety of contemporary text applications. As of the magazine’s 2011 redesign, Architectural Digest uses Janson for body text in all of its articles.Janson is an old-style serif typeface. 9pt / 10pt
F t
janson
Ft
Meta
72
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Erik Spiekermann (1947) is a German typographer who studied art history at the Free University in Berlin. He began his career working as a freelance graphic designer in London. He returned to Berlin and started MetaDesign with two partners. With them he created information design and corporate design systems. He also founded the company FontShop, with his wife, which has evolved into Font Shop International.He has designed many typefaces in addition to the famous Meta. Many are part of the FF, or Font Font, range of typefaces, but he has also designed typefaces for
Erik Spiekermann (1947) is a German typographer who studied art history at the Free University in Berlin. He began his career working as a freelance graphic designer in London. He returned to Berlin and started MetaDesign with two partners. With them he created information design and corporate design systems. He also founded the company FontShop, with his wife, which has evolved into Font Shop International. He has designed many typefaces in addition to the famous Meta. Many are part of the FF, or Font Font, range of typefaces, but he has also designed typefaces for corporate branding. In 2001 Spiekermann left MetaDesign, and started the United Designers Networks, now known as EdenSpiekermann. In addition to creating widely-used fonts, he co-authored the book Stop Stealing Sheep & Find Out How
7.5pt / 9.5pt
8pt / 10pt
8.5pt / 11pt
meta
Erik Spiekermann (1947) is a German typographer who studied art history at the Free University in Berlin. He began his career working as a freelance graphic designer in London. He returned to Berlin and started MetaDesign with two partners. With them he created information design and corporate design
74
Erik Spiekermann (1947) is a German typographer who studied art history at the Free University in Berlin. He began his career working as a freelance graphic designer in London. He returned to Berlin and started MetaDesign with two partners. With them he created information design and corporate design systems. He also founded the company FontShop, with his wife, which has evolved into Font Shop International.He has designed many typefaces in addition to the famous Meta. Many are part of the FF, or Font Font, range of typefaces, but he has also designed typefaces for corporate branding. In 2001 Spiekermann left MetaDesign, and started the United Designers Networks, now known as EdenSpiekermann. In addition to creating widely-used fonts, he co-authored the book Stop Stealing Sheep & Find Out How Type Works, and has created many corporate identities and and redesigns. Spiekermann has won awards including the German Design Award, the European Designers Hall of Fame, and was awarded an honorary doctorship. 8.5pt / 11.5pt
g f
meta
g f
Minion
76
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Robert Slimbach is a type designer, born in Evanston, Illinois in 1956. Nonetheless he then moved to Southern California where he lived for all of his childhood and youth. Later he went off to college where he developed interest for graphic design and typefaces, while he had a small screen print shop for manufacturing posters and greeting cards. After training from 1938 to 1985, Slimbach worked as a typeface designer for Autologic Incorporation in Newbury Park, California. Not only did he receive training as a typeface
Robert Slimbach is a type designer, born in Evanston, Illinois in 1956. Nonetheless he then moved to Southern California where he lived for all of his childhood and youth. Later he went off to college where he developed interest for graphic design and typefaces, while he had a small screen print shop for manufacturing posters and greeting cards. After training from 1938 to 1985, Slimbach worked as a typeface designer for Autologic Incorporation in Newbury Park, California. Not only did he receive training as a typeface designer, but also as a calligrapher. He has other notable skills in fields other than graphic design, he entered to college on a gymnastics
7.5pt / 9pt
9pt / 10pt
10pt / 11.5pt
minion
Robert Slimbach is a type designer, born in Evanston, Illinois in 1956. Nonetheless he then moved to Southern California where he lived for all of his childhood and youth. Later he went off to college where he developed interest for graphic design and typefaces, while he had a small screen print shop for manufacturing posters and greeting
78
Robert Slimbach is a type designer, born in Evanston, Illinois in 1956. Nonetheless he then moved to Southern California where he lived for all of his childhood and youth. Later he went off to college where he developed interest for graphic design and typefaces, while he had a small screen print shop for manufacturing posters and greeting cards. After training from 1938 to 1985, Slimbach worked as a typeface designer for Autologic Incorporation in Newbury Park, California. Not only did he receive training as a typeface designer, but also as a calligrapher. He has other notable skills in fields other than graphic design, he entered to college on a gymnastics scholarship, he is also a talented calligrapher and photographer. 11.5pt / 12pt
K o
minion
Ko
Optima
80
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Herman Zapf is a prolific type designer and a notable writer on type. He spent the early part of his career working for the Stemple foundry in Germany and his work helped to fill the shortage of design for roman typefaces that existed in West Germany after the war. When Zapf returned from the war he took over the design directorship of Stempel. In 1958 he designed Optima, often referred to as a ‘stressed sans’ but one which Zapf himself called a ‘serifless roman’. It was inspired by inscriptional lettering he had
Herman Zapf is a prolific type designer and a notable writer on type. He spent the early part of his career working for the Stemple foundry in Germany and his work helped to fill the shortage of design for roman typefaces that existed in West Germany after the war. When Zapf returned from the war he took over the design directorship of Stempel. In 1958 he designed Optima, often referred to as a ‘stressed sans’ but one which Zapf himself called a ‘serifless roman’. It was inspired by inscriptional lettering he had seen in Florence, and has proved especially popular with calligraphers and carvers. Zapf has created typefaces for a number of other companies including Berthold, Hell Digiset and ITC. He has designed new faces for film setting and digitization as well was overseeing the transfer
8pt / 11pt
8pt / 11.5pt
8pt / 12pt
optima
Herman Zapf is a prolific type designer and a notable writer on type. He spent the early part of his career working for the Stemple foundry in Germany and his work helped to fill the shortage of design for roman typefaces that
82
Herman Zapf is a prolific type designer and a notable writer on type. He spent the early part of his career working for the Stemple foundry in Germany and his work helped to fill the shortage of design for roman typefaces that existed in West Germany after the war. When Zapf returned from the war he took over the design directorship of Stempel. In 1958 he designed Optima, often referred to as a ‘stressed sans’ but one which Zapf himself called a ‘serifless roman’. It was inspired by inscriptional lettering he had seen in Florence, and has proved especially popular with calligraphers and carvers. Zapf has created typefaces for a number of other companies including Berthold, Hell Digiset and ITC. He has designed new faces for film setting and digitization as well was overseeing the transfer of man his older designs to the new systems. He has worked as a consultant for Mergenthaler LINOTYPE ( in which capacity he designed Ventura) and for Hallmark Card (1967-72). In 1977 he was made Professor of Typographic Computer Programming.
8pt / 11.5pt
r Q
optima
Qr
Palatino
84
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
7.5pt / 10.5pt
Hermann Zapf (1918) is a German
Hermann Zapf (1918) is a German type designer admired
Palatino. Early in his career, Zapf served
apprenticeship as a retoucher at Nuremberg Printers Karl
type designer admired for creating
an apprenticeship as a retoucher at
Nuremberg Printers Karl Ulrich & Co. In 1938 he worked in the Paul Koch
printing workshop in Frankfurt am Main. Then at the Stempel AG typfoundry,
Zapf designed Palatino in 1948, which
for creating Palatino. Early in his career, Zapf served an
Ulrich & Co. In 1938 he worked in the Paul Koch printing
workshop in Frankfurt am Main. Then at the Stempel AG
typfoundry, Zapf designed Palatino in 1948, which was
punchcut in metal two years after. This was adapted for
Linotype machine composition. Palatino has open counters
was punchcut in metal two years after.
and carefully weighted strokes, making it legible even on the
composition. Palatino has open counters
Italian Renaissance forms and works well for both text and
7.5pt / 11.5pt
8pt / 12.5pt
This was adapted for Linotype machine
inferior paper of the post- WWII period. It is based on classical
and carefully weighted strokes, making
display. While teaching at the School of Printing in Rochester, palatino
Hermann Zapf (1918) is a German type designer admired for creating Palatino. Early in his career, Zapf served an apprenticeship as a retoucher at Nuremberg Printers Karl Ulrich & Co. In 1938 he worked in the Paul Koch printing
86
Hermann Zapf (1918) is a German type designer admired for creating Palatino. Early in his career, Zapf served an apprenticeship as a retoucher at Nuremberg Printers Karl Ulrich & Co. In 1938 he worked in the Paul Koch printing workshop in Frankfurt am Main. Then at the Stempel AG typfoundry, Zapf designed Palatino in 1948, which was punchcut in metal two years after. This was adapted for Linotype machine composition. Palatino has open counters and carefully weighted strokes, making it legible even on the inferior paper of the post- WWII period. It is based on classical Italian Renaissance forms and works well for both text and display. While teaching at the School of Printing in Rochester, New york, Zapf pioneered work in digitalizing a great many fonts for the new computer era. o prolific was Hermann Zapf as a typographer that he invented more than 200 typefaces. 8.5 pt / 12.5pt
md
palatino
m d
Sabon
88
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
The illustrious career of Jan Tschichold began in Leipzig, Germany on April 2, 1902 where he was born to a signwriter. Jan trained in calligraphy at a young age and started his typographic career early painting signs with his father. Studying typefaces he developed a “universal alphabet,” 1926 to 1929, in order to refine the visual appeal of the German language. He soon became a strong advocate for Modernist design principles, adding his opinions in the form of a book Die neue Typographie, 1927. Using similar design aspects found in his new alphabet he began work on 3 separate typefaces that turned into Transit, Saskia, and Zeus. However his researches lead him into dangerous territory when he was caught with Soviet posters identifying him
The illustrious career of Jan Tschichold began in Leipzig, Germany on April 2, 1902 where he was born to a signwriter. Jan trained in calligraphy at a young age and started his typographic career early painting signs with his father. Studying typefaces he developed a “universal alphabet,” 1926 to 1929, in order to refine the visual appeal of the German language. He soon became a strong advocate for Modernist design principles, adding his opinions in the form of a book Die neue Typographie, 1927. Using similar design aspects found in his new alphabet he began work on 3 separate typefaces that turned into Transit, Saskia, and Zeus. However his researches lead him into dangerous territory when he was caught with Soviet posters identifying him as a sympathizer to the communists. After fleeing Nazi Germany in 1933 he ended up in Switzerland where he continued his study of typography. He reinforced many ideas regarding design including the glorification of sans-serif, disregarding all other typefaces. As time progressed his views shifted towards
6.5pt / 8.5pt
7pt / 9pt
7.5pt / 9.5pt
sabon
The illustrious career of Jan Tschichold began in Leipzig, Germany on April 2, 1902 where he was born to a signwriter. Jan trained in calligraphy at a young age and started his typographic career early painting signs with his father. Studying typefaces he developed a “universal alphabet,” 1926 to 1929, in order to refine the visual appeal of the German language. He soon became a strong
90
The illustrious career of Jan Tschichold began in Leipzig, Germany on April 2, 1902 where he was born to a signwriter. Jan trained in calligraphy at a young age and started his typographic career early painting signs with his father. Studying typefaces he developed a â&#x20AC;&#x153;universal alphabet,â&#x20AC;? 1926 to 1929, in order to refine the visual appeal of the German language. He soon became a strong advocate for Modernist design principles, adding his opinions in the form of a book Die neue Typographie, 1927. Using similar design aspects found in his new alphabet he began work on 3 separate typefaces that turned into Transit, Saskia, and Zeus. However his researches lead him into dangerous territory when he was caught with Soviet posters identifying him as a sympathizer to the communists. After fleeing Nazi Germany in 1933 he ended up in Switzerland where he continued his study of typography. He reinforced many ideas regarding design including the glorification of sans-serif, disregarding all other typefaces. As time progressed his views shifted towards Classicism around 1932, finally accepting Roman typeface. He even condemned his own work Die neue Typographie as too radical. In the late 1940s he moved to England. 8pt / 10pt
E w
sabon
w
E
Serifa
92
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
Eleven years after the release of the original Univers, Adrian Frutiger pioneered a brand new slab-serif form. The font he dreamed up aimed to meld the clean form of his earlier font, with a more mechanistic one, the end result was dubbed Serifa. This bold typeface was engineered to be more eye catching, all the while making sure to still maintin the great legibility Frutiger was known for. It was like univers, but with a little more flair and volume. The bright and bold Serifa would be easily adaptable as a structural element of the design whole aswell. Serifa became very popular making appearances in magazines and newspaper layouts worldwide. It would seem that Frutiger had yet again created a font that would stand the test
Eleven years after the release of the original Univers, Adrian Frutiger pioneered a brand new slab-serif form. The font he dreamed up aimed to meld the clean form of his earlier font, with a more mechanistic one, the end result was dubbed Serifa. This bold typeface was engineered to be more eye catching, all the while making sure to still maintin the great legibility Frutiger was known for. It was like univers, but with a little more flair and volume. The bright and bold Serifa would be easily adaptable as a structural element of the design whole aswell. Serifa became very popular making appearances in magazines and newspaper layouts worldwide. It would seem that Frutiger had yet again created a font that would stand the test of time. When speaking on typographic design Frutiger was quoted as saying: If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the pageâ&#x20AC;Ś When it
6.5pt / 8pt
7pt / 8.5pt
7.5pt / 9pt
serifa
Eleven years after the release of the original Univers, Adrian Frutiger pioneered a brand new slab-serif form. The font he dreamed up aimed to meld the clean form of his earlier font, with a more mechanistic one, the end result was dubbed Serifa. This bold typeface was engineered to be more eye catching, all the while making sure to still maintin the great legibility
94
Eleven years after the release of the original Univers, Adrian Frutiger pioneered a brand new slab-serif form. The font he dreamed up aimed to meld the clean form of his earlier font, with a more mechanistic one, the end result was dubbed Serifa. This bold typeface was engineered to be more eye catching, all the while making sure to still maintin the great legibility Frutiger was known for. It was like univers, but with a little more flair and volume. The bright and bold Serifa would be easily adaptable as a structural element of the design whole aswell. Serifa became very popular making appearances in magazines and newspaper layouts worldwide. It would seem that Frutiger had yet again created a font that would stand the test of time. When speaking on typographic design Frutiger was quoted as saying: If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the pageâ&#x20AC;Ś When it is a good design, the reader has to feel comfortable because the letter is both banal and beautiful (Frutiger). I always like to make a similar analogy in reference to music. 8pt / 9.5pt
H u
serifa
u H
Univers
96
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 123456789 !@#$%^&*()_+|}{:”?><
The Univers font family was concocted by a Calligraphy major at Kunstgewerbeschule, Zurich, by none other than Adrian Frutiger. While at university he began work on the type face which would eventually lead to his recruitment to the Praisian foundry, Deberny Et Peignot. Eventually being released in 1957, the neo-grotesque design sans-serif was the first of a large family of typefaces Frutiger envisioned. Pulling influence from the 1898 typeface Akzidenz-Grotesk, Frutiger would then build upon his original design, differentiating weights and variations by the use of numbers. The system that he used, named The Frutiger Numbering system
The Univers font family was concocted by a Calligraphy major at Kunstgewerbeschule, Zurich, by none other than Adrian Frutiger. While at university he began work on the type face which would eventually lead to his recruitment to the Praisian foundry, Deberny Et Peignot. Eventually being released in 1957, the neo-grotesque design sans-serif was the first of a large family of typefaces Frutiger envisioned. Pulling influence from the 1898 typeface AkzidenzGrotesk, Frutiger would then build upon his original design, differentiating weights and variations by the use of numbers. The system that he used, named The Frutiger Numbering system was the first of its kind, intended to make specification less confusing. The Univers family would go on to include 44 typefaces, 16 of which include uniquely numbered weight, width and position. All of which were specifically designed to be used in tandent
7pt / 8pt
7.5pt / 9pt
8pt/ 9.5pt
univers
The Univers font family was concocted by a Calligraphy major at Kunstgewerbeschule, Zurich, by none other than Adrian Frutiger. While at university he began work on the type face which would eventually lead to his recruitment to the Praisian foundry, Deberny Et Peignot. Eventually being released in 1957, the neo-grotesque design sans-serif
98
The Univers font family was concocted by a Calligraphy major at Kunstgewerbeschule, Zurich, by none other than Adrian Frutiger. While at university he began work on the type face which would eventually lead to his recruitment to the Praisian foundry, Deberny Et Peignot. Eventually being released in 1957, the neo-grotesque design sans-serif was the first of a large family of typefaces Frutiger envisioned. Pulling influence from the 1898 typeface Akzidenz-Grotesk, Frutiger would then build upon his original design, differentiating weights and variations by the use of numbers. The system that he used, named The Frutiger Numbering system was the first of its kind, intended to make specification less confusing. The Univers family would go on to include 44 typefaces, 16 of which include uniquely numbered weight, width and position. All of which were specifically designed to be used in tandent with one another, intended to work together, mixing and matching in a vartiety of ways. Gaining great popularity in the early 60s and 70s, it began being picked up by many corporations. 8.5pt / 10pt
d j
univers
dj
Univers Light Condensed
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ
100
123456789 !@#$%^&*()_+|}{:”?><
The Univers font family was concocted by a Calligraphy major at Kunstgewerbeschule, Zurich, by none other than Adrian Frutiger. While at university he began work on the type face which would eventually lead to his recruitment to the Praisian foundry, Deberny Et Peignot. Eventually being released in 1957, the neo-grotesque design sans-serif was the first of a large family of typefaces Frutiger envisioned. Pulling influence from the 1898 typeface Akzidenz-Grotesk, Frutiger would then build upon his original design, differentiating weights and variations by the use of numbers. The system that he used, named The Frutiger Numbering system was the first of its kind, intended to make specification less confusing. The Univers family would go on to include 44 typefaces, 16 of which include uniquely numbered weight, width and
The Univers font family was concocted by a Calligraphy major at Kunstgewerbeschule, Zurich, by none other than Adrian Frutiger. While at university he began work on the type face which would eventually lead to his recruitment to the Praisian foundry, Deberny Et Peignot. Eventually being released in 1957, the neo-grotesque design sans-serif was the first of a large family of typefaces Frutiger envisioned. Pulling influence from the 1898 typeface Akzidenz-Grotesk, Frutiger would then build upon his original design, differentiating weights and variations by the use of numbers. The system that he used, named The Frutiger Numbering system was the first of its kind, intended to make specification less confusing. The Univers family would go on to include 44 typefaces, 16 of which include uniquely numbered weight, width and position. All of which were specifically designed to be used in tandent with one another, intended to work together, mixing and matching in a vartiety of ways. Gaining great popularity in the early 60s and 70s, it began being picked up by many corporations looking for a modern and clean typeface. Frutiger insisted upon an extremely strict discipline
7pt / 8pt
7.5pt / 8.5pt
8pt / 9.5pt
univers light condensed
The Univers font family was concocted by a Calligraphy major at Kunstgewerbeschule, Zurich, by none other than Adrian Frutiger. While at university he began work on the type face which would eventually lead to his recruitment to the Praisian foundry, Deberny Et Peignot. Eventually being released in 1957, the neo-grotesque design sans-serif was the first of a large family of typefaces Frutiger envisioned. Pulling influence from the 1898 typeface
102
The Univers font family was concocted by a Calligraphy major at Kunstgewerbeschule, Zurich, by none other than Adrian Frutiger. While at university he began work on the type face which would eventually lead to his recruitment to the Praisian foundry, Deberny Et Peignot. Eventually being released in 1957, the neo-grotesque design sans-serif was the first of a large family of typefaces Frutiger envisioned. Pulling influence from the 1898 typeface Akzidenz-Grotesk, Frutiger would then build upon his original design, differentiating weights and variations by the use of numbers. The system that he used, named The Frutiger Numbering system was the first of its kind, intended to make specification less confusing. The Univers family would go on to include 44 typefaces, 16 of which include uniquely numbered weight, width and position. All of which were specifically designed to be used in tandent with one another, intended to work together, mixing and matching in a vartiety of ways. Gaining great popularity in the early 60s and 70s, it began being picked up by many corporations looking for a modern and clean typeface. Frutiger insisted upon an extremely strict discipline across every single element of his series, exploring light to dark, extended to extra condensed, and every aspect possible. Similar to Helvetica people gravitated towards it as they were abandoning old over designed typefaces for a much simpler design. 8.5pt / 10pt
6 e
univers light condensed
e 6
104
Contains 24 fonts, highlighting their most aesthetically pleasing sizes and leadings. The combinatons portray movement, as well as the elements of each letter in the specific typefaces.
Created in Mark Laughlinâ&#x20AC;&#x2122;s Typography One Class in the second semester of the 2013/2014 school year. Printed at ProPrint at 410 Boylston Street, Boston, Massachusetts.
Designed by Anna T. Driscoll, as a freshman in her first year at Northeastern University.