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Bodoni The Thick and Thin of It
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Bodoni is a series of serif typefaces first designed by Giambattista Bodoni in 1798. The typeface is classified as Didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville: increased stroke contrast and a more vertical, slightly condensed, upper case; but took them to a more extreme conclusion. Bodoni had a long career and his designs evolved and varied, ending with a typeface of narrower underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction. Though these later designs are rightfully called “modern”, the earlier designs are “transitional”. Some versions of Bodoni are said to be hard to read due to “dazzle” caused by the alternating thick and thin strokes, particularly as the thin strokes are very thin at small point sizes. This only occurs when display versions are used at text sizes, and it is also true of much display type that is used at text sizes.
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Cooper Black is a heavily weighted, old style serif typeface designed by Oswald Cooper in 1921 and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface is drawn as an extra bold weight of Cooper Old Style. Though not based on a single historic model, Cooper Black exhibits influences of Art Nouveau, Art Deco, and the Machine Age. An earlier weight of Cooper’s type designs, Cooper Old Style was released first, though Cooper Black was what BB&S foundry was after. It was advertised as being “for far-sighted printers with near-sighted customers”, as well as “the Black Menace” by detractors.
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Helvetica Helvetica. Period.
Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with Eduard Hoffman at the Haas Type Foundary in Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Helvetica (meaning Swiss in Latin) in order to make it more marketable internationally. Helvetica is among the most widely used sans-serif typefaces. Versions exist for many alphabets and scripts. Helvetica is a popular choice for commercial wordmarks.
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You’ve probably read about me
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Garamond is the name given to a group of old-style serif typefaces named after the punch-cutterClaudeGaramont. AdirectrelationshipbetweenGaramond’sletterformsandcontemporarytypecanbefoundintheRomanversionsofthetypefaces Adobe Garamond, Granjon, Sabon, and Stempel Garamond. Garamondisconsideredtobeamongthemostlegibleandreadableseriftypefaces for use in print applications. It has been noted that it uses much less ink than Times New Roman at a similar point size, a fact partially attributable to Garamond having shortercharactersatthesamepointsizecomparedtoTimesNewRomanandalsoto Garamond’snarrowerstrokewidths.Garamond,alongwithothertypefaces,hasbeen identified by the GSA as a “toner-efficient” font.
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Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of the 1920’s and 30’s. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922, Futura was commercially released in 1936. The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928 and Light Oblique, Medium Oblique, Demibold, Demibold Oblique, Extra Bold, Extra Bold Italic, and Book were developed later on. Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. Futura remains an important typeface family and is used on a daily basis for print and digital purposes as both a headline and body font.
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Gill Sans is a sans-serif typeface designed by Eric Gill whose aim was to blend the influences of classic serif typefaces and Roman inscriptions to create a design that looked simultaneously modern and traditional. Marketed by Monotype as a font of ‘classic simplicity and real beauty’, it was intended as a display font that could be used for posters and advertisements, as well as a text face for documents such as book blurbs, timetables and price lists than need to be clearly legible at small sizes. The typeface continues to thrive to this day, often being held to bring an artistic or cultural sensibility to an organisation’s corporate style. Gill Sans is the official corporative typeface of the Spanish Government as well as countless British organizations including the widely recognized BBC logo.
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Bauhaus was inspired by the Universal typeface designed in 1925 by Herbert Bayer. The prototypes for the face were created by him while he was a professor at the famed Bauhaus in Dessau, Germany. In the 1970s, many typefaces were designed based on Bayer’s original lettershapes. Bauhaus was the only, however, to be made into a large family and licensed to typesetting equipment manufacturers. While no italic was drawn for the family, Bauhaus’ simple geometric shapes, monotone and even stroke weights create a strong graphic presence that is inherently Bauhaus.
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Baskerville is a transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. It is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the newer styles of Giambattista Bodoni & Firmin Didot. Baskerville’s typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville’s ideals of perfection, where he chose simplicity and quiet refinement. The most defining feature of Baskerville is its unique capital Q. A research study showed that the use of the Baskerville font increased the likelihood of the reader agreeing with a statement by 1.5% as compared to the average of five other fonts.
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Rockwell is a serif typeface belonging to the classification slab serif, or Egyptian, where the serifs are unbracketed and similar in weight to the horizontal strokes of the letters. The typeface was designed at the Monotype foundry’s in-house design studio in 1934. Because of its monoweighted stroke, Rockwell is used primarily for display rather than lengthy bodies of text. Rockwell is based on an earlier, more condensed slab serif design called Litho Antique. The 1933 design for Monotype was supervised by Frank Pierpont.
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Optima A Font W e Can Beli eve In
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Optima is a humanist sans-serif typeface designed by Hermann Zapf between 1952 and 1955 for the D. Stempel AG foundry, Frankfurt, Germany. He initially conceived this face as a competitor for Ludwig & Mayer’s Colonia. Optima was chosen as the font to be used for the names of those who lost their lives in the September 11 attacks, carved into bronze parapets, at the National September 11 Memorial & Museum, which is named “Reflecting Absence”.
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GoudyTe xt Ro yallyModern
Releasedin1928,FredericW.GoudybasedthisblackletteronGutenberg’s42-line bibletypeface.ThedesignincludesaseparatesetofLombardiccapitals.With Lombardiccapitalsthatworkbeautifullywithitslowercaseletters,GoudyText isreadabletothosewhoarenotusedtolookingatblackletters,andassuchcanbe used to great advantage in short headings and display work.
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Blanch
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890:;.,!?@#$&*-/ Blanch is designed by Atipus which is a design studio established in Barcelona since 1998 that provides graphic design and web services for companies, associations, and public institutions. Blanch is a display face, designed for the ‘Fruita Blanch’ brand""""""", a family-run company. A traditional font with a contemporary feel, The Blanch typeface family is comprised of 6 weights; 3 condensed weights and 3 caps weights. Blanch is available for download from www.losttype.com.
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Century Gothic
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Century Gothic is a geometric sans-serif typeface released by Monotype Imaging in 1991. It is strongly influenced by the font Futura, though with a higher x-height, and its design history also derives from two separate typefaces intended as Futura competitors. It is a digital typeface that has never been made into actual foundry type. Century Gothic is unique in its origin: it redraws one to match the design proportions of a second. Distinctive, Futura-derived features of Century Gothic are its single-story lowercase a and g. However, it has a much higher x-height (height of lowercase letters), an effect which promotes readability especially at small print sizes, and which was particularly popular in the 1970s for general-purpose typefaces, making it less similar to Futura than many other knockoff typefaces of the period.
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Clar endo n
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De si g ne d to C at ch Y ou r At te nt io n
Clarendon is an English slab-serif typeface that was created in England by Robert Besley for Thorowgood and Co, a type company formerly known as the Fann Street Foundry until approximately 1838. The typeface was published in 1845 after Besley, an employee of the foundry since 1826, was made a partner in the firm. Due to its popularity, Besley registered the typeface under Britain’s Ornamental Designs Act of 1842. The patent expired three years later, and other foundries were quick to copy it. Clarendon is considered the first registered typeface, with the original matrices and punches remaining at Stephenson Blake and later residing at the Type Museum, London. They were marketed by Stephenson Blake as Consort, though some additional weights (a bold and italics) were cut in the 1950s. It was named after the Clarendon Press in Oxford.