Eight Designers & Eight Typefaces
8
Designers & Typefaces
St. Louis UMSL Books 2012
Copyright Š 2012 Greg Hartl All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. Printed in the umsl Arts Administration Building
This book is dedicated to my family and friends for helping me out so much. Thank you for being there when I needed you the most.
Contents 1 Claude Garamond 2 Herman Zapf 3 Erik Spiekermann 4 Morris Fuller Benton 5 Frederic Goudy 6 Carol Twobly 7 Zuzana Licko 8 Hoefler & Frere-Jones
1 1 1 1 1 1 3 3 3 3 3 1 Claude Garamond 1 3 1 1 1 1 1 1 3 3 3 3 3 1 1 1 1 1 1 3 3 3 3 3 1 1 1 1 1 1 3 3 3 3 3 1 1 1 1 1 1 3 3 3 3 3 1 1 1 1 1 1 adobe garamond pro
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Eight Designers & Eight Typefaces
Claude Garamond Claude Garamond was born in 1480. He cut type for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century. He based his romans on type cut by rancesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond would go on to refine his romans in later versions. He added his own concepts into his work as his skills as a punchcutter developed. Claude Garamond came into prominence in the 1540s, for a typeface that he created for the French king Francis I. It was used in a series of books by Robert Estienne. The French court later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond based much of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Granjon.
Claude Garamond
Different Types There are many different types of the Garamond typeface. One might even say too many in fact. There is a version from International Typeface Corporation, a version developed for Adobe Systems, one produced by the Monotype foundry, and
3
Ties
Characteristics of Adobe Garamond Pro Regular 60 pt.
countless more. Although there are so many they all have descended from the original 16th century design, and they all have very similar traits. The head serifs at the top of character strokes look like little banners, and baseline serifs tend to be long slightly cupped with rounded ends. Another trait that is shared are bidirectional serif ’s on the capital T.
Axis An Axis refers to the angle of emphasis within a letter or stroke. Letters or typefaces with modulated strokes have areas of thick and thins, visible in rounded characters like the o or a.
X-height The x-height is the vertical measurement of a lowercase letter’s main body, usually defined by the x. Adobe Garamond Pro has a higher x-height and a difference between cap and ascender.
oda
Axis of Adobe Garamond Pro Regular 60 pt.
Exit
X-height of Adobe Garamond Pro Regular 60 pt.
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Eight Designers & Eight Typefaces
Lower case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFCHIJKLMNOPQRST UVWXYZ
Oldstyle numbers
1234567890
Lining numbers
1234567890
Symbols
$¢£¥©℮™₣₤₧˛¶€°§®{)}(/&%
Small Caps
ABCDEFGHIJLMNOPQRSTUVWXYZ
Ligatures
Th ct ff fl fi ffi ffl fj ffj
Style options
Qaenrttz
Numerators and Denominators
1234567890 1234567890
Claude Garamond
5
18pt. type
ABCDEFGHIJKLMNOPQRS
17pt. type
ABCDEFGHIJKLMNOPQRST
16pt. type
ABCDEFGHIJKLMNOPQRSTU
15pt. type
ABCDEFGHIJKLMNOPQRSTUV
14pt. type
ABCDEFGHIJKLMNOPQRSTUVW
13pt. type
ABCDEFGHIJKLMNOPQRSTUVWVX
12pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
11pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
10pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
9pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
8pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
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Eight Designers & Eight Typefaces
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however,the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 8pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however,the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 10pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 12pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however,the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 14pt
Claude Garamond
7
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 16pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 18pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 19pt
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Eight Designers & Eight Typefaces
Habitual Groove Itself EVIDENT
interface ILLUMINATE
allowed to fail
Claude Garamond
9
Readers Usually Comfortably ALONG
typographic
IDENTITY screen, place
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Eight Designers & Eight Typefaces
& & & & & & & & & & & & Hermann Zapf & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & & palatino
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Eight Designers & Eight Typefaces
Hermann Zapf Hermann Zapf is a type designer from Germany. He was born in 1918 in Nurenburg Germany. In 1934 Hermann joined the Karl Urich and Company printing firm, as an apprentince. Later he worked with Paul Knoch, during this time he produced lettering for musical notation and handpress type. When the second world war happened he worked as a cartographer in the German military. In 1977 he became the Professor of Typographic Computer Programming at the Rochester Institute of Technology in New York. Fonts he created such as Palatino, Optima, Zapf Chancery, and Zapf Dingbats are all on compturers. Optima is his favorite font ans was selected to be used on the Vietnam War Memorial. Hermann Zapf has created over 200 fonts since he created his first font when he 20. His work is featured on computers. And are a mainstay for many graphic designers today.
Hermann Zapf
Palatino In 1984 Palatino was one of the typefaces originally included by Apple Computer in the Macintosh. It gained great popularity until it began to be replaced by Times Roman. In 1999, Zapf revised Palatino for Linotype and Microsoft, called Palatino Linotype. The revised family incorporated extended Latin, Greek, and Cyrillic character sets. Named after 16th century Italian master of calligraphy Giambattista Palatino, Palatino is based on the humanist fonts of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this has a calligraphic grace. But where the Renaissance faces usually use smaller letters with longer vertical lines with lighter strokes, Palatino has larger proportions, and is considered to be a much easier to read typeface.
Characteristics Palapino falls under the oldstyle classification. It is characterized by its slight diagonal stress. It also uses scooped serifs, also known as cove or bracketed serifs. Its x-height is also considered shorter then other typeface classifications. Old Style also has a contrast between the thick and thin lines are pronounced.
Exit Characteristics of Palatino normal 60 pt.
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Eight Designers & Eight Typefaces
Lower Case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Small Caps
abcdefghijklmnopqrstuvwxyz
Numbers
1234567890
Fractions
⅓⅔½¼¾⅕⅖⅘⅗⅙⅚⅛⅜
Symbols
$^¢£¥₠₡₢₣®©™℧({})?&%§
Math Symbols
+<=>±×÷⁺ ⁻ ⁼₊ ₋ ₌ √∞≤≡≠≈≥
Hermann Zapf
15
18pt. type
ABCDEFGHIJKLMNOPQRS
17pt. type
ABCDEFGHIJKLMNOPQRST
16pt. type
ABCDEFGHIJKLMNOPQRSTU
15pt. type
ABCDEFGHIJKLMNOPQRSTUV
14pt. type
ABCDEFGHIJKLMNOPQRSTUVW
13pt. type
ABCDEFGHIJKLMNOPQRSTUVWVX
12pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
11pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
10pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
9pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
8pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
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Eight Designers & Eight Typefaces
A type designer faces a big problem today, however. I am not speaking about the protection of typefaces but about poor copyings of drawing everywhere, which may make the designer sad for the rest of his life. He sees his children, his alphabets manipulated beyond his wildest imagination.” —Hermann Zapf 8pt
A type designer faces a big problem today, however. I am not speaking about the protection of typefaces but about poor copyings of drawing everywhere, which may make the designer sad for the rest of his life. He sees his children, his alphabets manipulated beyond his wildest imagination.” —Hermann Zapf 10pt
A type designer faces a big problem today, however. I am not speaking about the protection of typefaces but about poor copyings of drawing everywhere, which may make the designer sad for the rest of his life. He sees his children, his alphabets manipulated beyond his wildest imagination.” —Hermann Zapf 12pt
A type designer faces a big problem today, however. I am not speaking about the protection of typefaces but about poor copyings of drawing everywhere, which may make the designer sad for the rest of his life. He sees his children, his alphabets manipulated beyond his wildest imagination.” —Hermann Zapf 14pt
Hermann Zapf
17
A type designer faces a big problem today, however. I am not speaking about the protection of typefaces but about poor copyings of drawing everywhere, which may make the designer sad for the rest of his life. He sees his children, his alphabets manipulated beyond his wildest imagination.” —Hermann Zapf 16pt
A type designer faces a big problem today, however. I am not speaking about the protection of typefaces but about poor copyings of drawing everywhere, which may make the designer sad for the rest of his life. He sees his children, his alphabets manipulated beyond his wildest imagination.” —Hermann Zapf 18pt
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Eight Designers & Eight Typefaces
Type Designer Faces a Big Problem
SPEAKING
Beyond
His Alphabets
Hermann Zapf
19
Poor Copyings Wildest Imagination
Manipulated
Protection
Designer Sad
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Eight Designers & Eight Typefaces
§ § § § § § §
§ § § § § §
§
§
§
§
§
§
§
§
§
Erik Spiekermann § meta
§ § § § §
§ § § §
§ § § § §
§ § § §
§ § § § §
§ § § §
§ § § § §
§ § § §
§ § § § §
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Eight Designers & Eight Typefaces
Erik Spierkermann Erik Spiekermann was born on March 30th, 1947, in Stadthagen, Lower Saxony. He studied the History of Art and English in Berlin. He got through school by running a letterpress printing press in the basement of his house. Spiekerman is an author, information architect, type designer (ff Meta, itc Officina, ff Info, ff Unit, LoType, Berliner Grotesk and many corporate typefaces). He has written many books and articles on type and typography. He became European Ambassador for Innovation and Creativity by the European Union, in 2009. The German Design Council gave him their 2011 Lifetime Achievement Award, the highest award in Germany. He was also the 25th recipient of the tdc Medal, awarded by the Type Directors Club New York in 2011. Spiekermann lives and works in Berlin, London and San Francisco.
Erik Spierkermann
ff
Meta
Meta is a humanist sans-serif typeface family designed by Erik Spiekermann originally as a commission for the Deutsche Bundespost (West German Post Office), but later released by Spiekermann himself in 1991 through his FontFont library. According to Spiekermann, ff Meta was intended to be a “complete antithesis of Helvetica,” which he found “boring and bland.” Throughout the 1990s, ff Meta was embraced by the international design community with Spiekermann and E. M. Ginger writing that it had been dubiously praised as the Helvetica of the 1990s. ff
Characteristics In ff Meta, strokes have slightly varying width as the Spiekermann’s goal was that in small sizes, thinner strokes should not “drop out” but, on the contrary, become undistinguishable from the thicker ones.On the other hand, in compensation for the missing serifs, it has vigorously bent-off tips of vertical strokes in letters like ‘d’ or ‘m’.
dorm Characteristics of ff Meta normal 60 pt.
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Eight Designers & Eight Typefaces
Lower Case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Small Caps
abcdefghijklmnopqrstuvwxyz
Numbers
1234567890
Symbols
$^`¢©®™◊´¶¸¥¦§({})/&%
Math Symbols
∂∆∏∑√∞∫≥≤±~¬+=⁄
Erik Spierkermann
25
18pt. type
ABCDEFGHIJKLMNOPQRSTUV
17pt. type
ABCDEFGHIJKLMNOPQRSTUVW
16pt. type
ABCDEFGHIJKLMNOPQRSTUVWX
15pt. type
ABCDEFGHIJKLMNOPQRSTUVWXYZ
14pt. type
ABCDEFGHIJKLMNOPQRSTUVWXYZ
13pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
12pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
11pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
10pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
9pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
8pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
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Eight Designers & Eight Typefaces
I’m obviously a typeomaniac, which is an incurable if not mortal disease. I can’t explain it. I just love, I just like looking at type. I just get a total kick out of it: they are my friends. Other people look at bottles of wine or whatever, or, you know, girls’ bottoms. I get kicks out of looking at type. It’s a little worrying, I admit, but it’s a very nerdish thing to do. —Erik Spierkmann 8pt
I’m obviously a typeomaniac, which is an incurable if not mortal disease. I can’t explain it. I just love, I just like looking at type. I just get a total kick out of it: they are my friends. Other people look at bottles of wine or whatever, or, you know, girls’ bottoms. I get kicks out of looking at type. It’s a little worrying, I admit, but it’s a very nerdish thing to do. —Erik Spierkmann 10pt
I’m obviously a typeomaniac, which is an incurable if not mortal disease. I can’t explain it. I just love, I just like looking at type. I just get a total kick out of it: they are my friends. Other people look at bottles of wine or whatever, or, you know, girls’ bottoms. I get kicks out of looking at type. It’s a little worrying, I admit, but it’s a very nerdish thing to do. —Erik Spierkmann 12pt
Erik Spierkermann
27
I’m obviously a typeomaniac, which is an incurable if not mortal disease. I can’t explain it. I just love, I just like looking at type. I just get a total kick out of it: they are my friends. Other people look at bottles of wine or whatever, or, you know, girls’ bottoms. I get kicks out of looking at type. It’s a little worrying, I admit, but it’s a very nerdish thing to do. —Erik Spierkmann 14pt
I’m obviously a typeomaniac, which is an incurable if not mortal disease. I can’t explain it. I just love, I just like looking at type. I just get a total kick out of it: they are my friends. Other people look at bottles of wine or whatever, or, you know, girls’ bottoms. I get kicks out of looking at type. It’s a little worrying, I admit, but it’s a very nerdish thing to do. —Erik Spierkmann 16pt
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Eight Designers & Eight Typefaces
Mortal Disease
An Incurable TYPOMANIAC
A LITTLE
BUT ITâ&#x20AC;&#x2122;S A
Erik Spierkermann
29
Bottles of Wine Other People Look At
NERDISH
A TOTAL THEY ARE
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Eight Designers & Eight Typefaces
† † † † † † †
‡ ‡ ‡ ‡ ‡ ‡
†
‡
†
‡
†
‡
†
‡
Morris Fuller Benton
† †
century schoolbook
† † † † †
‡ ‡ ‡ ‡
† † † † †
‡ ‡ ‡ ‡
† † † † †
‡ ‡ ‡ ‡
† † † † †
‡ ‡ ‡ ‡
† † † † †
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Eight Designers & Eight Typefaces
Morris Fuller Benton Morris Fuller Benton was born on November 30th in Wisconsin. You could say Benton was born into the type business, his father, Linn Boyd Benton, was a type-founder. His father also invented the matrix-cutting machine, which revolutionized printing. Benton graduated as a mechanical engineer from Cornell and went to work with his father at the American Type Founders company in the type design department. Benton is credited with creating over 200 different typeface designs. Some of these typefaces include nclude Cloister Old Style, Bulmer, and Century Schoolbook. Benton also created a family of related neogrotesque sans-serif typefaces, known as â&#x20AC;&#x153;gothicsâ&#x20AC;? as was the norm at the time, includes Alternate Gothic, Franklin Gothic, and News Gothic. These typefaces were well recieved and similar to later realist sans-serif typefaces such as Helvetica than the other early grotesque types of his contemporaries. He also created plenty of humerous designs such as Hobo, Stymie, and Broadway.
Morris Fuller Benton
Century Schoolbook Century Schoolbook is familiar to many in North America as being the typeface many first learned to read with. Morris Fuller Benton utilized research done by Clark University that showed young readers more quickly identified letterforms with contrasting weight, but with the lighter strokes maintaining presence. Tests also showed the importance of maintaining counter-form (the white space around the black letterform) in recognizing the face at smaller sizes.[16] In designing Century Schoolbook, Benton increased the x-height, the stroke width, and overall letterspacing. The faces were issued over a period of five years, all of which were designed by Benton and issued by A.T.F.
Exit
Characteristics of Century Schoolbook Pro Regular 60 pt.
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Eight Designers & Eight Typefaces
Lower Case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Small Caps
abcdefghijklmnopqrstuvwxyz
Numbers
1234567890
Symbols
$©®™¢£¤¥§¶€({})/&
Math Symbols
+<=>|~¬±×÷∂∆∏∑√∞
Morris Fuller Benton
35
18pt. type
ABCDEFGHIJKLMNOPQ
17pt. type
ABCDEFGHIJKLMNOPQ
16pt. type
ABCDEFGHIJKLMNOPQR
15pt. type
ABCDEFGHIJKLMNOPQRST
14pt. type
ABCDEFGHIJKLMNOPQRSTU
13pt. type
ABCDEFGHIJKLMNOPQRSTUVX
12pt. type
ABCDEFGHIJKLMNOPQRSTUVWV
11pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
10pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
9pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
8pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
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Eight Designers & Eight Typefaces
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement. —Paul Standard 8pt
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement —Paul Standard 10pt
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement. —Paul Standard 12pt
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement. —Paul Standard 14pt
Morris Fuller Benton
37
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement. â&#x20AC;&#x201D;Paul Standard 16pt
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement. â&#x20AC;&#x201D;Paul Standard 18pt
Geometry can produce legible letters but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character transcending mere measurement. â&#x20AC;&#x201D;Paul Standard 21pt
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Eight Designers & Eight Typefaces
Art Makes Mere Measurement
IMPARTS
Letters Geometry Ends
Morris Fuller Benton
39
But Art Alone Transcending Mere
Makes Them
Beautiful Can Produce
40
Eight Designers & Eight Typefaces
∂ ∂ ∂ ∂ ∂ ∂ ∂
∂ ∂ ∂ ∂ ∂ ∂
∂
∂
∂
∂
∂
∂
∂
∂
∂ Frederic Goudy ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂ ∂
∂ ∂
goudy old style
∂ ∂ ∂ ∂ ∂
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Eight Designers & Eight Typefaces
Frederic Goudy Frederic W. Goudy was born in Bloomington, Illinios, on March 8th 1845. In his Twenties Goudy worked as a bookkeeper for credit and morgage companies. While working these jobs he taught him self typography and printing. At age 52 Goudy uses impression to make his Hadriano typeface that is used on California student’s diplomas. Trajan (Trajan column) and Forum (memory) typefaces were inspired by another European tour. When he was 51 Goudy sells 8 typefaces to the Caslon type foundry in London. In 1920 Goudy becomes Art Director for Lanston Monotype and remains at this position for the 27 years. Goudy died in 1947 at the ripe old age of 82. He created 116 typefaces in his lifetime, 113 of those were after he was 40. Goudy’s fonts include Copperplate (1905), Kennerley (1911), Goudy Old Style (1915),Deepdene (1927), Remington Typewriter (1929), Californian (1938), and Bulmer (1939). Goudy has been quoted saying, “Anyone who would letterspace blackletter would shag a sheep.”
Frederic Goudy
Frederic Goudy Primarily, Goudy Old Style is seen in companies with a reputable image. It’s no doubt that this font is of noble birth as being born into the Old Style font family in 1915. The font is held in high regard and with good reason. Being one of 115 typeface products of Mr. Frederic W. Goudy, it’s percision takes on a very traditional stance Mr. Goudy is considered to be an artist of typography having studied it for many years. The better part of his life was spent publishing and designing typefaces such as Camelot Old Style and Cooperplate So how did Goudy Old Style come to be? After continuously examining the inner workings of a typeface and how to correctly formulate one, Frederic Goudy had it down to a science.
Frederic Goudy Suitable for both text and display applications, Goudy Old Style is a graceful, balanced design with a few eccentricities, including the upward-curved ear on the g and the diamond shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the sharply canted hyphen. The uppercase italic Q has a strong calligraphic quality. Generally classified as a Garalde (sometimes called Aldine) face, certain of its attributes— most notably the gently curved, rounded serifs of certain glyphs—suggest a Venetian influence.
gijQ Characteristics of Goudy Old style normal 60 pt.
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Eight Designers & Eight Typefaces
Lower Case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFGHIJKLMNOPQRST UVWXYZ
Small Caps
abcdefghijklmnopqrstuvwxyz
Numbers
1234567890
Symbols
$©®™¢£¤¥§¶€◊°˝^¯
Math Symbols
+<=>|~¬±×÷∂∆∏∑√∞
Frederic Goudy
45
18pt. type
ABCDEFGHIJKLMNOPQRS
17pt. type
ABCDEFGHIJKLMNOPQRST
16pt. type
ABCDEFGHIJKLMNOPQRSTU
15pt. type
ABCDEFGHIJKLMNOPQRSTUV
14pt. type
ABCDEFGHIJKLMNOPQRSTUVW
13pt. type
ABCDEFGHIJKLMNOPQRSTUVWVX
12pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
11pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
10pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
9pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
8pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
46
Eight Designers & Eight Typefaces
A man who would letterspace lower case would steal sheep. —Frederic Goudy 8pt
A man who would letterspace lower case would steal sheep.
—Frederic Goudy 10pt
A man who would letterspace lower case would steal sheep. —Frederic Goudy 12pt
A man who would letterspace lower case would steal sheep. —Frederic Goudy 14pt
A man who would letterspace lower case would steal sheep. —Frederic Goudy 16pt
A man who would letterspace lower case would steal sheep. —Frederic Goudy 18pt
Frederic Goudy
47
I consider a type good when it can’t be any gooder. —Frederic Goudy 8pt
I consider a type good when it can’t be any gooder. —Frederic Goudy 10pt
I consider a type good when it can’t be any gooder. —Frederic Goudy 12pt
I consider a type good when it can’t be any gooder. —Frederic Goudy 14pt
I consider a type good when it can’t be any gooder. —Frederic Goudy 16pt
I consider a type good when it can’t be any gooder. —Frederic Goudy 18pt
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Eight Designers & Eight Typefaces
LETTERSPACE
Lower Case
WOULD
A MAN WHO
Steal Sheep
Frederic Goudy
49
CONSIDER A TYPE GOOD
WHEN IT CAN’T BE ANY
GOODER
50
Eight Designers & Eight Typefaces
ς
ς
ς
ς
ς
ς
₫ ₫ ₫ ₫ ₫ ς ς Carol Twombly ς ₫ ς ς ς ς ς ς ₫ ₫ ₫ ₫ ₫ ς ς ς ς ς ς ₫ ₫ ₫ ₫ ₫ ς ς ς ς ς ς ₫ ₫ ₫ ₫ ₫ ς ς ς ς ς ς ₫ ₫ ₫ ₫ ₫ myriad pro
ς
ς
ς
ς
ς
ς
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Eight Designers & Eight Typefaces
Carol Twombly Born in 1959, Carol Twombly studied at the Rhode Island School of Design. She became interested in type design and typography under Professor Charles Bigelow. She was originally a sculpture major, but then she changed her major to graphic design. After graduation, she began a Masterâ&#x20AC;&#x2122;s course in digital typography at Stanford University. Carol was one of five students to graduate from this program. She went on to work at the Bigelow & Holmes studio. She then won first prize in the Morisawa Typeface Design Competition in 1984 for her typeface Mirarae, a Latin design which went on to be licensed and released by Bitstream. Since 1988 she has been a staff designer at Adobe Systems, and was awarded the prestigious Prix Charles Peignot at the 1994 ATypI conference in San Francisco, given to outstanding type designers under the age of 35. She would later retire from type in 1999.
Carol Twombly
Myriad Typeface When Carol Twombly and Robert Slimbach designed Myriad in 1992, it was intended from the start to be a dual-axis Multiple Master font. It was the first sans-serif typeface among the Adobe Originals. Like its relations Frutiger and Syntax, it is classified as a Humanist sans-serif, because its strokes have contrasting, rather than uniform widths (unlike Futura, for example). The models for this are Roman typefaces: Myriad is not geometrically constructed, and the ascenders of the minuscules (l, h, f, ...) project above the upper case characters â&#x20AC;&#x201C; as is the case with many book serif typefaces. Naturally, Myriadâ&#x20AC;&#x2122;s italic fonts have all the classical characteristics too: a single-storey a, a descending f, and forms which are manually adjusted rather than simply slanted.
Hello These are characteristics of Futura Regular 60 pt.
Hello These are characteristics of Myraid Pro Regular 60 pt.
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Eight Designers & Eight Typefaces
Lower case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFCHIJKLMNOPQ RSTUVWXYZ
Small Caps
abcdefghijklmnopqrstuvwxyz
Old style numbers
1234567890
Proportional numbers
1234567890
Symbols
$¢£¥©¨℮™({)}?%*©˛¶€°§®
Ligatures
Th ct ff fl fi ffi ffl fj ffj Ţh Ťh
Numerators Denominators
0123456789 123456789
Carol Twombly
18pt. type
ABCDEFGHIJKLMNOPQRS
17pt. type
ABCDEFGHIJKLMNOPQRST
16pt. type
ABCDEFGHIJKLMNOPQRSTU
15pt. type
ABCDEFGHIJKLMNOPQRSTUV
14pt. type
ABCDEFGHIJKLMNOPQRSTUVW
13pt. type
ABCDEFGHIJKLMNOPQRSTUVWVX
12pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
11pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
10pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
9pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
8pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
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Eight Designers & Eight Typefaces
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 8pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 10pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 12pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 14pt
Carol Twombly
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“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 16pt
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” —Ellen Lupton 18pt
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Eight Designers & Eight Typefaces
Habitual Groove Itself EVIDENT
interface ILLUMINATE
allowed to
Carol Twombly
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Readers Usually Comfortably ALONG
typographic
IDENTITY
screen, place
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Eight Designers & Eight Typefaces
ς ς ς ς ς ς
₫ ₫ ₫ ₫ ₫ ς ς Zuzana Licko ς ₫ ς ς ς ς ς ς ₫ ₫ ₫ ₫ ₫ ς ς ς ς ς ς ₫ ₫ ₫ ₫ ₫ ς ς ς ς ς ς ₫ ₫ ₫ ₫ ₫ ς ς ς ς ς ς ₫ ₫ ₫ ₫ ₫ mrs eaves
ς ς ς ς ς ς
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Eight Designers & Eight Typefaces
Zuzana Licko Zuzana Licko was born in Bratislava, Czechoslovakia in 1961. She would emigrate to the United States in 1968. In 1984 she graduated with a degree in Graphic Communications from the University of California at Berkeley. During the mid 80s Zuzana founded Emigre with her husband Rudy Vanderlands. Along with founding Emigre they had a magazine that would showcase their fonts that they designed. These typefaceâ&#x20AC;&#x2122;s were designed on the first generation of Macintosh Computers. The Emigre magazine led to Emigre fonts being distributed as software world wide. Zuzana Licko has created 27 different fonts. Some of her more famous ones have been Mrs. Eaves and Filosofia. Zuzana and her husband, Rudy, won the Chysler award in 1994.
Zuzana Licko
Sarah Eaves Mrs Eaves is named after Sarah Eaves, the woman who became John Baskervilleâ&#x20AC;&#x2122;s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Mrs Eaves is a revival of the types of English printer and punchcutter John Baskerville, and is related to contemporary Baskerville typefaces.
Similarities Like Baskerville, Mrs Eaves has a near vertical stress, departing from the old style model. Identifying characters, similar to Baskervilleâ&#x20AC;&#x2122;s types, are the lowercase g with its open lower counter and swash like ear. Both the roman and italic uppercase Q have a flowing swash like tail. The uppercase C has serifs at top and bottom; there is no serif at the apex of the central junction in uppercase W; and the uppercase G has a sharp spur suggesting a vestigial serif.
QCWG Characteristics of Mrs. Eaves 60 pt.
QCWG Characteristics of Baskerville Regular 60 pt.
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Eight Designers & Eight Typefaces
Lower case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFCHIJKLMNOPQ RSTUVWXYZ
Small Caps
abcdefghijklmnopqrstuvwxyz
Numbers
1234567890
Symbols
$¢£¥©¨℮™({)}?%*©˛¶€°§®
Math Symbols
+<=>|~¬±×÷∂∆∏∑√∞
Ligatures
Th ct ff fl fi ffi ffl fj ffj Ţh Ťh
Zuzana Licko
65
18pt. type
ABCDEFGHIJKLMNOPQRS
17pt. type
ABCDEFGHIJKLMNOPQRST
16pt. type
ABCDEFGHIJKLMNOPQRSTU
15pt. type
ABCDEFGHIJKLMNOPQRSTUV
14pt. type
ABCDEFGHIJKLMNOPQRSTUVW
13pt. type
ABCDEFGHIJKLMNOPQRSTUVWVX
12pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
11pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
10pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
9pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
8pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
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Eight Designers & Eight Typefaces
The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read. —Zuzana Licko 8pt
The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read. —Zuzana Licko 10pt
The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read. —Zuzana Licko 12pt
The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read. —Zuzana Licko 14pt
Zuzana Licko
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The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read. â&#x20AC;&#x201D;Zuzana Licko 16pt
The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read. â&#x20AC;&#x201D;Zuzana Licko 18pt
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Eight Designers & Eight Typefaces
Popular Typface
Easiest to READ
Disappear BECOMES
Commonly Used
Zuzana Licko
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Impossible to Conscious Cognition
Popularity
THEY ARE Easy to Read
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Eight Designers & Eight Typefaces
£ £ £
£ £ £
£
£
£
£
£
Hoefler and £ Frere Jones £
£
£
£
gotham
£
£
£ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £ £
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Eight Designers & Eight Typefaces
Tobias Frere Jones After receiving his BFA in 1992 from Rhode Island School of Design, Frere-Jones joined Font Bureau, Inc. in Boston. During his seven years as Senior Designer, he created a number of the typefaces that are Font Bureau’s best known, including Interstate and Poynter Oldstyle & Gothic. He joined the faculty of the Yale School of Art in 1996, where he continues to teach typeface design on the graduate level. In 1999, he left Font Bureau to return to New York, where he began work with Jonathan Hoefler. He has designed over five hundred typefaces.
Jonathan Hoefler Jonathan Hoefler is a typeface designer and an armchair type historian who specializes in the design of original typefaces. Named one of the forty most influential designers in America by I.D. Magazine, Hoefler’s publishing work includes award-winning original typeface designs for Rolling Stone, Harper’s Bazaar, The New York Times Magazine, Sports Illustrated, and Esquire; his institutional clients range from the Solomon R. Guggenheim Museum to the rock band They Might Be Giants. Perhaps his best known work is the Hoefler Text family of typefaces, designed for Apple Computer.
Frere Jones and Hoefler
Gotham Typeface Gotham is a family of geometric sans-serif digital typefaces designed by American type designer Tobias Frere-Jones in 2000. Gotham’s letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century, and are especially popular throughout New York City. The Gotham typeface was initially commissioned by GQ magazine, whose editors wanted to display a sans-serif with a “geometric structure” that would look “masculine, new, and fresh” for their magazine. GQ agreed that they needed something “that was going to be very fresh and very established to have a sort of credible voice to it,” according to Jonathan Hoefler.
Gotham Characteristics The Gotham typeface is a sans-serif typeface that has some very unique characteristics. Gotham has a tall x-height and very high ascenders. The crossbars are unbalanced on the f and t. It also has low descenders as well as singular letter forms.
Exit This example is using Gotham Regular 60 pt.
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Eight Designers & Eight Typefaces
Lower Case
abcdefghijklmnopqrstuvwxyz
Upper Case
ABCDEFGHIJKLMNOPQ RSTUVWXYZ
Lower Case
abcdefghijklmnopqrstuvwxyz
Numbers
1234567890
Symbols
$^`¢£¤¥§¨©®™¯°
Math Symbols
+<=>|~± ⁄ √ ≈
Frere Jones and Hoefler
75
18pt. type
ABCDEFGHIJKLMNOPQ
17pt. type
ABCDEFGHIJKLMNOPQR
16pt. type
ABCDEFGHIJKLMNOPQRS
15pt. type
ABCDEFGHIJKLMNOPQRST
14pt. type
ABCDEFGHIJKLMNOPQRSTUV
13pt. type
ABCDEFGHIJKLMNOPQRSTUVW
12pt. type
ABCDEFGHIJKLMNOPQRSTUVWVX
11pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
10pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
9pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
8pt. type
ABCDEFGHIJKLMNOPQRSTUVWVXYZ
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Eight Designers & Eight Typefaces
We see type as the clothes that words wear. You have more than one outfit in your closet, because you don’t wear the same thing to the office that you wear to the beach. —Tobias Frere Jones 8pt
We see type as the clothes that words wear. You have more than one outfit in your closet, because you don’t wear the same thing to the office that you wear to the beach. —Tobias Frere Jones 10pt
We see type as the clothes that words wear. You have more than one outfit in your closet, because you don’t wear the same thing to the office that you wear to the beach. —Tobias Frere Jones 12pt
We see type as the clothes that words wear. You have more than one outfit in your closet, because you don’t wear the same thing to the office that you wear to the beach. —Tobias Frere Jones 14pt
Frere Jones and Hoefler
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We see type as the clothes that words wear. You have more than one outfit in your closet, because you don’t wear the same thing to the office that you wear to the beach. —Tobias Frere Jones 16pt
We see type as the clothes that words wear. You have more than one outfit in your closet, because you don’t wear the same thing to the office that you wear to the beach. —Tobias Frere Jones 18pt
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Eight Designers & Eight Typefaces
We See Type
Clothes that
Because Your Closet
You Donâ&#x20AC;&#x2122;t
Frere Jones and Hoefler
79
Words Wear YOU HAVE MORE
One Outfit THE OFFICE
BEACH
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Eight Designers & Eight Typefaces
Handmade type book
This book was created by Greg Hartl under the supervision of Elaine as an assignment in Typography I in the fall semester of the year 2004 at University Missouri-St. Louis. Pages were composed in InDesign 5.0, type is Palatino 10/12 pt. printed on white paper.
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