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-Gill Sans -Baskerville -Futura -Memphis -Bembo -Bodoni
Gill Sans by Eric Gill 1926 England
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.
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Baskerville by John Baskerville 1757 England
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The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.
Futura by Paul Renner 1927 Germany
In typography, 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 1919–1933.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. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson.
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Memphis by Rudolf Wolf 1929 Germany
Memphis demonstrates subtle optical adjustments to prevent the type from feeling too heavy and dark. Typically Egyptian typefaces feature unbracketed slab serifs of equal thickness to the main strokes; while the less common Italian variety features slabs that are heavier than the stroke width. In Memphis, however, the serifs are thinner than the stems but appear to be visually equal. The letter forms in Memphis are intended to appear streamlined, so the weight of the stroke tapers as it connects with the vertical stems and slab serifs.
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Bodoni By Giambattista Bodoni 1798 Italy
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Bodoni is a series of serif typefaces first designed by Giambattista Bodoni (1740–1813) in 1798. The typeface is classified as Didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni had a long career and his designs evolved and differed, 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”.
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Bembo by Fancesco Griffo 1495 Italy
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Bembo is the name given to a 20th-century revival of an old style serif or humanist typeface cut by Francesco Griffo around 1495. The typeface Bembo seen today is a revival designed under the direction of Stanley Morison for the Monotype Corporation in 1929. It is considered a good choice for expressing classic beauty or formal tradition in typographical design and is generally held to be a good book face.
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