American Typewriter Joel Kaden and Tony Stan designed ITC American Typewriter. It is an ode to the invention that shaped reading habits and the idea of legibility, the typewriter. A compromise between the rigidity of its ancestor and the expectations of the digital age, ITC American Typewriter retains the typical typewriter alphabet forms, lending the font a hint of nostalgia.
Baskerville Until recently the story of this typeface ended with mediocre digital versions, which did not get at the root of its inspiration. Our pursuit of this paramount body type face of the 20th century began in NovĂŠ Hrady Castle, the place where a part of the depository of old prints of the National Museum Library is kept, in the summer of 1999.
Century Morris Fuller Benton designed Century Old style between 1908 and 1909. The design echoes the proportions of Century Expanded with its fairly large x-height, short ascenders and descanters, and large capitals, but Century Old style has old style serifs. Century Old Style is still renowned for its readability, and is a good typeface for magazines and other publications.
Didot Until recently the story of this typeface ended with mediocre digital versions, which did not get at the root of its inspiration. Our pursuit of this paramount body type face of the 20th century began in NovĂŠ Hrady Castle, the place where a part of the depository of old prints of the National Museum Library is kept, in the summer of 1999.
Excelsior Excelsior was produced in 1931 under the supervision of Chauncey H. Griffith of Linotype. Like Corona, Excelsior was one of the five typefaces in Griffith’s Legibility Group, types that were designed specifically to remain legible under the poor printing conditions that are a matter of course in newspaper printing. Excelsior is still used for that purpose by many European daily newspapers. Excelsior is excellent for newsletters, reports, and proposals.
Frutiger LT In 1968, Adrian Frutiger was commissioned to develop a signage system suited to the architecture of the new Charles de Gaulle Airport outside Paris; he designed a simple, clean, robust sans serif type that is highly legible. In 1976, Frutiger completed the family for the Stempel foundry.
Gill Sans Designed by Eric Gill and released by the Monotype Corporation between 1928 and 1930, Gill Sans is based on the typeface Edward Johnston, the innovative British letterer and teacher, designed in 1916 for the signage of the London Underground.
Hiroshige Std Cynthia Hollandsworth of AlphaOmega Typography, Inc designed Hiroshige in 1986. The great nineteenth-century Japanese artist Ando Hiroshige, whose work influenced many Impressionist artists, originally commissioned the typeface for a book of woodblock prints. The typeface has a gentle calligraphic flair that creates an interesting page of text as well as elegant headlines.
Impressum Std Designed by Konrad F. Bauer and Walter Baum, Impressum was released by the Bauer foundry in 1962. This text type could almost be called a legibility type because it is readable at small sizes: the letters are wide and open, and the lowercase has a fairly tall x-height. Impressum works well in newspapers, textbooks, and trade publications.
Janson LT Std Although designed by the Hungarian Nicholas Kis in about 1690, the model for Janson Text was mistakenly attributed to the Dutch printer Anton Janson. Kis’ original matrices were found in Germany and acquired by the Stempel foundry in 1919. This version of Janson comes from the Stempel foundry and was designed from the original type; Linotype issued it in digital form in 1985. In the 1930s, Janson Text replaced Caslon as the face of choice for fine bookmaking. Its strong design and clear stroke contrast combine to create text that is both elegant and easy to read.
Kabel Std Designed by Rudolf Koch and released in 1927 by the Klingspor foundry in Germany, Kabel is named in honor of the laying of the first trans-Atlantic telephone cable. Kabel was one of the first geometric sans serif designs directly influenced by the Bauhaus movement. Kabel’s geometric proportions are integrated with humanistic features, resulting in a sans serif typeface that is functional in text and elegant in display work.
Life Std Life was designed by W. Bilz, and jointly developed by Ludwig & Mayer and Francesco Simoncini in 1965. This contemporary design is in the transitional style of the eighteenth century, and was intended for use in text settings where printing and production quality may be low. Life is a versatile text face that can encompass a large range of newspaper typography as well, from straight copy to advertising.
Myriad Pro The full Myriad Pro family includes condensed, normal, and extended widths in a full range of weights. Designed by Robert Slimbach & Carol Twombly with Fred Brady & Christopher Slye, Myriad has a warmth and readability that result from the humanistic treatment of letter proportions and design detail. Myriad Pro’s clean open shapes, precise letter fit, and extensive kerning pairs make this unified family of roman and italic an excellent choice for text typography that is comfortable to read.
New Aster LT Designed by Francesco Simoncini for the Simoncini foundry in 1958, New Aster is a text type designed for use in books and newspapers. New Aster is designed fairly wide with a relatively short x-height with tall ascenders and short descanters, and delicate serifs.
Olympian LT Matthew Carter for Mergenthaler Linotype designed Olympian in 1970. One of the last types cut for metal composition, and designed for photocomposition at the same time, Olympian was designed specifically for newspaper work and all of its attendant problems. It is unusual for a newspaper face in that it has quite a few old style characteristics, which gives it softer lines and broadens its versatility.
Palatino Hermann Zapf’s Palatino, designed for the Stempel foundry in 1950, is one of the most widely used typefaces in the world today. Classical Italian Renaissance letterforms blend with the crispness of line needed for twentieth-century printing processes, and Palatino’s generous width aids readability at small sizes. Although Zapf originally intended it to be a display face, the graceful and highly legible Palatino is a frequent choice for setting text.
ITC Quantity Ray Baker designed ITC Quantity in 1977. The character shapes are essentially oval, with the design falling somewhere between serifs and sans; the basic character structure is sans serif, with sharp flared stroke endings that look almost like serifs. ITC Quantity is fairly thick, so it makes a fine display type for advertisements and book jackets.
Rockwell The original Rockwell was produced by the Inland typefoundry in 1910, which issued it as Litho Antique; American Type Founders revived the face in the 1920s, with Morris Fuller Benton cutting several new weights. The Monotype Corporation produced its version of Rockwell in 1934; unfortunately, some of the literature erroneously referred to it as Stymie Bold, thereby creating confusion that still exists today. Rockwell is a geometric slab serif design, a strong display face for headlines and posters; it is also legible in short text blocks.
Sabon LT A descendant of the types of Claude Garamond, Sabon was designed by Jan Tschichold in 1964 and jointly released by Stempel, Linotype, and Monotype foundries. Konrad F. Berner, who was married to the widow of another printer, Jacques Sabon, bases the roman design on a Garamond specimen printed. Robert Granjon, a contemporary of Garamond’s, bases the italic design on types. This elegant, highly readable typeface is excellent for sophisticated uses ranging from book design to corporate identity.
Times New Roman In 1931, The Times of London commissioned the Monotype Corporation, under the direction of Stanley Morison, to design a newspaper typeface. According to Morison: “The Times, as a newspaper in a class by itself, needed not a general trade type, however good, but a face whose strength of line, firmness of contour, and economy of space fulfilled the specific editorial needs of The Times.� Times New Roman, drawn by Victor Lardent and initially released in 1932, is the result.
Univers LT Std As a student in Zurich, Adrian Frutiger began work on Univers, which would eventually be released in 1957 by the Deberny & Peignot foundry in Paris. The design is a neogrotesque, similar to its contemporary, Helvetica. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces, and Frutiger has used this numerical system on other designs, including Serifa and Frutiger.
Versaillies LT Designed by Adrian Frutiger for Linotype in 1984, Versailles is a wedge-serif typeface in four weights. The design is based on late-nineteenth-century French Latine types, which are characterized by strong triangular serifs. The distinctive style is useful for display projects such as posters and packaging, or for short text blocks.
Weiss Std Rudolf Weiss designed this typeface in 1926 for the Bauer foundry of Frankfurt. Weiss is based on typefaces from the Italian Renaissance, and is one of the earliest contemporary serif types to have italics based on the chancery style of writing. The vertical strokes that are heavier at the top than at the bottom are unusual, and give Weiss a distinct beauty. Weiss is a legible text type and an elegant display face for headlines.
Xerker The Xerker type face was named after a DJ player. it was designed by Max Jones in 1995. This font can be used for a variety of needs, but would be more suitable for sports and games in a new age.
YELLOW MAGICIAN HIS FONT HAS AN INTERESTING MIX OF SANS SERIF AND SERIF CHARACTERISTICS, WHICH MAKES A COOL IMPRESSION OF A TEMPORALITY. IT WAS CREATED FOR MAGUS LUDENS TRADEMARK A BRAZILIAN COMPANY, LOCATED IN RIO DE JANEIRO THAT WORKS WITH GAME DEVELOPING.
Zapfino
Zapfino is a calligraphic typeface designed for Linotype by renowned
typeface designer Hermann Zapf in 1998. It is based on an alphabet
Zapf originally penned in 1944. As a font, it makes extensive use of
ligatures and character variations.