26 Logotypes & Typefaces by emahar

26 Logotypes & Typefaces

26 Logotypes & Typefaces type 1 Emily Mahar

26 Logotypes & Typefaces

Contents

Serif 1 Clarendon

Robert Beasley . 1845 5 Didot

Firman Didot . 1784 9 Baskerville

John Baskerville . 1757

San Serif 33 Bembo

Francesco Griffo . 1455 37 Caslon

William Caslon . 1725 41 Serifa

Horst Heiderhoff & Adrian Frutiger . 1957

13 Garamond . 1530

Claude Garamond 17 Minion

21 Opitma

49 Times New Roman

Stanley Morison & Victor Lardent . 1932

Herman Zapf . 1958 53 Cheltenham . 1896 25 Palatino

H Berthold AG . 1898

Bertram Goodhue

89 Gotham

Hoefler and Frere-Jones . 2000

61 Futura Book

Paul Renner . 1928 65 Frutiger

Adrian Frutiger . 1976 69 Helvetica

45 Bodoni . 1798

Giambattista Bodoni Robert Slimbach . 1989

57 Akzidenz Grotesk

93 DIN

Deutsches Institut fĂźr Normung German Institute for Standardisation . 1451

Max Meidinger & Edouard Hoffman . 1957 97 Myriad Robert Slimbach & Carol Twombly . 1991 73 Helvetica Bold Max Meidinger & Edouard Hoffman . 1957 101 Franklin Gothic Morris Fuller Benton 1872â&#x20AC;&#x201C;1948 77 Gill Sans Eric Gill . 1928

Herman Zapf . 1950 81 Univers 29 Sabon

Adrian Frutiger . 1957

Jan Tschichold . 1964 85 Univers Condensed

Light Adrian Frutiger . 1957

Clarendon cl a s s if ic a tio n

Robert Beasley d e sig n e r

8.5/11.5

Clarendon

Named after Oxford’s Clarendon Press, the popular slab-serif was created in 1845 by Robert Besley for the Fann Street Foundry. Notable as one of the last new developments in nineteenth century typography, the letterforms represented a significant change from the slab-serif Antiques and Egyptians that were so popular in that time. The original Clarendon is considered a condensed face today, visible in typefaces such as Besley Clarendon by HiH Retrofonts. Clarendon is considered the first to design a ‘related bold’ for emphasizing text. Many variations of the typeface, including the popular French Clarendon, appeared in the second half of the nineteenth century. The typeface was released by Monotype in 1935, and reworked into its modern incarnation in 1953 by Hermann Eidenbenz. It was also marketed by the Stephenson Blake foundry as Consort in the 1950s. Remaining a popular choice for over a century, many of today’s most recognized logotypes are based on the Clarendon style. Today

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Named after Oxford’s Clarendon Press, the popular slab-serif was created in 1845 by Robert Besley for the Fann Street Foundry. Notable as one of the last new developments in nineteenth century typography, the letterforms represented a significant change from the slabserif Antiques and Egyptians that were so popular in that time. The original Clarendon is considered a condensed face today, visible in typefaces such as Besley Clarendon by HiH Retrofonts. Clarendon is considered the first to design a ‘related bold’ for emphasizing text. Many variations of the typeface, including the popular French Clarendon, appeared in the second half of the nineteenth century. The typeface was released by Monotype in 1935, and reworked into its modern incarnation in 1953 by Hermann Eidenbenz. It was also marketed by the Stephenson Blake foundry as Consort in the 1950s. Remaining a popular choice for over a century, many of today’s 7/9.5

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10.5/12.5

Clarendon

Didot

cl a s s if ic a tio n

Firman Didot d e sig n e r

9/11

Didot

Didot, also known as Didone, is a group of typefaces named after the renowned French type producing Didot family in the 18th and 19th centuries. Francois Didot founded the family business as a printer and bookseller in Paris, and his Eldest son FrancoisAmbroise expanded it by altering the standard of type design for easier legibility and accessibility. The third generation of Didot family, Pierre, Henri, and Firmin used this as a foundation and created a series of new modern serif typefaces. Didot fonts are considered the first Modern typeface because of their revolutionary design that contrasts the Old Style typefaces from manuscripts. Even though their armature is still somewhat traditional with increasing stroke and condensed form, Didots create a sophisticated yet fashionable look by using the consistently horizontal stress and unbracketed serifs. Because of this reason, Didot typefaces can be easily found in logos and titles of many media, including CBS, VOGUE, and the iconic TV series Sex and the City. The modern outlook

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Didot

Baskerville cl a s s if ic a tio n

John Baskerville d e sig n e r

10.5/12.5

Baskerville

Baskervilleâ&#x20AC;&#x2122;s typeface was part of an ambitious project to create books of the greatest possible quality. Baskerville was a wealthy industrialist, who had started his career as a writing-master (teacher of calligraphy) and carver of gravestones, before making a fortune as a manufacturer of varnished lacquer goods. At a time when books in England were generally printed to a low standard using typefaces of conservative design, Baskerville sought to offer books created to higher-quality methods of printing than any before, using carefully made level presses, a high quality of ink and very smooth paper pressed after printing to a glazed, gleaming finish. While Baskervilleâ&#x20AC;&#x2122;s types in some aspects recall the general design of William Caslon, the most eminent punchcutter of the time, his approach was far more radical. Aspects of his design recalled his handwriting and common elements of

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Baskerville

Baskerville’s typeface was part of an ambitious project to create books of the greatest possible quality. Baskerville was a wealthy industrialist, who had started his career as a writing-master (teacher of calligraphy) and carver of gravestones, before making a fortune as a manufacturer of varnished lacquer goods. At a time when books in England were generally printed to a low standard using typefaces of conservative design, Baskerville sought to offer books created to higher-quality methods of printing than any before, using carefully made level presses, a high quality of ink and very smooth paper pressed after printing to a glazed, gleaming finish. While Baskerville’s types in some aspects recall the general design of William Caslon, the most eminent punchcutter of the time, his approach was far more radical. Aspects of his design recalled his handwriting and common elements of the calligraphy taught by the time of Baskerville’s youth, which had been used in copperplate engraving but had not been previously been cut into type. Such

Garamond cl a s s if ic a tio n

Claude Garamond d e sig n e r

Then in the beginning of the 17th century, the French printer Jean Jannon ordered a collection of Garamond’s Greek and Roman types, which he then refined and used in the production of a multitude of French printing. These fonts were later discovered in the early 1900s and wrongfully credited to 9/11

Garamond

The French type designer and publisher Claude Garamond trained in Paris as a punch cutter in the early 1500s, where he was taught the tradition of old-serif letter design. He eventually became one of the first independent punch cutters in Paris, where he designed type for commissions and out source purposes, paving the path for commercial design history. In 1540 he was commissioned by King Francis I to cut a Greek style typeface, the ‘Grec du Roi’. which was used in the printing of many large size Greek texts. The difference between Garamond’s cut of the type was its departure from the typical handwritten old-type engraving. His designs were tailored more towards the act of printing and legibility. His cuts were elegant and printed clearly when the ink bled on the paper. The serifs are more decorated than previous old-style types, having almost a symmetrical, angular feel to them.

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Garamond

Minion cl a s s if ic a tio n

Robert Slimbach d e sig n e r

10.5/13

Minion

Robert Slimbach has won multiple awards for his digital typeface designs. Slimbach was born in Evanston, Illinois in 1956 but moved early into his life, spending most of his childhood in Southern California. After leaving college, Robert developed an interest in Graphic Design and typefaces. After training from 1983 to 1985, he worked as a font designer with “Autologic Incorporation” in Newbury Park, California. There he received further training, not just as a font designer, but also as a calligrapher. Slimbach was then self-employed for two years and developed the two fonts “ITC Slimbach” and “ITC Giovanni” for the International Typeface Corporation in New York. In 1987, he joined “Adobe Systems.” Ever since, he has been involved in developing new fonts for the Adobe Originals program. Throughout his lifetime, Slimbach produced many

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Minion

Optima cl a s s if ic a tio n

Herman Zapf d e sig n e r

9.5/12

Optima

Zapf was a German typeface designer and calligrapher who lived in Darmstadt, Germany. Early in his childhood he exhibited interest in font making along with interest in the digital technology, leading him to help pioneer computerized typography experiment with typesetting in the 1960s. Zapf created a typesetting program that inspired and led Adobe to create Adobe InDesign, the desktop publishing software. His most notable typefaces include Palatino, Optima and Zapfino. The development of Optima took place over the period 1955-1958 in Germany and was inspired by the Roman capital model, as well as the desire to avoid the monotony of all capital letters having a roughly square footprint. Optimaâ&#x20AC;&#x2122;s design follows humanist lines and is an example of a design type where the strokes are variable in width. The design style has been intermittently popular since the late nineteenth century but remains is one of the most lastingly popular examples of the genre.

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Optima

Palatino cl a s s if ic a tio n

Herman Zapf d e sig n e r

10/12.5

Palatino

Palatino is a old-style serif font created by the German typeface designer Hermann Zapf in Germany. It was released by the Linotype foundry in 1948. The name of the font is derived from Giambattista Palatino, an italian master of calligraphy from the 16th century. Zapf initially designed the Palatino for advertising headlines and displays, however the Palatino became a widely used text typeface because its large proportions increased legibility for people to read. Its weight and solid structure allowed it to be clearly read on poor-quality paper and printing. In addition, the Palatinoâ&#x20AC;&#x2122;s weight was much thicker than the usual roman style which made it adaptable for lithographic and gravure printing for its time. The visual characteristics of Palatino were inspired by the humanist types of the italian Renaissance. A broad nib pen formed

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Palatino

Sabon cl a s s if ic a tio n

Jan Tschichold d e sig n e r

10/12.5

Sabon

One of the main leaders of the Elementare Typografie movement, or “Elementary Typography”, German-born Jan Tschichold was a calligrapher, typographer, as well as a book designer. Tschichold was the author of Die Neue Typographie, or “The New Typography”, in which he set forth rules for standardization of practices relating to modern type usage. He would actually later have much of his work seized by Nazis before fleeing the country because they saw his emphasis on new typography and sans-serif typefaces as a threat to the German traditions of Blackletter Typography. Luckily, his creation Sabon still stands to be appreciated today. Joint released by the Linotype, Monotype, and Stempel type foundries in the period 1964-1967, Sabon’s origin goes back to a printing firm’s interest in creating a new typeface that could be used in any of the various printing

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After receiving his BFA from Rhode Island School of Design, American type designer Tobias Frere-Jones went on to create numerous typefaces during his time at Font Bureau, Inc., among them Interstate, Poynter Oldstyle, and Gothic. In 1999, he went on to partner with his friend Jonathan Hoefler to found Hoefler & Frere-Jones Typography. The partnership quickly gained clientele from all various fields and publications. From The New York Times to Harper’s Bazaar to Apple to Nike to Gucci and even Barack Obama’s 2008 presidential campaign. When GQ magazine would later commission Frere-Jones in 2000 to create a signature sans-serif with a “geometric structure” that would look “masculine, new, and fresh” with a credible voice, that would bring about the invention of one of the most 8/10.5

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11/13

Sabon

Bembo cl a s s if ic a tio n

Francesco Griffo d e sig n e r

11.5/13

Bembo

Francesco Griffo was a type founder, punch cutter, and type designer. He started his career as a goldsmith and later ended up working for a very important publisher, Aldus Manutius. Griffo invented Bembo in Venice in the year 1495 while hired by Manutius to create a cursive typeface for Cardinal Pietro Bemboâ&#x20AC;&#x2122;s De Aetna. Griffo wanted typefaces designed to look like the handwriting of humanists, both in Latin and Greek. At the time, cursive handwriting was the norm for everyday handwriting in Venice. However, published works only contained block lettering. The creation of the cursive typeface allowed for published works to be more personal. It was the first model of italic type. Bembo is a serif typeface and is most commonly used for body text. It is a member of the â&#x20AC;&#x153;old-

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Francesco Griffo was a type founder, punch cutter, and type designer. He started his career as a goldsmith and later ended up working for a very important publisher, Aldus Manutius. Griffo invented Bembo in Venice in the year 1495 while hired by Manutius to create a cursive typeface for Cardinal Pietro Bembo’s De Aetna. Griffo wanted typefaces designed to look like the handwriting of humanists, both in Latin and Greek. At the time, cursive handwriting was the norm for everyday handwriting in Venice. However, published works only contained block lettering. The creation of the cursive typeface allowed for published works to be more personal. It was the first model of italic type. Bembo is a serif typeface 9.5/11

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13.5/11.5

Bembo

Francesco Griffo was a type founder, punch cutter, and type designer. He started his career as a goldsmith and later ended up working for a very important publisher, Aldus Manutius. Griffo invented Bembo in Venice in the year 1495 while hired by Manutius to create a cursive typeface for Cardinal Pietro Bembo’s De Aetna. Griffo wanted typefaces designed to look like the handwriting of humanists, both in Latin and Greek. At the time, cursive handwriting was the norm for everyday handwriting in Venice. However, published works only contained block lettering. The creation of the cursive typeface allowed for published works to be more personal. It was the first model of italic type. Bembo is a serif typeface and is most commonly used for body text. It is a member of the “old-style” of serif

Caslon

cl a s s if ic a tio n

William Caslon d e sig n e r

10.5/12.5

Caslon

Caslon is a serif font designed in 1722 by William Caslon I. Born in 1692 in England, Caslon was an engraver, type designer, and founder of Caslon Type foundry, carried on by his descendants for 200 years. He brought British foundries into the limelight in a time when Dutch and French foundries were considered superior. Much of his success is due to his artistic sensibility, uncommon as typecasting had been considered a commoner’s trade in England at the time. The Caslon typeface was modelled after Dutch Baroque typefaces during William Caslon’s life. All of its lowercase letters showcase a wedge-shaped top serif. One of Caslon’s most defining characteristics is its stroke variation, which in combination with its graceful bracketing makes it a very delicate font. While some find this stroke variation to be problematic in its capitals, overall, Caslon is a highly readable font.

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Caslon

Serifa cl a s s if ic a tio n

Horst Heiderhoff & Adrian Frutiger d e sig n e r

9.5/11.5

Serifa

Serifa is what is known as a slab serif typeface family. It was created in 1967 by Adrian Frutiger who was a typeface designer from Switzerland. He was widely influential starting from the late twentieth century and is said to be the m–––s also created my Adrian Fruitger included Univers and Fruitger. Univers became a very popular font, which laid down an easy path to popularity for the font that was created off of Univers: Serifa. Serifa was designed and released by the Bauer foundry in 1966, which was a German type foundry. Compared to Univers, which was also a sans serif design designed by the Bauer foundry, Serifa has unbracketed serifs, making it a slab serif. However, unlike other slab serif type fonts that are usually difficult to read, Serifa has “more humanistic forms”, which makes made it a more pleasant and readable font. It, therefore, functions well in both visual typography and text. Serifa is designed to be used in various sizes and to be

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Serifa is what is known as a slab serif typeface family. It was created in 1967 by Adrian Frutiger who was a typeface designer from Switzerland. He was widely influential starting from the late twentieth century and is said to be the man who singlehandedly steered the course and advancement of traditional typography to digital typography. Two other fonts of historical importance in the world of typography that was also created my Adrian Fruitger included Univers and Fruitger. Univers became a very popular font, which laid down an easy path to popularity for the font that was 6/8

Serifa is what is known as a slab serif typeface family. It was created in 1967 by Adrian Frutiger who was a typeface designer from Switzerland. He was widely influential starting from the late twentieth century and is said to be the man who singlehandedly steered the course and advancement of traditional typography to digital typography. Two other fonts of historical importance in the world of typography that was also created my Adrian Fruitger included Univers and Fruitger. Univers became a very popular font, which laid down an easy path to popularity for the font that was created off of Univers: Serifa. Serifa was designed and released by the Bauer foundry in 1966, which was a German type foundry. Compared to Univers, which was also a sans serif design designed by the Bauer foundry, 8/10

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11/13.5

Serifa

Serifa is what is known as a slab serif typeface family. It was created in 1967 by Adrian Frutiger who was a typeface designer from Switzerland. He was widely influential starting from the late twentieth century and is said to be the man who singlehandedly steered the course and advancement of traditional typography to digital typography. Two other fonts of historical importance in the world of typography that was also created my Adrian Fruitger included Univers and Fruitger. Univers became a very popular font, which laid down an easy path to popularity for the font that was created off of Univers: Serifa. Serifa was designed and released by the Bauer foundry in 1966, which was a German type foundry. Compared to Univers, which was also a sans serif design designed by the Bauer foundry, Serifa has unbracketed serifs, making it a slab serif. However, unlike other slab serif type fonts that are usually difficult to read, Serifa has â&#x20AC;&#x153;more humanistic

Bodoni cl a s s if ic a tio n

Giambattista Bodoni d e sig n e r

9/11

Bodoni

Giambattista Bodoni was an Italian engraver, type designer, typographer, printer, and publisher. In 1771, he established his own typography where he printed editions which became famous for their fine engravings, the elegance of the front pages, the quality of the paper and the nature of the inks. His craftsmanship was superb and his attention to detail legendary. The quality of his printing was unmatched and he came to be regarded as the finest printer of his day. The rules of his art were written by Bodoni himself and are demonstrated in the “Manuale tipografico,” published after his death by his widow Margherita Dall’Aglio in 1818.The Bodoni typefont, with its highly recognizable centered “Q” tail and slight hook in the “J,” was first designed by Giambattista in 1798 and is generally considered a “transitional” font type as it represents the last phase of character evolution from the pen-inspired Old Style types as well as the first effort to use the design of type as visual style in written communication. Since the beginning it has been well suited for title fonts and logos due to its classic style including Giorgio Armani and the “CK” for Calvin Klein. Bodoni was highly influenced by the work of John Baskerville, a designer whose work he followed. It

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Giambattista Bodoni was an Italian engraver, type designer, typographer, printer, and publisher. In 1771, he established his own typography where he printed editions which became famous for their fine engravings, the elegance of the front pages, the quality of the paper and the nature of the inks. His craftsmanship was superb and his attention to detail legendary. The quality of his printing was unmatched and he came to be regarded as the finest printer of his day. The rules of his art were written by Bodoni himself and are demonstrated in the “Manuale tipografico,” published after his death by his widow Margherita Dall’Aglio in 1818. The Bodoni typefont, with its highly recognizable centered “Q” tail and slight hook in the “J,” was first designed by Giambattista in 1798 and is generally considered a “transitional” font type as it represents the last phase of character evolution from the pen-inspired Old Style types as well as the first effort to use the design of type as visual style in written communication. Since the beginning it 8/9.5

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10/12

Bodoni

Giambattista Bodoni was an Italian engraver, type designer, typographer, printer, and publisher. In 1771, he established his own typography where he printed editions which became famous for their fine engravings, the elegance of the front pages, the quality of the paper and the nature of the inks. His craftsmanship was superb and his attention to detail legendary. The quality of his printing was unmatched and he came to be regarded as the finest printer of his day. The rules of his art were written by Bodoni himself and are demonstrated in the “Manuale tipografico,” published after his death by his widow Margherita Dall’Aglio in 1818. The Bodoni typefont, with its highly recognizable centered “Q” tail and slight hook in the “J,” was first designed by Giambattista in 1798 and is generally considered a “transitional” font type as it represents the last phase of character evolution from the pen-inspired Old Style types as well as the first effort to use the design of type as visual style in written communication. Since the beginning it has been well suited for title fonts and logos due to its classic style including Giorgio Armani and the “CK” for Calvin Klein. Bodoni was highly influenced by the work of John Baskerville, a designer whose work he followed. It has four significant characteristics that make it stand out from the others. These are: extreme contrast between thick and thin strokes, probably

Times New Roman cl a s s if ic a tio n

Stanley Morison & Victor Lardent d e sig n e r

10.5/12.5

Times New Roman

Times New Roman is a serif typeface commissioned by The Times of London. Times New Roman became a new text type design from Stanley Morison, an artistic director at Monotype, historian of printing, and informal adviser to the Times and the Monotype Corporation after he wrote an article criticizing The Times for being badly printed and typographically behind its time. The new design was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older typeface, Plantin, as the basis for his design, but made revisions to increase legibility and economy of space. The new design made its debut in 1932 in The Times. After one year, the design was released for commercial sale. The Times stayed with Times New Roman for 40 years, but new production techniques and the format change from broadsheet to tabloid in 2004

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Times New Roman

8.5/11

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Akzidenz Grotesk cl a s s if ic a tio n

Hermann Berthold d e sig n e r

9/11

Akzidenz Grotesk

Hermann Berthold was born in 1831. He worked as an apprentice for a precision-instrument maker, and founded the “Institute for Galvano Technology” in Berlin in 1858. German letterpress printers, and many abroad, knew and used Berthold’s type. He also aided Professor Foester with creating a basic unit of typographic measurement. The H. Berthold type foundry was founded in 1858 by Berthold in Berlin. H. Berthold first published AkzidenzGrotesk in 1898, with the design originating from Royal Gotesk light by the royal type-cutter Ferdinand Theinhardt. It was the result of a compilation and reworking of several previous sans serif typefaces. It has horizontal and vertical stokes of almost equal thickness, and capital letters with a fairly even width. It easily stood out on pages at the time, surrounded by serif typefaces, and was originally meant to be a display face. The Theinhardt foundry later merged with Berthold, supplying the regular, medium, and bold weights of the family. Günter Gerhard Lange, the art director at Berthold during the 1950s, began a project to enlarge the typeface family, creating a lager

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Hermann Berthold was born in 1831. He worked as an apprentice for a precisioninstrument maker, and founded the “Institute for Galvano Technology” in Berlin in 1858. German letterpress printers, and many abroad, knew and used Berthold’s type. He also aided Professor Foester with creating a basic unit of typographic measurement. The H. Berthold type foundry was founded in 1858 by Berthold in Berlin. H. Berthold first published Akzidenz-Grotesk in 1898, with the design originating from Royal Gotesk light by the royal type-cutter Ferdinand Theinhardt. It was the result of a compilation and reworking of several previous sans serif typefaces. It has horizontal and vertical stokes of almost equal thickness, and capital letters with a fairly even width. It easily stood out on pages at the time, surrounded by serif typefaces, and was originally meant to be a display face. The Theinhardt foundry later merged with Berthold, supplying the

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Aksidenz Grotesk

Hermann Berthold was born in 1831. He worked as an apprentice for a precision-instrument maker, and founded the “Institute for Galvano Technology” in Berlin in 1858. German letterpress printers, and many abroad, knew and used Berthold’s type. He also aided Professor Foester with creating a basic unit of typographic measurement. The H. Berthold type foundry was founded in 1858 by Berthold in Berlin. H. Berthold first published Akzidenz-Grotesk in 1898, with the design originating from Royal Gotesk light by the royal type-cutter Ferdinand Theinhardt. It was the result of a compilation and reworking of several previous sans serif typefaces. It has horizontal and vertical stokes of almost equal thickness, and capital letters with a fairly even width. It easily stood out on pages at the time, surrounded by serif typefaces, and was originally meant to be a display face. The Theinhardt foundry later merged with Berthold, supplying the regular, medium, and bold weights of the family. Günter Gerhard Lange, the art director at Berthold during the 1950s, began a project to enlarge the typeface family,

Futura Book cl a s s if ic a tio n

Paul Renner d e sig n e r

10.5/12.5

Futura Book

Paul Renner was an eminent twentieth century German graphic designer, type designer and typographer. He was also a remarkable painter and teacher. He is best known for designing Futura typeface which became the milestone creation of twentieth century and influenced the modern typeface designs. The typeface was influenced heavily by that of German professor Jakob Erbar and the Bauhaus school of design— a typeface that aimed for a pure functionality, with no ornamentation or individual characteristics. It is based on the circle — the most fundamental of all typographic components. The Bauhaus school of design believed in a world where form and function destroyed ornamentation, clutter and revivals of the more decorative past. Renner too believed in the school’s principles and rejected the

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Paul Renner was an eminent twentieth century German graphic designer, type designer and typographer. He was also a remarkable painter and teacher. He is best known for designing Futura typeface which became the milestone creation of twentieth century and influenced the modern typeface designs. The typeface was influenced heavily by that of German professor Jakob Erbar and the Bauhaus school of designâ&#x20AC;&#x201D; a typeface that aimed for a pure functionality, with no ornamentation or individual characteristics. It is based on the circle â&#x20AC;&#x201D; the most fundamental of all typographic components. 9.5/11.5

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11.5/14

Futura Book

Frutiger cl a s s if ic a tio n

Adrian Frutiger d e sig n e r

9.5/12

Frutiger

Frutiger was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. Frutigerâ&#x20AC;&#x2122;s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sansserif typefaces: neo grotesque, humanist and geometric. From 1961 to 1964, Frutiger created a sans-serif font named Concorde for news use in regular and bold styles for the Parisian printing company, Sofratype. However the design failed to attract attention and was withdrawn from sale after a few years. In 1970, Frutiger was asked to design signage at the new Charles de Gaulle Airport in the Roissy suburb of Paris. This â&#x20AC;&#x153;way-finding-signageâ&#x20AC;? commission required a typeface that was both legible from afar and from an angle. Frutiger adapted Concorde using legibility research as a guide, and titled the new

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Frutiger was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neo grotesque, humanist and geometric. From 1961 to 1964, Frutiger created a sans-serif font named Concorde for news use in regular and bold styles for the Parisian printing company, Sofratype. However the design failed to attract attention and was withdrawn from sale after a few years. In 1970, Frutiger was asked to design signage at the new Charles de Gaulle Airport in the Roissy suburb of Paris. This “way-finding-signage” commission required a typeface that was 8/10.5

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10.5/13

Frutiger

Helvetica cl a s s if ic a tio n

Max Meidinger & Edouard Hoffman d e sig n e r

8.5/11.5

Helvetica

Helvetica is a neo-grotesque, realist typeface designed by a Swiss typeface designer Max Miedinger in 1957. Miedinger was a representative of Hass Type Foundry, a Swiss type manufacturer that created Akzidenz-Grotesk, Bodoni, and many other prominent typefaces. Helveticaâ&#x20AC;&#x2122;s distinctive clarity and neutrality that comes from its tall height, tight-spacing between letters and square-looking curves allured not just the general public but the authorities as well, making it the symbol of government authority and corporate dominance. Many critics point out that Helvetica is a big step from the 19th-century typefaces because of its neutralism. Helveticaâ&#x20AC;&#x2122;s simple, unornamented nature of the realist design allows the content of the text to determine its tone because it does not carry any intrinsic meaning or connotation in its form. Due to these qualities and features, Helvetica is still widely used by government facilities, corporations, and public media, even after seventy years of its release. It was digitized in the 80s under the name Neue Helvetica, for improved legibility on computer screens and digital printers. Designers are still working on creating new

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J H Helvetica is a neogrotesque, realist

typeface designed by a Swiss typeface de-

signer Max Miedinger in 1957. Miedinger was a representative of Hass Type

Foundry, a Swiss type manufacturer that

created AkzidenzGrotesk, Bodoni, and many other

prominent typefaces.

Helvetica’s distinctive clarity and neutrality

that comes from its tall height, tight-spacing between letters and

square-looking curves allured not just the

general public but the authorities as well, 6.5/10

Helvetica is a neo-grotesque, realist typeface designed by a Swiss typeface designer Max Miedinger in 1957. Miedinger was a representative of Hass Type Foundry, a Swiss type manufacturer that created Akzidenz-Grotesk, Bodoni, and many other prominent typefaces. Helvetica’s distinctive clarity and neutrality that comes from its tall height, tight-spacing between letters and square-looking curves allured not just the general public but the authorities as well, making it the symbol of government authority and corporate dominance. Many critics point out that Helvetica is a big step from the 19th-century typefaces because of its neutralism. Helvetica’s simple, unornamented nature of the realist design allows the content of the text to determine its tone because it does not carry any intrinsic meaning or connotation in its form. Due to these qualities and features, Helvetica is still widely used by government facilities, corporations, and public media, even after seventy years of its release. It was digitized in the 80s 7/10

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

10/13

Helvetica

Helvetica Bold cl a s s if ic a tio n

Max Meidinger & Edouard Hoffman d e sig n e r

8.5/11.5

Helvetica Bold

Helvetica is a neo-grotesque, realist typeface designed by a Swiss typeface designer Max Miedinger in 1957. Miedinger was a representative of Hass Type Foundry, a Swiss type manufacturer that created AkzidenzGrotesk, Bodoni, and many other prominent typefaces. Helveticaâ&#x20AC;&#x2122;s distinctive clarity and neutrality that comes from its tall height, tight-spacing between letters and square-looking curves allured not just the general public but the authorities as well, making it the symbol of government authority and corporate dominance. Many critics point out that Helvetica is a big step from the 19th-century typefaces because of its neutralism. Helveticaâ&#x20AC;&#x2122;s simple, unornamented nature of the realist design allows the content of the text to determine its tone because it does not carry any intrinsic meaning or connotation in its form. Due to these qualities and features, Helvetica is still widely used by government facilities, corporations, and public media, even after seventy years of its release. It was digitized in the 80s under the name Neue Helvetica, for improved legibility

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Helvetica is a neogrotesque, realist typeface designed by a Swiss typeface designer Max Miedinger in 1957. Miedinger was a representative of Hass Type Foundry, a Swiss type manufacturer that created AkzidenzGrotesk, Bodoni, and many other prominent typefaces. Helvetica’s distinctive clarity and neutrality that comes from its tall height, tight-spacing between letters and square-looking curves allured not just the general public but the authorities 6.5/9

Helvetica is a neo-grotesque, realist typeface designed by a Swiss typeface designer Max Miedinger in 1957. Miedinger was a representative of Hass Type Foundry, a Swiss type manufacturer that created Akzidenz-Grotesk, Bodoni, and many other prominent typefaces. Helvetica’s distinctive clarity and neutrality that comes from its tall height, tight-spacing between letters and square-looking curves allured not just the general public but the authorities as well, making it the symbol of government authority and corporate dominance. Many critics point out that Helvetica is a big step from the 19th-century typefaces because of its neutralism. Helvetica’s simple, unornamented nature of the realist design allows the content of the text to determine its tone because it does not carry any intrinsic meaning or connotation in its form. Due to these qualities and features, Helvetica is still widely used by government facilities, corporations, and public 7/10

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

10/14

Helvetica Bold

Gill Sans cl a s s if ic a tio n

Eric Gill d e sig n e r

10.5/12.5

Gill Sans

Gill Sans is a sans serif font designed by English artist and type designer Eric Gill in the United Kingdom and in 1931. It was released by Monotype in 1928 to 1930. Gill Sans was inspired by the design for the signage of the London Underground Railway which was created by his teacher, Edward Johnston, in 1918. Gill intended on designing the Gill Sans typeface as set of uppercase. But he developed it further and included lowercase characters in 1929 and much later he developed weights and variations. Since then, Gill Sans is a typefaces widely used by many. The Gill Sans has a classical style in proportion that has the signature flared capital R and eyeglass lowercase g. Being a humanist sans serif, its structures have some geometric designs. For its font, it is legible and modern in many ways and itâ&#x20AC;&#x2122;s lighter weights works well printed for text while its bold weight is excellent for display

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r t 79

7.5/10

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

11/13

Gill Sans

Univers cl a s s if ic a tio n

Adrian Frutiger d e sig n e r

9.5/11.5

Univers

Univers is one of a group of neo-grotesque sansserif typefaces, all released in 1957, that includes Folio and Neue Haas Grotesk (later renamed Helvetica). This sans-serif typeface was designed by Adrian Frutiger, who also designed the famous typefaces Frutiger and Avenir. Frutiger was a renowned twentieth century Swiss graphic and type designer. He played a pivotal role in the transition of typography into the digital realm. 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 type library was acquired in 1972 by Haas and transferred into the D. Stempel AG. It was later produced in the Linotype collection in 1985 and 1989 respectively upon the Haasâ&#x20AC;&#x2122;sche Schriftgiesserei (Haas Type Foundry) acquisition and closing. With the release of Univers, Frutiger began using numbers rather than names to

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a r 83

Univers is one of a group of neogrotesque sansserif typefaces, all released in 1957, that includes Folio and Neue Haas Grotesk (later renamed Helvetica). This sans-serif typeface was designed by Adrian Frutiger, who also designed the famous typefaces Frutiger and Avenir. Frutiger was a renowned twentieth century Swiss graphic and type designer. He played a pivotal role in the transition of typography into the 7/9

Univers is one of a group of neogrotesque sans-serif typefaces, all released in 1957, that includes Folio and Neue Haas Grotesk (later renamed Helvetica). This sans-serif typeface was designed by Adrian Frutiger, who also designed the famous typefaces Frutiger and Avenir. Frutiger was a renowned twentieth century Swiss graphic and type designer. He played a pivotal role in the transition of typography into the digital realm. 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 type library was acquired in 1972 by Haas and transferred into the D. Stempel AG. It was later produced in the Linotype collection in 1985 and 1989 8/10.5

abcdefghijklmnopqrstuvwxyz A B C D EG H I J K L M N O P Q R ST V W X Y Z

10.5/12.5

Univers

Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957, that includes Folio and Neue Haas Grotesk (later renamed Helvetica). This sansserif typeface was designed by Adrian Frutiger, who also designed the famous typefaces Frutiger and Avenir. Frutiger was a renowned twentieth century Swiss graphic and type designer. He played a pivotal role in the transition of typography into the digital realm. 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 type library was acquired in 1972 by Haas and transferred into the D. Stempel AG. It was later produced in the Linotype collection in 1985 and 1989 respectively upon the Haasâ&#x20AC;&#x2122;sche Schriftgiesserei (Haas Type Foundry) acquisition and closing. 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.

Univers Light Condensed cl a s s if ic a tio n

Adrian Frutiger d e sig n e r

10.5/13

Univers Light Condensed

Univers Condensed Light is neo-grotesque sans-serif typeface designed by Adrian Frutiger in 1957 at Deberny & Peignot (now Monotype) in Switzerland. Adrian Frutiger (1928 – 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. His career spanned the hot metal, phototypesetting and digital typesetting eras. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neogrotesque, humanist and geometric.The Univers family is notable for being one of the first sans-serif faces to form a consistent but wide range of widths and weights. It was designed as a relatively neutral font to be widely used. In the Frutiger numbering system, Univers Condensed Light is denoted “Univers 47,” where the the 4 indicates a light weight and the 7 condensed width. Univers follows the 20th century

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d f 87

Univers Condensed Light is neo-grotesque sansserif typeface designed by Adrian Frutiger in 1957 at Deberny & Peignot (now Monotype) in Switzerland. Adrian Frutiger (1928 – 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. His career spanned the hot metal, phototypesetting and digital typesetting eras. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neogrotesque, 7/9.5

Univers Condensed Light is neogrotesque sans-serif typeface designed by Adrian Frutiger in 1957 at Deberny & Peignot (now Monotype) in Switzerland. Adrian Frutiger (1928 – 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. His career spanned the hot metal, phototypesetting and digital typesetting eras. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neogrotesque, humanist and geometric. The Univers family is notable for being one of the first sans-serif faces to form a consistent but wide range of widths and weights. It was designed as a relatively neutral font to be widely used. In the 9.5/11

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

12/14

Univers Light Condensed

Univers Condensed Light is neo-grotesque sans-serif typeface designed by Adrian Frutiger in 1957 at Deberny & Peignot (now Monotype) in Switzerland. Adrian Frutiger (1928 – 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. His career spanned the hot metal, phototypesetting and digital typesetting eras. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sansserif typefaces: neogrotesque, humanist and geometric.The Univers family is notable for being one of the first sans-serif faces to form a consistent but wide range of widths and weights. It was designed as a relatively neutral font to be widely used. In the Frutiger numbering system, Univers Condensed Light is denoted “Univers 47,” where the the 4 indicates a light weight and the 7 condensed width. Univers follows the 20th century Swiss style of typography, avoiding visual excess in exchange for clarity and versatility. It was designed to take

Gotham cl a s s if ic a tio n

Hoefler and Frere-Jones d e sig n e r

8.5/11

Gotham

Jonathan Hoefler founded the New York typefoundry Hoefler & Co in 1989, specializing in editorial clients like the New York Times and The Guardian. The company later employed Tobias Free-Jones from 1999 to 2014. The foundry was inspired by the complex, yet straight forward design of sans serif lettering popularized between the two World Wars. In 2000 the company was commissioned by GQ Magazine to create a unique typeface, which communicated a “masculine, new, fresh” take on type. Their typeface design became known as Gotham. The type took the form of the direct approach to type design most common in the city’s bustling train station and road maps. They strived to create a font that contrasted a so called “grunge” type design of the time, trying to design a typeface that followed the clean formal qualities of traditional type design. The geometric typeface has a significant architectural form to it in its high x-height and wide apertures.

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i Q 91

6.5/8.5

Jonathan Hoefler founded the New York type foundry Hoefler & Co in 1989, specializing in editorial clients like the New York Times and The Guardian. The company later employed Tobias Free-Jones from 1999 to 2014. The foundry was inspired by the complex, yet straight forward design of sans serif lettering popularized between the two World Wars. In 2000 the company was commissioned by GQ Magazine to create a unique typeface, which communicated a “masculine, new, fresh” take on type. Their typeface design became known as Gotham. The type took the form of the direct approach to type design most common in the city’s bustling train station and road maps. They strived to create a font that contrasted a so called “grunge” type design of the time, trying to design a typeface that followed the clean formal qualities of traditional type

7/10

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Its appearance in media and commercial use transcended that of the magazine. Particularly, it was featured on the Freedom Tower in 2004, in addition to a series of presidential campaigns down the line. In this sense, it stands as almost the model for American type design in its bold political and consumerist use.

8.5/11

Gotham

Jonathan Hoefler founded the New York type foundry Hoefler & Co in 1989, specializing in editorial clients like the New York Times and The Guardian. The company later employed Tobias Free-Jones from 1999 to 2014. The foundry was inspired by the complex, yet straight forward design of sans serif lettering popularized between the two World Wars. In 2000 the company was commissioned by GQ Magazine to create a unique typeface, which communicated a “masculine, new, fresh” take on type. Their typeface design became known as Gotham. The type took the form of the direct approach to type design most common in the city’s bustling train station and road maps. They strived to create a font that contrasted a so called “grunge” type design of the time, trying to design a typeface that followed the clean formal qualities of traditional type design. The geometric typeface has a significant architectural form to it in its high x-height and wide apertures.

DIN cl a s s if ic a tio n

Deutsches Institut fĂźr Normung German Institute for Standardisation d e sig n e r

11/12.5

DIN

The typeface DIN 1451is a geometric sans serif named after Deutsches Institut fĂźr Normung (DIN), the institution that designed it. Also known as the German Institute for Standardization, the Deutsches Institut fĂźr Normung is the official German nationalstandards institution responsible for representing German interests on both national and European levels. Designed in 1931, DIN 1451was designed to for technical and administrative use in particular for road signs. It is characterized by its legibility, simplicity, and overall severe and industrial look, symptom of its consistent stroke value and the simple grid system on which it was designed. Every character of DIN 1451 is of continuous width. Because of its lean, geometric lines, it translates easily into mechanical engraving, hand lettering,

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The typeface DIN 1451is a geometric sans serif named after Deutsches Institut für Normung (DIN), the institution that designed it. Also known as the German Institute for Standardization, the Deutsches Institut für Normung is the official German national-standards institution responsible for representing German interests on both national and European levels. Designed in 1931, DIN 1451was designed to for technical and administrative use in particular for road signs. It is characterized by its legibility, simplicity, and overall severe and industrial look, symptom of its consistent stroke value 6/8.5

The typeface DIN 1451is a geometric sans serif named after Deutsches Institut für Normung (DIN), the institution that designed it. Also known as the German Institute for Standardization, the Deutsches Institut für Normung is the official German nationalstandards institution responsible for representing German interests on both national and European levels. Designed in 1931, DIN 1451was designed to for technical and administrative use in particular for road signs. It is characterized by its legibility, simplicity, and overall severe and industrial look, symptom of its consistent stroke value and the simple grid system on which 9.5/12

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

13/14.5

DIN

Myriad cl a s s if ic a tio n

Robert Slimbach & Carol Twombly d e sig n e r

8.5/10.5

Myriad

Robert Slimbach began concentrating on type and calligraphy in 1983 in the type drawing department of Autologic in Newbury Park, California. He then joined Adobe in 1987 and has been directing Adobe’s type design team since. Most of the notable typeface designers have historically been men, but one of the twentieth century’s most influential designers is Carol Twombly, who worked for years in the type design department at Adobe, when many of the Adobe Originals typefaces were planned and carried out in the 1990s. Together, they worked to create the fontface Myriad. Released as part of the Adobe Originals series in 1992, Myriad became the flagship typeface for Adobe’s Multiple Master font format (which enabled the design to be rendered dynamically from light to extra bold weights, and from condensed to extended widths). However, the font has been made available in a Pro character set in the OpenType format in 2000, and its considerable reach was increased through the addition of Greek and Cyrillic glyphs, as well as old style figures. Modern variants have also been released, including Myriad Web (which is optimized for on-screen use), and two ‘fun’ faces called Myriad Tilt and Myriad Sketch.

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u i 99

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i i i

u u u

9.5/11.5

Myriad

100

Franklin Gothic cl a s s if ic a tio n

Morris Fuller Benton d e sig n e r

9.5/12

Franklin Gothic

Franklin Gothic is a workhorse sans-serif typeface first designed by Morris Fuller Benton (1872–1948) in 1902, and first produced by ATF in 1903. Benton was the influential American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer. “Gothic” here is another name for sans serif, particularly in the nineteenth century. Franklin Gothic is based on earlier nineteenth century sans serif models. It was named in honor of that prolific American printer, Benjamin Franklin. Benton designed many variations on the face, including condensed, wide, and shaded variations. The various variations in the Franklin Gothic family were issued over a period of ten years, all of which were designed by Benton and issued by A.T.F. It was popular enough with printers that it was produced in monotype and linotype versions, and there are many digital versions of the face available to designers today. Franklin

102

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Franklin Gothic is a workhorse sansserif typeface first designed by Morris Fuller Benton (1872–1948) in 1902, and first produced by ATF in 1903. Benton was the influential American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer. “Gothic” here is another name for sans serif, particularly in the nineteenth century. Franklin Gothic is based on earlier nineteenth century sans serif models. It was named in honor of that prolific American printer, Benjamin Franklin. Benton designed many variations on the face, including condensed, wide, and shaded variations. The various variations in the Franklin Gothic family were issued over a period of 8.5/11

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

10.5/12.5

Franklin Gothic

104

Colophon

Book design by Emily Mahar using Adobe InDesign CC 2018. Typeset using the Akzidenz-Grotesk font family of Berthold Typefoundry. Logotypes designed using Adobe Illustrator CC 2018 and typefaces of Adobe Typekit, Berthold Typefoundry, the Fontshop, and Hoefler & Co. Text written by students of RISD Typography I, 2017. Printed by Blurb Printing Worldwide.