THE FACES BEHIND
TWENTY
FAMOUS TYPEFACES A collection of some of the world’s famous typefaces and the typographers who designed them. Emily Ludwig
THE FACES BEHIND
TWENTY
FAMOUS TYPEFACES
1
2
THE FACES BEHIND
TWENTY
FAMOUS TYPEFACES A collection of some of the world’s famous typefaces and the typographers who designed them.
Emily Ludwig
3
CONTENTS
4
07.
08.
10.
Introduction
Max Miedinger
Adrian Frutiger
12.
14.
16.
Claude Garamond
George W. Jones
John Baskerville
18.
20.
22.
Robert Besley
24.
Matthew Carter
Paul Renner
26.
28.
Carol Twombly
Eric Gill
30.
32.
Lucas DeGroot
36.
Hermann Zapf
42.
Giambattista Bodoni
38.
Albert Jan-Pool
34.
Morris Fuller Benton
40.
Erik Spiekermann
44.
Tobias Frere Jones
Herb Lubalin
46.
48.
Jan Tschihold
Charles Bigelow
Bibliography 5
6
Typefaces are part of our daily lives as visual communicators, we use type in logo design, web design and other ‘facets’ of graphic design. There are literally hundreds of thousands of fonts available; some free, some commissioned, some good, some bad and some over-used. This book is a collection of some of the world’s well-known typefaces and a short biography of the typographers who designed them.
7
MAX MIEDINGER The designer behind the Helvetica Typeface. Max Miedinger was a Swiss typeface designer. He was famous for creating the Neue Haas Grotesk typeface in 1957 which was renamed Helvetica in 1960. Marketed as a symbol of cuttingedge Swiss technology, Helvetica went global at once. The Helvetica typeface is one of the most famous and popular in the world. It’s been used for every typographic project imaginable, not just because it is on virtually every computer. Helvetica is ubiquitous because it works so well. The design embodies the concept that a typeface should absolutely support the reading process. That clear communication is the primary goal of typography. Linotype has since redrawn every style and weight of the font to make a consistent family of typefaces. Diferences in alignment were corrected, another, and all the weights and widths were designed to work together as one family.
“Today, Helvetica is shunned by many designers because it is overused due to its being the default typeface on many desktop publishing software packages.” - History of Graphic Design
Helvetica Type Specimen
8
9
ADRIAN FRUTIGER The designer behind the Univers Typeface. Adrian Frutiger has created some of the most used typefaces of the 20th and 21st century. Athough interested in many ields including woodcut and paper sillhouettes, Frutiger has been passionate about typography for his entire life. Spending most of his career working for Deberny & Peignot updating typefaces and preparing them for photo-typesetting, as well as designing typefaces of his own accord, he has created almost 30 typefaces.
Univers is used in tandem with Frutiger in the Bay Area Rapid Transit system, as well as being the primary typeface used by Germany‘s Frankfurt International Airport and the Montreal Metro System. Rand McNally used Univers to label maps and atlases before switching to the Frutiger design in 2004.
“Typography must be as beautiful as a forest, not like the concrete jungle of the tenements It gives distance between
the trees, the room to breathe and allow for life” - A. Frutiger Univers has been employed in numerous applications including corporate branding, signage, maps, standardized testing and consumer electronics devices. Apple used Univers on its laptop keyboards until switching to the VAG Rounded™ typeface in 2007.
10
Univers Type Specimen
11
CLAUDE GARAMOND The designer behind the Garamond Typeface. A native of Paris, Garamond was an engraver and letter founder of high repute. He was regarded as the best typecutter of his day. He was commissioned by King Francis First of France to make a new cast of type for his own exclusive use, now known as Grecs du Roi. Garamond was the irst to produce a reworking of the earlier typefaces of Aldus Manutius, creating a face called Garamond. This small roman type became the standard European type of the day and was still in use in the 18th century. During most of the 20th century, most leading foundries around the world have redrawn their own versions of Garamond’s typeface, and Garamond’s roman is still regarded today as one of the classic typefaces. Garamond is a family of old-style serif typefaces derived from the work of Claude Garamond in the sixteenth century; most Garamond fonts have become renowned for their excellent readability, elegance, and character.Garamond is a family of old-style serif typefaces derived from the work of Claude Garamond in the sixteenth century.
“Typography serves a purpose. And in a sense, so do I. I create an alphabet that represents the letters of our Roman system Typography is not expression. Typography is utility.”- C. Garamond
Garamond Type Specimen
12
13
GEORGE W. JONES The designer behind the Granjon and Dorothy decorative Typeface George W. Jones (1860-1942) was one of the most respected and celebrated printers of his time. He was one of the irst users of the Linotype machine and showed that it was capable of beautiful typography. He was also a pioneer in trichromatic halftone letterpress printing and produced the irst British book using this process.
the market in the 1920s, Jones decided to name his type Granjon. Many of the Garamond revivals of the 1920s were later shown to be actually based on the types of Jean Jannon.
In 1921, he was an adviser to the British Linotype organization and became responsible for the creation of a number of Linotype typefaces, including Granjon, Estienne, Baskerville, and Georgian. It was in this last capacity that he advanced the typographic quality standards of generations of typographers and designers. Granjon is an old style serif typeface designed by George William Jones (1860– 1942) in the period 1928–1929, and based on the Garamond typeface that was used in a book printed by the Parisian Jean Poupy in 1592. The roman design was from Claude Garamond and the italic version was from Robert Granjon. Because several other Garamonds were on Granjon Type Specimen
14
15
JOHN BASKERVILLE The designer behind the Baskerville Typeface. An English businessman, in areas including japanning and papiermâché, but he is best remembered as a printer and typographer. Baskerville was responsible for signiicant innovations in printing, paper and ink production. He developed a technique which produced a smoother whiter paper which showcased his strong black type. Baskerville also pioneered a completely new style of typography adding wide margins and leading between each line. Baskerville, designed in 1754, is most known for its crisp edges, high contrast and generous proportions. Baskerville is categorized as a transitional typeface in-between classical typefaces and the high contrast modern faces. At the time that John Baskerville decided to switch from owning a japanning business to a type foundry, Phillipe Grandjean’s exclusive Romain du Roi for Louis XIV had circulated and been copied in Europe. Baskerville Type Specimen
16
17
ROBERT BESLEY The designer behind the Clarendon Typeface. Robert Besley (1794–1876) was an English typographer, creator of Clarendon typeface in 1845 and the Lord Mayor of London in 1869. When Besley created Clarendon he had it patented, as England just passed a bill allowing that. The typeface became so popular, though, that the copyright was soon broken by people creating knock-ofs. Still known as the irst Registered typeface
“The reason it was so widely copied is simple: it was extremely useful. It provided the attention-getting boldness to highlight a word or phrase, yet at the same time was compact and easier to read than the fat faces and antiques of the period” - HiH Retrofonts.
The font was used extensively by the government of the German Empire for proclamations during World War I, not in citation given] and was also common in wanted posters of the American Old West. Clarendon is considered the irst 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.
Calrendon Type Specimen
18
19
MATTHEW CARTER The designer behind the Georgia Typeface. Matthew Carter is a type designer with ifty years’ experience of typographic technologies ranging from hand-cut punches to computer fonts. After a long association with the Linotype companies he was a co-founder in 1981 of Bitstream Inc., the digital typefoundry, where he worked for ten years. He is now a principal of Carter & Cone Type Inc., in Cambridge, Massachusetts, designers and producers of original typefaces.
“Type is a beautiful group of letters, not a group of beautiful letters.”- M.Carter
As a transitional serif design, Georgia shows a number of traditional features of classic serif typefaces, such as alternating thick and thin strokes, ball terminals and an italic taking inspiration from calligraphy. Its igure designs are text igures, designed to blend into continuous text; this was at the time a rare feature in computer fonts.Closer inspection, however, shows how Georgia was designed for clarity on a computer monitor even at small sizes: it features a large x-height and its thin strokes are thicker than would be common on a typeface designed for display use. Georgia Type Specimen
20
21
PAUL RENNER The designer behind the Futura Typeface. German typographer Paul Renner is best known as the designer of the typeface Futura, which stands as a landmark of modern graphic design. He attempted to fuse the gothic and the roman typefaces. While he was never directly affiliated with the Bauhaus movement, he became an advocate of its aims and principles and became a leading proponent of the “New Typography”.
Futura is an exceptionally versatile typeface. Its bold and condensed variants are especially powerful display designs. Futura is also a good choice for space-sensitive environments. Its simple letterforms allow it to be set at surprisingly small sizes with little drop in legibility levels. Futura also works well for short blocks of text copy, captions and pull-quotes.
The typeface Futura is an exemplar of its time and certainly the most commercially successful German type design of its era.1 Paul Renner began the design in 1924 and submitted it to the Bauer type foundry in 1925. Comparing Renner’s initial conception with both the 1927 original foundry character set and the reduced set of 1933 provides an opportunity to investigate the forces leading to the invention of new visual norms and the cultural systems that constrain them. Futura Type Specimen
22
23
CAROL TWOMBLY The designer behind the Myriad Typeface. Carol Twombly (born 1959) is an American calligrapher and typeface designer who has designed many typefaces, including Trajan, Myriad and Adobe Caslon. She worked as a type designer at Adobe Systems from 1988 through 1999, during which time she designed, or contributed to the design of, many typefaces. She retired from type design in early 1999, to focus on her other design interests, involving textiles and jewelry. Carol Twombly is one of a handful of type designers whose typefaces impress on a bunch of levels at once: in its variety of styles, depth of craft, inspired design and overwhelming popularity. She designed type for just over a decade, retiring in 1999 to pursue her other craft interests in textiles and jewelry. But in that relatively brief time, Carol created an amazing body of work. Myriad is a humanist sans-serif typeface designed by Robert Slimbach and Carol Twombly for Adobe Systems. The typeface is best known for its usage by Apple Inc., replacing Apple Garamond
24
as Apple’s corporate font since 2002. Myriad is easily distinguished from other sans-serif fonts due to its special “y” descender (tail) and slanting “e” cut.
Myriad Type Specimen
25
ERIC GILL The designer behind the Gill SansTypeface. Eric Gill (1882-1940) was a versatile talent, active in many disciplines from wood-engraving to sculpture and calligraphy. In the 1920s his creative abilities turned to type design and in 1928 Gill Sans was born. The successful Gill Sans was issued by Monotype in 1928 to 1930. Gill´s alphabet is more classical in proportion and contains what have become known as his signature ared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif and the bolder weights make for compelling display typography. Originally Gill designed this typeface as an uppercase set. The lowercase
characters were added in 1929 and having spent much of the 1930s developing further weights and variations, Gill Sans now represents one of his most widely used typefaces.
"The shapes of letters do not derive their beauty from any sensual or sentimental reminiscences. No one can say that the O's roundness appeals to us only because it is like that of an apple or of a girl's breast or of the full moon. Letters are things, not pictures of things." - E. Gill Gill Sans Type Specimen
26
27
CHARLES BIGELOW The designer behind the Lucida SansTypeface. Charles A. Bigelow (b. 1945, Detroit, Michigan) is an American type historian, professor, and designer. Bigelow grew up in the Detroit suburbs and attended the Cranbrook School in Bloomield Hills. He received a MacArthur Fellowship in 1982, the Frederic W. Goudy Award in 1987, Sloan Science and Film screenwriting awards in 2001 and 2002, and other honors. Along with Kris Holmes, he is the cocreator of Lucida and Wingdings font families.
There are many variants called Lucida, including scripts (Blackletter, Calligraphy, Handwriting), serif (Fax, Bright), and sans-serif (Sans, Sans Unicode, Grande, Sans Typewriter).
Lucida Sans is the sans serif complement to Lucida, designed by Kris Holmes and Charles Bigelow in 1985. The strong shapes and generous proportions are based on traditional Roman letterforms, making them clear and easy to read in the ine print of directories and parts lists, as well as clean and powerful in business correspondence and newsletters Lucida is an extended family of related typefaces designed by Charles Bigelow and Kris Holmes in 1985. Lucida Sans Type Specimen
28
29
LUCAS DE GROOT The designer behind the Calibri Typeface. Lucas de Groot, known professionally as Luc(as) de Groot, is a Dutch type designer. He is mostly known for the very large font family Calibri, the longtime default font with Microsoft Office, and Corpid. Luc(as) de Groot graduated from the Royal Academy of Arts (KABK) in The Hague, the Netherlands, under typography teacher Gerrit Noordzij. For four years, he worked at the Amsterdam design agency BRS Premsela Vonk, now called Eden Design. Calibri’s proportions allow high impact in tightly set lines of big and small text alike. Calibri’s many curves and the new rasterizer team up in bigger sizes to reveal a warm and soft character. Calibri turned out to be one of the most flexible font families of the new Collection. It was selected to be the default font in Microsoft Office applications such as Word and PowerPoint. As the de facto replacement of Times New Roman in these programs, it is quickly turning into one of the most used fonts on the planet.
30
“I think type design should be a mixture of intuition and calculation. If it becomes purely rational, you get fonts that look unhealthy and unfriendly.” - L. de Groot
Calibri Type Specimen
31
GIAMBATTISTA BODO The designer behind the Bodoni Typeface. Giambattista Bodoni, an Italian-born typeface designer and master of many arts, was born in 1740. Bodoni’s father was a printer himself. Bodoni was a leader in originating pseudoclassical typefaces. These were distinguished from the “old style” of Caslon by emphasizing the contrast of light and heavy lines and by long, level serifs. Bodoni’s most notable publications include folio editions of Horace (1791), Vergil (1793), The Divine Comedy (1795), and Homer (1808). His coldly elegant books were frankly made to be admired for typeface and layout, not to be studied or read. He was apparently indiferent to the quality of the text he printed and to editing and proofreading. The Bodoni font is a well-known serif typeface series that has had a long history of interpretations by many design houses. The various font styles begin with Bodoni’s original Didone modern font in the late 1700s through to ATF’s American Revival in the early 1900s and into the digital age. The original design had a bold look
32
with contrasting strokes and an upper case that was a bit more condensed then its stylish influence Baskerville. The unbracketed serifs and even geometric styling has made this a popular font seen in almost every kind of typesetting situation, but particularly well suited for title fonts and logos.
Bodoni Type Specimen
ONI
33
MORRIS FULLER BENT The designer behind the Century Gothic Typeface. Benton was born into the type business. His father, Linn Boyd Benton, was a type-founder and the inventor of the matrixcutting machine, which revolutionised printing. The son graduated as a mechanical engineer from Cornell and went to work with his father in the newly established type design department of the ATF company. He went on to become the most proliic designer in America, producing more than 180 types of great diversity. These include Cloister Old Style, Franklin Gothic, Bulmer, and Century Schoolbook. He became known for his humorous novelty designs such as Hobo, Stymie, and Broadway.
of its open, friendly style, you will often see the Century Gothic design widely used in media titling, including on the television shows “Star Trek: Enterprise” and in logos for both the television show “Weezer”, and the GMA Network. It was also used in the logo for the James Bond ilm “Casino Royale”. It is a popular font for use in advertising, particularly when headlines or small amounts of type are needed.
A spacious, modern version of a classic mid-century font, the Century Gothic design embodies the digital age with its sleek sans serif style, but still retains the graceful geometric look common to early 20th-century typefaces. It is supported by all major browsers on the web and is therefore considered a “safe” font to use for web design as it will translate well across multiple platforms. Because Century Gothic Type Specimen
34
TON
35
HERMANN ZAPF The designer behind the Optima Typeface. Hermann Zapf, is a German typeface designer who lives in Darmstadt, Germany. He is married to calligrapher and typeface designer Gudrun Zapf von Hesse. Zapf’s work, which includes Palatino and Optima. Zapf disliked its name, which was invented by Stempel’s marketers, has been widely copied, often against his will. Although the Optima design is almost always grouped with typefaces such as the Helvetica and Gill Sans designs, it should be considered a serifless roman. The Optima typeface is a clear and precise font designed by the renowned type designer Hermann Zapf. Optima was inspired by classical Roman inscriptions and is distinguished by its flared terminals – the ends of letters. The curves and straights of the Optima fonts vary minutely in thickness to provide a graceful and clear impression to the eye. Optima also beneits from a wide range of letterspacing capability. The design can be set quite tight, with spacing as established by Linotype, or even letter spaced.
"Typography is two-dimensional architecture, based on experience and imagination, and guided by rules and readability; And this is the purpose of typography: The arrangement of design elements within a given structure should allow the reader to easily focus on the message, without slowing down the speed of his reading.” H. Zapf
Optima Type Specimen
36
37
ALBERT-JAN POOL The designer behind the FF Din Typeface. Albert-Jan Pool (born 1960 in Amsterdam, Netherlands) is a Dutch professional type designer. He studied at the Royal Academy of Arts in The Hague. and designed the FF Din typeface in 1994. Spiekermann was keenly aware of an empty space in the market. Digital DIN fonts were available at that time, but only in two weights of purely geometric shapes. Pool designed a family of ive weights. He added true italics and also some alternative characters, such as the “i” with a round dot and lowercase igures. The shape of the new FF DIN difers from the original mostly by thinner horizontal strokes and by more fluent curves. Despite its primitive, technical look and the clear reference to the German motorway signboards, FF DIN became a phenomenon. The typeface has pervaded corporate and publication typography, and found its place in posters of cultural institutions. FF DIN has proven to be a popular replacement for DIN 1451 and it has continued to beneit from enhancement features. FF Din Type Specimen
38
39
ERIK SPIEKERMANN The designer behind the Officina Sans Typeface. Erik Spiekermann, born 1947, studied History of Art and English in Berlin. He is author, information architect, type designer (FF Meta, ITC Officina, FF Info, FF Unit, LoType, Berliner Grotesk and many corporate typefaces) and author of books and articles on type and typography. He was founder (1979) of MetaDesign, Germany’s largest design irm with offices in Berlin, London and San Francisco.
of older print technologies, typewriters and printing presses, but was designed for improved legibility when printed on low-resolution output devices, such as laser-printers. The complete ITC Officina Sans family includes weights such as Display Light, Medium, Bold, Extra Bold, and Black. ITC Officina Sans is used by the South Dakota Department of Tourism. The iomega company uses it in its logo.
The Officina Sans design was created in response to the popularity of inexpensive laser printers. Building on the typewriter fonts Courier and Letter Gothic Erik Spiekermann wanted to create a simple, useful typeface for business communication such as letters and emails. The Officina Sans typeface was the result. When ITC Officina was irst released in 1990, as a paired family of serif and sans serif faces in two weights with italics, it was intended as a workhorse typeface for business correspondence. But the typeface proved popular in many more areas than correspondence. The Officina Sans design is deceptively simple. It has a look reminiscent Oicina Sans Type Specimen
40
41
TOBIAS FRERE-JONES The designer behind the Gotham Typeface. Tobias Frere-Jones was born in New York in 1970. He was an artist from his young age. He is an American type designer who works in New York City. He created the Gotham typeface. Gotham celebrates the attractive and unassuming lettering of the city. New York is teeming with such letters, handmade sans serifs that share a common underlying structure, an engineer’s idea of “basic lettering” that transcends both the characteristics of their materials and the mannerisms of their makers. They’re the matterof-fact neon signs that emblazon liquor stores and pharmacies, and the names of proprietors plainly painted on delivery trucks. These letters are straightforward and non-negotiable, yet possessed of great personality, and often expertly made.
“Gotham replaced the Obama’s team original choice Gill Sans, which was discarded as too staid and inflexible.” - T. Frere-Jones
42
When Barack Obama started his campaign for a presidential election in 2008. All the signs and all the materials were using Gotham font designed by Tobias Frere-Jones in 2000. The point of this sans serif typeface is that is solid and looks promising and trustworthy and everything what is written with this font is reliable. The quotes written in Gotham helped Obama to become a president of United States
GothamType Specimen
S
43
HERB LUBALIN The designer behind the Avant Garde Typeface. Born in 1918 in America, Herb Lubalin was schooled at The Cooper Union. Although he showed no particular flair for art, he gained a reputation as a dirty young man with his nude drawings of Tarzan and Jane. Before graduating in 1963, he won second prize in a poster competition. He was the typographer and designer behind its creation, after the success of Avant Garde Magazine and its typographic logo. But, his career spanned a much wider scope than that. One of the people behind the culture-shocking magazines Avant-Garde, Eros and Fact, he was a constant boundary breaker on both a visual and social level. Part of the founding team of the International Typeface Corporation (ITC) and the principal of Herb Lubalin, Inc it was hard to escape the reach of Herb during the 1960s and 70s.
and straight lines. The design’s heritage has sometimes been traced to the geometric sans serifs produced by Bauhaus designers in the mid-1920s. Avant Garde Gothic design has become a solid staple in the repertoire of today’s graphic designer. The lowercase x-height and open counters help to make this family ideal for display copy and short blocks of text content. The Avant Garde Gothic design is used in the corporate logo of Adidas and is one of the main typefaces in Sony’s corporate marketing programs.
Avant Garde Gothic is classiied as a geometric sans serif design, meaning that its basic shapes appear to be constructed from circles Avant Garde Type Specimen
44
45
JAN TSCHICHOLD The designer behind the Sabon Typeface. Tschichold claimed that he was one of the most powerful influences on 20th century typography. There are few who would attempt to deny that statement. The son of a sign painter and trained in calligraphy, Tschichold began working with typography at a very early age. Raised in Germany, he worked closely with Paul Renner (who designed Futura) and fled to Switzerland during the rise of the Nazi party. His emphasis on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany, which traditionally used Blackletter Typography and the Nazis seized much of his work before he was able to flee the country.
printing industry and continues to be used frequently in digital typesetting. One of the most notable early uses of the font was in the 1973 release of the Washburn College Bible, by the US based graphic designer Bradbury Thompson. The font continues to be a very popular choice in the publication of religious texts; in 1979 it was again chosen for the US Episcopal Church’s Book of Common Prayer.
he Sabon font was created by the well-known typographer Jan Tschichold over a three year period. It was released in 1967 as part of a joint venture by the Monotype, Linotype and Stempel foundries. It was inspired by an earlier Garamond typeface Tschichold had seen on a 1592 specimen sheet printed by the Egenolf-Berner foundry. Upon its 1967 release, the Sabon design was well received by the Sabon Type Specimen
46
47
BIBLIOGRAPHY
48
http://www.historygraphicdesign.com/the-age-of-information/the-international-typographic-style/806-max-miedinger http://en.wikipedia.org/wiki/Charles_Bigelow_%28type_designer%29 http://typedia.com/explore/typeface/gill-sans/ http://en.wikipedia.org/wiki/Carol_Twombly http://people.ku.edu/~delange/paulrenner.html http://www.fontbureau.com/people/MatthewCarter/ http://idsgn.org/posts/know-your-type-baskerville/ http://luc.devroye.org/fonts-34416.html http://www.identifont.com/show?2VJ http://www.designishistory.com/1940/adrian-frutiger/ http://en.wikipedia.org/wiki/Jan_Tschichold https://kingsclifgraphicdesignhistory.wordpress.com/2013/03/28/typographer-kris-holmes/ http://mokokoma.co.za/the-faces-behind-20-famous-typefaces/ http://en.wikipedia.org/wiki/Vincent_Connare http://www.fontbureau.com/people/MatthewCarter/ http://en.wikipedia.org/wiki/Georgia_(typeface) http://quotesondesign.com/matthew-carter/ http://scholarworks.gsu.edu/cgi/viewcontent.cgi?article=1001&context=art_design_theses http://www.fonts.com/font/linotype/futura http://en.wikipedia.org/wiki/Myriad_(typeface) http://en.wikipedia.org/wiki/Lucida https://www.myfonts.com/person/Lucas_de_Groot/ http://www.planet-typography.com/news/designer/de-groot.html http://www.fonts.com/font/linotype/bodoni https://www.tdc.org/awardwinners/hermann-zapf/ http://desktoppub.about.com/od/typography/a/Typography_Quotations.htm http://www.fonts.com/font/linotype/univers http://www.identifont.com/show?16W http://www.fonts.com/font/monotype/century-gothic https://www.fontshop.com/families/f-din http://www.fonts.com/font/itc/itc-oicina-sans http://www.typography.com/fonts/gotham/overview/ http://www.fonts.com/font/itc/itc-avant-garde-gothic http://www.designishistory.com/1960/herb-lubalin/ http://www.designishistory.com/1920/jan-tschichold/ http://www.fonts.com/font/linotype/sabon
49
50
51
Copyright © 2015 by Emily Ludwig
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. For permission requests, write to the publisher, addressed “Attention: Permissions Coordinator,” at the address below. Emily Ludwig 52-54 Andromeda Ave Tanah Merah, QLD, 4128
Ordering Information: Quantity sales. Special discounts are available on quantity purchases by corporations, associations, and others. For details, contact the publisher at the address above. Orders by U.S. trade bookstores and wholesalers. Printed in the United States of America
Publisher’s Cataloging-in-Publication data Ludwig, Emily. The Faces Behind Twenty Famous Typefaces/ Emily Ludwig ISBN 978-0-9000000-0-0 HF0000.A0 A00 2010 299.000 00–dc22 2010999999 First Edition
52
53
54
Typefaces are part of our daily lives as visual communicators, we use type in logo design, web design and other ‘facets’ of graphic design. There are literally hundreds of thousands of fonts available; some free, some commissioned, some good, some bad and some over-used. This book is a collection of some of the world’s well-known typefaces and a short biography of the typographers who designed them.