Introduction This typographic catalog has three main categories, which include Sans, Serif, and Script. Sans is a set of characters that have no “serifs” which are these little details at the end of each edge of a character. Serif are fonts that do include “serifs“and last we have script, which is contains characters that are mostly handwriting or made with calligraphic pens. Each category in this catalog has a set of 10 fonts; each font includes a typographic composition to show the font at work. I really hope you enjoy this catalog as much as I enjoyed making it.
Genov M.
SANS
In typography, a sans-serif, sans serif or san serif typeface is one that does not have the small projecting features called “serifs” at the end of strokes. The term comes from the French word sans, meaning “without”. In print, sans-serif fonts are used for headlines than for body text. The conventional wisdom holds that serifs help guide the eye along the lines in large blocks of text. Sans-serifs, however, have acquired considerable acceptance for body text in Europe. These type of fonts have become the “de facto” standard for body text on-screen, especially online. This is partly because interlaced displays may show twittering on the fine details of the horizontal serifs. Additionally, the low resolution of digital displays in general can make fine details like serifs disappear or appear too large. Before the term “sans-serif” became standard in English typography, a number of other terms had been used. One of these outmoded terms for sans serif was gothic, which is still used in East Asian typography and sometimes seen in font names like Century Gothic.Sans-serif fonts are sometimes, especially in older documents, used as a device for emphasis, due to their typically blacker type color.
Helvetica Max Miedinger
Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk.
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ve HEL LOVE YOU LIKE
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Futura Paul Renner
Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922, Futura was commercially released in 1927. The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson.
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Avant Garde Herb Lubalin
ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde Magazine. Herb Lubalin devised the logo concept and its companion headline typeface, then he and Tom Carnase, a partner in Lubalin’s design firm, worked together to transform the idea into a full-fledged typeface.
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Avant Garde
A LOT MORE
THAN JUST AN ART MOVEMENT
Frutiger Adrian Frutiger Frutiger is a sans-serif typeface by the Swiss type designer Adrian Frutiger. It was commissioned in 1968 by the newly built Charles De Gaulle International Airport at Roissy, France, which needed a new directional sign system. Instead of using one of his previously designed typefaces like Univers, Frutiger chose to design a new one. The new typeface, originally called Roissy, was completed in 1975 and installed at the airport the same year.
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IT’S FRUTIGER DON’T WORRY YOU PROBABLY HAVE NEVER HEARD OF IT.
Akzidenz Grotesk Günter Gerhard Lange
The design of Akzidenz-Grotesk was theorized to be derived from Walbaum or Didot, as demonstrated by the similar font metrics when the serifs are removed.However, the font family also included fonts made by other foundries, such as the c. 1880 typeface Royal Grotesk Light from the Berlin foundry Ferdinand Theinhardt Schriftgiesserei, designed by Ferdinand Theinhardt for the scientific publications of the Royal Prussian Academy of Sciences in Berlin. FTS also supplied the regular, medium and bold weights of the typeface.
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Univers Adrian Frutiger
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). These three faces are sometimes confused with each other, because each is based on the 1898 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design.
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HELVETICA IS TOO MAINSTREAM
-UNIVERS
Syntax Hans Eduard Meier Syntax is a humanist sans-serif typeface designed by the Swiss typeface designer Hans Eduard Meier (born 1922) in 1968, and released in 1969 by the D. Stempel Schriftgießerei (type foundry) of Frankfurt am Main. It is believed to be the final face designed and released by D. Stempel for foundry casting. The original drawings were done in 1954; first by writing the letters with a brush, then redrawing their essential linear forms, and finally adding balanced amounts of weight to the skeletons to produce optically monoline letterforms.
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Gotham Tobias Frere-Jones
Gotham is a family of geometric sans-serif digital typefaces designed by American type designer Tobias Frere-Jones in 2000. Gotham’s letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century, and are especially popular throughout New York City. Since it’s creation, Gotham has been highly visible due to its appearance in many notable places, including a large amount of campaign material created for Barack Obama’s 2008 presidential campaign, as well as the cornerstone of the One World Trade Center, the tower to be built on the site of the former World Trade Center in New York.
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Gill SANS Eric Gill
The letter a was originally developed with straight tail, followed by diagonal tail (which can be seen on early specimen sheets), then the hooked tail. The diagonal tail eventually was found in Extra Bold, Bold Extra Condensed; a modified straight tail was later found in Ultra Bold. The original Gill Sans lacked distinctions between numeral 1, uppercase i, and lowercase L, so alternate version of Gill Sans was made that included an alternate 1 that could be used for numerical setting, such as shop window prices and timetables.
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Antique Olive Roger Excoffon Original sanserif designed in 1962 for Fonderie Olive by the late Roger Excoffon. Excoffon achieves brilliant personal effects by calculated breaking of accepted design canons. Designed for the French type foundry Olive. Antique is the French term for sans-serif.
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SERIF
In typography, serifs are semi-structural details on the ends of some of the strokes that make up letters and symbols. A typeface with serifs is called a serif typeface (or seriffed typeface). A typeface without serifs is called sans serif or sans-serif, from the French sans, meaning “without”. Some typography sources refer to sans-serif typefaces as “Grotesque” (in German “grotesk”) or “Gothic”, and serif typefaces as “Roman”. Serif fonts are widely used in traditional printed material such as books and newspapers. Many magazines employ sans serif typefaces, as some editors state that they are “cleaner”, regardless of any impact on readability from the lack of serifs. Numerous studies have been done on the readability of serif vs. sans serif typefaces. Studies indicate that serif typefaces may be more readable in print. Studies of on-screen use are more ambiguous, suggesting that low screen resolutions make serifs more difficult to discern, with a resulting erosion of readability compared to sans serif fonts.
Bodoni Giambattista Bodoni
Bodoni has been used for a wide variety of material, ranging from 18th century Italian books to 1960s periodicals. In the 21st century, the late manner versions continue to be used in advertising, while the early manner versions are occasionally used for fine book printing.
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Garamond Claude Garamond
Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope. Garamond is considered to be among the most legible and readable serif typefaces for use in print (offline) applications. It has also been noted to be one of the most eco-friendly major fonts when it comes to ink usage.
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Rockwell Frank Hinman Pierpont
The first geometric slabserif, Litho Antique, appears as a sport from the Inland Typefoundry of St. Louis in 1910, distributed from Inland and then ATF. The 1933 Monotype updating of Litho Antique was supervised by F.H. Pierpont from Connecticut. Rockwell was prepared as a competitor to Memphis, but Pierpont ignored the detailing of the contemporary European slabserifs in favor of the earlier American model.
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Times New Roman Victor Lardent
Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent at the English branch of Monotype. It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated. The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space.
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Lexicon Bram De Does
Lexicon was De Does’ second typeface, his first one being Trinité. After the release of Trinité, De Does held a lecture at the 1983 edition of ATypI. People had asked him when his next typeface would be released, and in his lecture he announced that there would be no new typefaces from his hand. According to him, he would not be able to design something significantly different from the Renaissance inspired roman like Trinité. In 1989 however, he was approached by the designer of the Van Dale dictionary, who wanted to test Trinité for use at 7pt. De Does suggested to specially design a new typeface instead.
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Swift Gerard Unger
Swift was developed as a new, digital-era typeface for newspapers between 1984 and 1987. The project was undertaken for the Dr.-Ing. Rudolf Hell GmbH. Unger’s major design influence for Swift came from William A. Dwiggins’ work (1880-1956). Dwiggins was a typographic consultant of Mergenthaler Linotype in the United States, who as early as 1930 was working on more legible, alternative fonts for newspaper printing. Austere and concise, firm and original, Swift is a typeface suited to almost any purpose.
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Bernhard Modern Lucian Bernhard
Bernhard Modern was designed in 1937 by Lucian Bernhard for ATF. It is his personal version of the small x-height engravers’ old styles popular at the time. A perennial best seller, Bernhard Modern remains popular in a wide variety of design and typesetting uses more that 60 years after its initial release. Bitstream’s version offers a wide array of typographer sets, including alternates, extensions, small caps and italic swashes.
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Caecilia Peter Matthias Noordzij
This Linotype typeface was designed in 1990 by Peter Matthias Noordzij , and named for his wife, Caecilia. Because its shapes are humanist rather than geometric, Caecilia is easier on the reader’s eye and so more useful as a text typeface than most slab serif designs.
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Mrs Eaves Zuzana Licko
Mrs Eaves has a near vertical stress, departing from the old style model. Identifying characters, similar to Baskerville’s types, are the lowercase g with its open lower counter and swashlike ear. Both the roman and italic uppercase Q have a flowing swashlike tail. The uppercase C has serifs at top and bottom; there is no serif at the apex of the central junction in uppercase W; and the uppercase G has a sharp spur suggesting a vestigial serif.
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Palatino Hermann Zapf
Named after 16th century Italian master of calligraphy Giambattista Palatino,[citation needed] Palatino is based on the humanist fonts of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this gives a calligraphic grace. But where the Renaissance faces tend to use smaller letters with longer vertical lines (ascenders and descenders) with lighter strokes, Palatino has larger proportions, and is considered to be a much easier to read typeface.
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SCRIPT
a broad category of type that mimics historical or modern handwriting styles that look as if written with different styles of writing instruments from calligraphy pens to ballpoint pens. Typical characteristics of script type are: connected or nearly connected flowing letterforms and slanted, rounded characters. Formal script typefaces are generally neat, flowing, and formal in appearance. Informal script may be messy, playful, and look more like the varied cursive and print handwriting styles of today.
ZAPFINO Hermann Zapf
Zapfino is a calligraphic typeface designed for Linotype by 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. In 1983, Zapf had completed the typeface AMS Euler with Donald Knuth and David Siegel of Stanford University for the American Mathematical Society, a typeface for mathematical composition including fraktur and Greek letters.
Habano Angel Koziupa
Habano is an eleganty flowing bold script with some very surprising traits. Taking its roots in both the art deco style and the kind of lettering used for pop culture, its minuscules are classy yet obedient, and its majuscules and figures are playfully round and memorable. This contrast in character between cases makes for an appealing display face that can turn simple words into images that are hard to forget. Once again, the unique lettering talent of Angel Koziupa makes itself evident through an alphabet that leaves the memory of its soft touch for long after it is initially perceived.
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Bello Bas Jacobs
Careful spacing and kerning ensures that Bello appears like fluently written handwriting. However, that’s not enough for a hand-lettered feel. Therefore Bello comes with a set of 64 ligatures. Some of them are typographic, some made simply to create a more intimate, natural impression. For the same reasons we have added a few ornaments and a set of snap-on beginning and ending swashes which attach to the lowercase letters of Bello.
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Dalliance Script Frank Heine Dalliance Script is based on the elegant handwriting found on a map of a horrific battle between the Habsburg Coalition and France which took place at Ostrach, in southwest Germany, in 1799.
Metroscript Michael Doret There was no one single inspiration for Metroscript: rather it is an amalgam of many different scripts that were popular hand-lettered styles between the 1920s and the 1950s. Metroscript is suggestive of vintage sports ephemera, especially when tails are added to words, but is also appropriate in virtually any context. Its many ligatures, swashes, alternates, foreign accented characters and tails, all of which connect seamlessly, set it apart from most other script fonts.
Buffet Script Alf Becker
Buffet Script is based on fantastic calligraphy by Alf Becker. The basis for Buffet Script was not attempted in digital form until now. The page presenting the original Becker alphabtet shows a jumble of letters running into each other, swashes intertwined. There’s a massive amount of work involved in digitizing such lettering and scanning is not an option. If anyone was going to attempt this particular alphabet, it would have to be redrawn stroke by stroke, and curve by curve.
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TheNautiGal Rob Leuschke
A contemporary script style, TheNautiGal is sexy yet formal with beautiful connectors. this font is elegant and yet flirty, filling your work with beautifull curves and a delicate style, this font is recomended for invitations or any type of â&#x20AC;&#x153;girlyâ&#x20AC;? works, even its name states it.
Biographer Angel Koziupa Biographer is a mild upright script drawn by Angel Koziupa.Elegant but quite reminiscent of roman forms and proportions, Biographer keeps the calligraphy mostly toned down, but its ascenders and descenders occasionally flare out in final swashy confidence. As usual with Sudtipos fonts, alternates are plenty and the personal touch is never amiss. Biographer could be great for womenâ&#x20AC;&#x2122;s lit and poetry book covers, but also for products packaging where conveying comfort and peace of mind is of importance.
Adios Script Ale Paul Romantic, decorative Adios Script is one of Alejandro Paul’s most elaborate and technically refined faces to date. Inspired by designs in “how-to” commercial lettering guides of the 1940s, it has been refined and brought into the 21st century through a huge variety of ornate swash letterforms. The lowercase “h” alone offers 43 variants. Hundreds of ornamental ascenders and descenders allow a beautiful interplay of strokes and combinations, while avoiding overlaps or conflicts.
Bickham Script Pro Richard Lipton
Richard Liptonâ&#x20AC;&#x2122;s Bickham Script is a flowing, formal script typeface based on the lettering of 18th century writing masters, as rendered in the unparalleled engravings of George Bickham. This ornate script lends a signature flourish to invitations, menus, annual reports, restaurant logos, and packaging. With dozens of alternate letterforms in addition to its range of weights, Bickham Scriptâ&#x20AC;&#x2122;s personality can range from poised to extravagant.
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