24 Logotypes & Typefaces by Ishaan Bose Verma

Logotypes & Typefaces

Contents

Clarendon Univers Light Condensed Sabon Palatino Helvetica Didot Franklin Gothic Caslon Akzidenz Grotesk Bembo Bodoni DIN Minion Pro Myriad Pro Garamond Centaur DIN Bold Gill Sans Times New Roman Baskerville Frutiger Futura Univers Gotham

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Clarendon c la s s if ic a t io n

Günter Gerhard Lange d e s ig ne r

9/10.5

Clarendon

The typeface Clarendon is classified as a slab-serif typeface that was designed by Robert Besley in 1845. It was created for the foundry Thorowgood and Besley which is also known as the Fann Street Foundry. Besley was an English typographer who was also the Lord Mayor of London in 1869. After designing the typeface he patented it and was then known as the first registered typeface. There is little information about the origin of the name Clarendon, however there is speculation that it was named after the Clarendon Press at Oxford University where it was first put in use. It was ‘to serve as a display letter in a mass of text-type, and for side headings in dictionaries and books of reference.’ In 1850, Besley himself advertised the typeface and described its strengths. He states that,“the most useful founts that a printer can have in his office are Clarendons: they make a striking word or line either in

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Clarendon

Univers Light Condensed c l as s i fi c a ti on

GĂźnter Gerhard Lange d e s i gn e r

9/10.5

Univers Light Condensed

The sans-serif typeface Univers 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. At the type foundry Deberny Et Peignot, he designed the typefaces Ondine, MĂŠridien and PrĂŠsident. Univers was designed off the model of the typeface Akzidenz-Grotesk in 1954 and comes in a large range of weights and styles. Frutiger wanted to create a new typeface that would be suitable for the typesetting of longer texts that became a challenging task for a sans-serif of the time. The Universe type family was released by Deberny & Peignot and then later produced by Linotype. In 1997, Frutiger and the designers of Linotype jointly redesigned and updated the Universe family and created Universe Next giving the typeface sixty-three variants. Frutiger wanted to design a typeface that acted as a series of designs that complemented each other and was versatile to be compatible with many other type styles. He built the typeface within a strict modular framework and devised the

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Univers Light Condensed

Sabon c la s s ifica tio n

Günter Gerhard Lange d e s ig n er

8/10

Sabon

Jan Tschichold was born in Germany in 1902 to a script writer and his wife. His father’s profession gave him an early start to his career. He learned all that he could from his father but never thought he would become a type designer. He wanted to be a fine artist but his parents disapproved because they found it unstable. He compromised and became an art teacher. At the age of sixteen he realized his passion for type and attended the Academy for Graphic Arts and in three years time he was teaching there too. Before him, most typefaces were bold and bulky in weigh. Regular typefaces were rarely used. Type was applied without much thought. Jan Tschichold became fascinated with the problems of typography and thus began his lifelong journey to create better type. He became one of the most influential typographers and designers of all time and spread his influence across the western hemisphere. He was truly a scholar in his field. Tschichold designed the typeface Sabon in 1964. He was influenced by Garamond, a typeface from the sixteenth century. He looked to connect it to Garamond’s lineage. Sabon is named after Jakob Sabon who was a student of Claude Garamond. He

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Sabon

Jan Tschichold was born in Germany in 1902 to a script writer and his wife. His fatherâ&#x20AC;&#x2122;s profession gave him an early start to his career. He learned all that he could from his father but never thought he would become a type designer. He wanted to be a fine artist but his parents disapproved because they found it unstable. He compromised and became an art teacher. At the age of sixteen he realized his passion for type and attended the Academy for Graphic Arts and in three years time he was teaching there too. Before him, most typefaces were bold and bulky in weigh. Regular typefaces were rarely used. Type was applied without much thought. Jan Tschichold became fascinated with the problems of typography and thus began his lifelong journey to create better type. He became one of the most influential typographers and designers of all time and spread his influence across the western hemisphere. He was truly a scholar in his field. Tschichold designed the typeface Sabon in 1964. He was influenced by Garamond, a typeface from the sixteenth century. He looked to connect it to Garamondâ&#x20AC;&#x2122;s lineage. Sabon is named after Jakob Sabon who was a student of Claude Garamond. He went on to own his own type foundry. The foundry released a Garamond specimen sheet in 1592 which Tschichold used as inspiration for Sabon. The name Sabon was chosen for the twentieth century renewal and joint project in production. The name avoided the confusion with other fonts related to Garamond.

Palatino c l a s s i fi ca t i o n

GĂźnter Gerhard Lange designer

7.5/9

Palatino

Palatino typeface was designed by Hermann Zapf, a well known type designer who is called a pioneer of computerized typography. He created many typesets such as Optima, Zapfino, Meliar, and Aldus. All of his typography works are very experimenting and bizarre. Also he engaged in making a certain system for designing typesets named Hz program. Among many typefaces he designed, Palatino is quiet intriguing in terms of understanding the historical background he adopted for designing it. Named after 16th century Italian master of calligraphy Giambattista Palatino, Palatino is based on the humanist fonts of the Italian Renaissance which gives a calligraphic grace. Rather than using smaller letters with vertical lines as the most of the Renaissance typefaces were, Zapf designed Palatino with larger proportions, which increase the legibility of the type. It remains one of the most widely-used (and copied) text typefaces, has been adapted to virtually every type of technology, and is one of the ten most used serif typefaces. In 1999, Zapf revised Palatino for Linotype and Microsoft, called Palatino Linotype. This is a version of the Palatino family that incorporates extended Latin, Greek, Cyrillic characters, as well as currency signs, subscripts and superscripts, and fractions. The

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Palatino

Helvetica c l a s s i fi c a ti o n

Günter Gerhard Lange designer

8.5/11

Helvetica

Helvetica is one of the most popular typeface in the world. This sans serif typeface was marketed as a symbol of cutting-edge Swiss technology. Helvetica Light is one of the variations in Helvetica family, designed by Stempel’s artistic director Erich SchultzAnker, in conjunction with Arthur Ritzel. The original Helvetica was designed in Switzerland in 1957 by Max Miedinger and Eduard Hoffmann at the Haas type foundry (Haas’sche Schriftgiesserei). Haas was controlled by the type foundry Stempel, which was in turn controlled by Linotype. Helvetica was originally called Die Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was created specifically to be neutral, to not give any impression or have any meaning in itself. This neutrality was paramount, and based on the idea that type itself should give no meaning. The marketing director at Stempel decided to change the name to Helvetica in 1960 to make the font more

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Helvetica is one of the most popular typeface in the world. This sans serif typeface was marketed as a symbol of cuttingedge Swiss technology. Helvetica Light is one of the variations in Helvetica family, designed by Stempel’s artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel. The original Helvetica was designed in Switzerland in 1957 by Max Miedinger and Eduard Hoffmann at the Haas type foundry (Haas’sche Schriftgiesserei). Haas was controlled by the type foundry Stempel, which was in turn controlled by Linotype. Helvetica was originally called Die Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was created specifically to be neutral, to not give any impression or have any meaning in itself. This neutrality was paramount, and based on

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Helvetica

Helvetica is one of the most popular typeface in the world. This sans serif typeface was marketed as a symbol of cutting-edge Swiss technology. Helvetica Light is one of the variations in Helvetica family, designed by Stempelâ&#x20AC;&#x2122;s artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel. The original Helvetica was designed in Switzerland in 1957 by Max Miedinger and Eduard Hoffmann at the Haas type foundry (Haasâ&#x20AC;&#x2122;sche Schriftgiesserei). Haas was controlled by the type foundry Stempel, which was in turn controlled by Linotype. Helvetica was originally called Die Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was created specifically to be neutral, to not give any impression or have any meaning in itself. This neutrality was paramount, and based on the idea that type itself should give no meaning. The marketing director at Stempel decided to change the name to Helvetica in 1960 to make the font more marketable internation-

Didot

cl a s s i f i c ati o n

Günter Gerhard Lange designer

8.5/10.5

Didot

Born in Paris on April 14, 1764, Firmin Didot was an accomplished, printer, engraver, punch cutter, publisher, author, inventor, and type founder. Firmin came from a long line of inventors, intellectuals, printers, and publishers active for one hundred years through the mid nineteenth century, in France and around the globe. His family owned the iconic print shop and type foundry in France, the House of Didot. Firmin became the third generation Didot to own and operate the print shop, after he took over for his aging father. Firmin designed the first modern serif typeface, Didot, in 1784. Didot is characterized by extreme contrast between thicks and hairline thins. This extreme exaggeration was made possible by advancements in printing technologies. There is vertical stress and unbracketed horizontal serifs. The ascenders are the same height as the capitals. The ‘v’ and ‘w’ are defined by 18th century curves, and the italics is differentiated from English Modern face italics

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Didot

Franklin Gothic c l a s s i f i c a t i on

Günter Gerhard Lange d es i gner

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Franklin Gothic

Morris Fuller Benton was born in Milwaukee, WI in 1872. Benton graduated from Cornell University in 1896 with a degree in mechanical engineering, and immediately began working at the American Type Founders Company (ATF) under his father, Linn Boyd Benton. Benton’s father invented the pantographic punchcutter engraving machine, which enabled the scaling, condensing, and expanding of singular font designs. In 1896 Benton took over his father’s position, and by 1900 he was named ATF’s chief type designer, where he would remain until 1937. In 1902 Benton designed Franklin Gothic for ATF. Franklin Gothic is a bold sans serif typeface named after the great American printer, Benjamin Franklin. Upon the release of Franklin Gothic, designers and typesetters were instantly attracted to the weight, shape, and dynamacy of the font. The Franklin Gothic family includes a large variety of weights, that all present a powerful yet warm essence. This effect was made possible by Benton’s inclusion of Roman accents such as the double-storey lowercase g and a letters. In 1903 Benton designed Alternate Gothic No.1, No.2, and No.3, which are three bold condensed versions of Franklin Gothic. Benton designed a light condensed version of Franklin Gothic called Monotone Gothic in 1907, followed by medium and light weighted companions called News Gothic and Lightline Gothic in 1908. Morris Fuller Benton died in 1948 in Morristown, NJ, but the

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Franklin Gothic

Morris Fuller Benton was born in Milwaukee, WI in 1872. Benton graduated from Cornell University in 1896 with a degree in mechanical engineering, and immediately began working at the American Type Founders Company (ATF) under his father, Linn Boyd Benton. Benton’s father invented the pantographic punchcutter engraving machine, which enabled the scaling, condensing, and expanding of singular font designs. In 1896 Benton took over his father’s position, and by 1900 he was named ATF’s chief type designer, where he would remain until 1937. In 1902 Benton designed Franklin Gothic for ATF. Franklin Gothic is a bold sans serif typeface named after the great American printer, Benjamin Franklin. Upon the release of Franklin Gothic, designers and typesetters were instantly attracted to the weight, shape, and dynamacy of the font. The Franklin Gothic family includes a large variety of weights, that all present a powerful yet warm essence. This effect was made possible by Benton’s inclusion of Roman accents such as the doublestorey lowercase g and a letters. In 1903 Benton designed Alternate Gothic No.1, No.2, and No.3, which are three bold condensed versions of Franklin Gothic. Benton designed a light condensed version of Franklin Gothic called Monotone Gothic in 1907, followed by medium and light weighted companions called News Gothic and Lightline Gothic in 1908. Morris Fuller Benton died in 1948 in Morristown, NJ, but the fonts he designed at ATF still continue to be appreciated today. Franklin Gothic is widely used in press headlines, newspapers, advertisements, and was adopted as the official typeface of the Museum

Caslon c l a ssi fi c a ti on

Günter Gerhard Lange d e s i gne r

8/10

Caslon

William Caslon I was born in Cradley, Worcestershire in 1692. In 1716, at the age of twenty-four, Caslon worked as an apprentice engraver to a Birmingham gunsmith. In 1716 Caslon started his own gunlock and barrel engraving business, and immediately many prominent London printers noticed the accuracy and skill of his craft. Caslon was encouraged to expand the business into a type foundry, and from there he assumed the technique of punchcutting. Caslon produced old-style serif letter designs that resembled the organic structure of pen handwriting. Caslon’s fonts were considered superior to the previously used Dutch designs, which resulted in diminished English reliance on Dutch typefaces. William Caslon designed the serif font, Caslon in 1722 and throughout the early eighteenth century it was extensively used in the British Empire. The ascenders and descenders of Caslon are short, and the stroke contrast is quite subtle. The original Caslon font designs actually do not include a bold weight, as it was unusual to use bold weights in typefaces of the eighteenth century. In 1739 William Caslon I founded the Caslon Foundryell’s Foundry, which became the leading English typefoundry of the eighteenth and nineteenth centuries. In

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S William Caslon I was born in Cradley, Worcestershire in 1692. In 1716, at the age of twenty-four, Caslon worked as an apprentice engraver to a Birmingham gunsmith. In 1716 Caslon started his own gunlock and barrel engraving business, and immediately many prominent London printers noticed the accuracy and skill of his craft. Caslon was encouraged to expand the business into a type foundry, and from there he assumed the technique of punchcutting. Caslon

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Caslon

Akzidenz Grotesk c la s s if ic a t ion

Günter Gerhard Lange d e s ig n e r

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Akzidenz Grotesk

Akzidenz was originally released by the Berthold Type Foundry in Berlin in 1898. It was originally named “Accidenz Grotesk” but the name was developed along with the development of the font over time. The font was designed after careful inspection of the font Royal Grotesk light created by Ferdinand Theinhardt. Akzidenz is a very modern looking font despite the fact that it holds more history and age than the typefaces it is compared to. Akzidenz is usually compared to Univers or Helvetica which are both 20th century designs of typefaces. Akzidenz light is a variation of Akzidenz which was designed quite similarly in time as Univers of Helvetica. Akzidenz light came into play later after the 1950s when Gunter Gerhard Lange, expanded the typeface as the art director of Berthold. Gunter Gerhard Lange was a German designer; born, raised, and worked in Germany for most of his life. He was born in 1921 in Frankfurt. At eighteen he was drafted into the military because of Germany’s involvement in World War II. He was wounded during the war and was returned quickly allowing him to expand his studies in art instead. He attended the academy of visual arts in Leipzig, one of the oldest art schools in Germany. G.G. Lange studied a variety of artistic fields, taking classes in drawing, painting, etching, lithography, calligraphy, type setting, type design, and printing. With an expansive background in the arts, Lange started off his career as both a painter and a commercial artist. He worked with many of his professors from school studying the

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Akzidenz Grotesk

Bembo classification

Günter Gerhard Lange designer

8.5/10.2

Bembo

Bembo is a serif typeface originally created in the late 15th century by Francesco Griffo, who worked for a printer named Aldus Manutius around 1495. The first book to be printed in it was a small book of poetry by Pietro Bembo, hence the name of the typeface. In 1928 Monotype Corporation designed the official Bembo following an interesting phase in type design where designers were fascinated by the fundamentals of designer type in the renaissance. Bembo was revisited mainly because of technological developments in the printing world. In the late 1920’s a new development allowed for typefaces to be casted in metal instead of having to hand carve the typeface one by one. Because of this they had to standardize the “Bembo” typeface. Bembo is classified as an Old style type face. Many of its characteristics evoke the renaissance time period including: the axis of the characters, the subtle but apparent relationship between thick and thin. The type face seems to evoke certain characteristics of handwriting. “the capital Q's tail starts from the glyph's centre, the uppercase J has a slight hook, and there are two versions of uppercase R, one with a longer tail following Griffo and one with a

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Bodoni c la s s ifica tio n

GĂźnter Gerhard Lange d e s ig n er

9/12.5

Bodoni

Characterized by thick strokes that end in hairline serifs, Bodoni is named after Giambattista Bodoni, Italian type designer, who designed the typeface in the late 18th Century. It is a serif typeface that can be classified with other Modern typefaces such as Didot. The release of Bodoni is seen as the end of calligraphic typefaces and the conductor of a new era modern typography. Considered one of the first Modern typefaces, Bodoni is an easily recognizable typeface by its vertical stress and slight serif bracketing. Giambattista Bodoni drew influence from the flat, unbracketed serifs of Romains du Roi and the high contrast weights of Baskerville. In addition, developments in printing technology and metal type also allowed a more exaggerated distinction between thick and thin. Bodoni is identifiable by its slightly condensed letter width, hairline serifs, heavily contrasting stroke

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Bodoni

DIN

c l ass i f i ca t i on

Günter Gerhard Lange d es i g n er

8/9 .5

DIN

DIN is the national typeface for Germany because of its really long history. In 1905 the Germany railway bureau designed a typeface for their new train By doing this, they hoped they could unify the appearance of all the trains. In 1936, the typeface was upgraded and named as “DIN 1451." “DIN” is the abbreviation of Deutsches Institut für Normung. “DIN 1451” is now used in many aspects such as license plates and traffic signs. In 1939, “DIN 1451” appeared in documents from the German Army and when Germany attacked Poland in September, Poland was forced to use "Din 1451" as well. Although “DIN 1451” has been used in planes, tanks and even for air-raid shel-ter, Germany avoided using “DIN 1451” in polit-ical aspects. Several decades later, “DIN 1451” became the national typeface of Germany and is used as a representative of German Design. There are two editions of DIN 1451 today, which are - DIN is the national typeface for Germany because of its really long history. In 1905 the Germany railway bureau designed a typeface for their new train By doing this, they hoped they could unify the appearance of all the trains. In 1936, the type-face was upgraded and

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DIN

DIN is the national typeface for Germany because of its really long history. In 1905 the Germany railway bureau designed a typeface for their new train By doing this, they hoped they could unify the appearance of all the trains. In 1936, the type-face was upgraded and named as “DIN 1451." “DIN” is the abbreviation of Deutsches Institut für Normung. “DIN 1451” is now used in many aspects such as license plates and traffic signs. In 1939, “DIN 1451” appeared in documents from the German Army and when Germany attacked Poland in September, Poland was forced to use "Din 1451" as well. Although “DIN 1451” has been used in planes, tanks and even for air-raid shel-ter, Germany avoided using “DIN 1451” in political aspects. Several decades later, “DIN 1451” became the national typeface of Germany and is used as a representative of German Design. There are two editions of DIN 1451 today, which are - DIN is the national typeface for Germany because of its really long history. In 1905 the Germany railway bureau designed a typeface for their new train By doing this, they hoped they could unify the appearance of all the trains. In 1936, the typeface was upgraded and named as “DIN 1451." “DIN” is the abbreviation of Deutsches Institut für Normung. “DIN 1451”

Minion Pro cl ass i f i c at i on

GĂźnter Gerhard Lange de s i g ne r

8.5/10

Minion Pro

Robert Slimbach is a multiple award-winning designer 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. Later in his life, Robert developed an interest in Graphic Design and typefaces and began working with Autologic Incorporated in Newbury Park, California after 2 years of training between 1983 and 1985. While working at Autologic Incorporated he became very interested in calligraphy and the shape of letters. After working here for a while, Slimbach began working on calligraphy and developed two typefaces (ITC Slimbach and ITC Giovanni) for the International Typeface Corporation. Throughout his lifetime, Slimbach produced many different fonts and typefaces. Most of his work however did come from working with Adobe Systems when he landed a job there in 1987. In his earlier years at working with Adobe, Slimbach produced fonts such as Utopia Robert Slimbach is a multiple award-winning designer for his digital typeface designs. Slimbach was born in Evanston, Illinois in 1956 but moved early into his life, spending

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Minion Pro

Myriad Pro cl a s s i f i cati o n

GĂźnter Gerhard Lange d e s i gn e r

8.5/10

Myriad Pro

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 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 is similar to Frutiger, although the italic is different; Adrian Frutiger described it as "not badly done" but felt that it had gone "a little too far". The later Segoe UI and Corbel are also similar. Myriad Pro is the OpenType version of the original Myriad font family. It first shipped in 2000, as Adobe moved towards the OpenType standard. Additional designers were Christopher Slye and Fred Brady. Compared to Myriad MM, it added support for Latin Extended, Greek, and Cyrillic characters, as well as oldstyle figures.Myriad Pro originally included thirty fonts in three widths and five weights each, with complementary italics. A "semi-condensed" width was added in early 2002,[citation needed] expanding the family to forty fonts in four widths and five weights each, with complementary

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Myriad Pro

Garamond c la ssi fi c a t i o n

GĂźnter Gerhard Lange d e si gn e r

8/10

Garamond

The Garamond design that is currently in use was originally designed in the mid sixteenth century by Claude Garamondâ&#x20AC;&#x2122;s associate Jannon. This member of the Roman type family has survived the centuries because of its remarkable readability. As one of the oldest typefaces, Garamond conveys a sense of solid tradition, yet still soft and attractive thanks to its elegantly rounded serifs and its diagonally emphasised strokes. Garamond typefaces are popular and often used, particularly for printing body text and books. Claude Garamond (ca. 1480â&#x20AC;&#x201C;1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of ligatures and alternate glyphs to achieve this. As these are quite impractical for modern printing, several 'Garamond'

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The Garamond design that is currently in use was originally designed in the mid sixteenth century by Claude Garamond’s associate Jannon. This member of the Roman type family has survived the centuries because of its remarkable readability. As one of the oldest typefaces, Garamond conveys a sense of solid tradition, yet still soft and attractive thanks to its elegantly rounded serifs and its diagonally emphasised strokes. Garamond typefaces are popular and often used, particularly for printing body text and books. Claude Garamond (ca. 1480–1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin

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Garamond

The Garamond design that is currently in use was originally designed in the mid sixteenth century by Claude Garamondâ&#x20AC;&#x2122;s associate Jannon. This member of the Roman type family has survived the centuries because of its remarkable readability. As one of the oldest typefaces, Garamond conveys a sense of solid tradition, yet still soft and attractive thanks to its elegantly rounded serifs and its diagonally emphasised strokes. Garamond typefaces are popular and often used, particularly for printing body text and books. Claude Garamond (ca. 1480â&#x20AC;&#x201C;1561) cut types for the Parisian scholarprinter Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. The term Garamond is today mostly applied to Garamond's designs for the Latin alphabet. Garamond designed type for the Greek alphabet, but these, the glamorous and fluid Grecs du roi, are very different to his Latin designs: they mimic the elegant handwriting of scribes and contain a vast variety of

Centaur cl a ssi fi c a t i o n

GĂźnter Gerhard Lange d e si gn e r

9.5/11.5

Centaur

Centaur is a serif typeface by book and typeface designer Bruce Rogers, based on the Renaissance-period printing of Nicolas Jenson around 1470. It was given widespread release by Monotype, paired with an italic design by Frederic Warde. Centaur is an elegant and quite slender design, an effect possibly amplified in the digital release. It was designed for fine book printing and is often used both for printing body text and also titles and headings. One of its most notable uses has been in the designs of Penguin Books, who have regularly used it for titling. Rogersâ&#x20AC;&#x2122; primary influence was Nicholas Jensonâ&#x20AC;&#x2122;s 1470 Eusebius, considered the model for the modern upright printing of the Roman alphabet, which Rogers studied through enlarged photographs. Centaur also shows the influence of types cut by Francesco Griffo in 1495 for a small book titled De Aetna written by Pietro Bembo. The typeface is classified as belonging to the humanist style of old-style designs, based on the

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abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

10.5/12

Centaur

Centaur is a serif typeface by book and typeface designer Bruce Rogers, based on the Renaissance-period printing of Nicolas Jenson around 1470. It was given widespread release by Monotype, paired with an italic design by Frederic Warde. Centaur is an elegant and quite slender design, an effect possibly amplified in the digital release. It was designed for fine book printing and is often used both for printing body text and also titles and headings. One of its most notable uses has been in the designs of Penguin Books, who have regularly used it for titling. Rogers’ primary influence was Nicholas Jenson’s 1470 Eusebius, considered the model for the modern upright printing of the Roman alphabet, which Rogers studied through enlarged photographs. Centaur also shows the influence of types cut by Francesco Griffo in 1495 for a small book titled De Aetna written by Pietro Bembo. The typeface is classified as belonging to the humanist style of old-style designs, based on the predominant influence of Jenson’s work. The style is also called Venetian for the city Jenson worked in

DIN BOLD c l ass i f i ca t i on

Günter Gerhard Lange d es i g n er

8/9 .5

DIN BOLD

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G S

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abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

9/10.5

DIN BOLD

DIN is the national typeface for Germany because of its really long history. In 1905 the Germany railway bureau designed a typeface for their new train By doing this, they hoped they could unify the appearance of all the trains. In 1936, the type-face was upgraded and named as “DIN 1451." “DIN” is the abbreviation of Deutsches Institut für Normung. “DIN 1451” is now used in many aspects such as license plates and traffic signs. In 1939, “DIN 1451” appeared in documents from the German Army and when Germany attacked Poland in September, Poland was forced to use "Din 1451" as well. Although “DIN 1451” has been used in planes, tanks and even for air-raid shel-ter, Germany avoided using “DIN 1451” in political aspects. Several decades later, “DIN 1451” became the national typeface of Germany and is used as a representative of German Design. There are two editions of DIN 1451 today, which are - DIN is the national typeface for Germany because of its really long history. In 1905 the Germany railway bureau designed a typeface for their new train By doing this, they hoped they could unify the appearance of all the trains. In 1936, the typeface was upgraded and named as “DIN 1451." “DIN” is the abbreviation of Deutsches Institut für Normung. “DIN 1451”

Gill Sans c l a s s i f i c a ti o n

Günter Gerhard Lange designer

8/9.2

Gill Sans

Sculptor, graphic artist, type designer, Eric Gill was born in 1882 in Brighton, England. He studied at the Chichester Technical and Art School. In 1990, he moved to London and studied to be an architect. Also joined evening classes to improve on his skills in stone masonry at Westminster Technical Institute and in calligraphy at the Central School of Arts and Crafts, where Edward Johnston became a strong influence. In 1903, he gave up on his architectural training and became a calligrapher, letter-cutter and monumental mason. In 1925, He designed the font Perpetua for Morison, who was working for the Monotype Corporation. It was inspired by the Roman inscriptions. As well as in the period of 1930-31, the typeface Joanna was born where he used for his book An Essay on Typography. This later followed the typeface Gill Sans.Gill Sans was successfully issused by Monotype in 1928 to 1930. The origin of this typeface came from Gill’s teacher Edward Johnston, who designed the famous typeface Johnston Sans for the London Underground Railway in 1913. Eric Gill studied under Johnston at London’s Central School of Arts and Crafts. Thus leading his to assisting in creation of typefaces. Later, Gill went out to create the perfect, legible typeface. He first experimented with his improvements and sketches in 1926 when he hand painted lettering for a bookshop

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abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

8.5/10

Gill Sans

Sculptor, graphic artist, type designer, Eric Gill was born in 1882 in Brighton, England. He studied at the Chichester Technical and Art School. In 1990, he moved to London and studied to be an architect. Also joined evening classes to improve on his skills in stone masonry at Westminster Technical Institute and in calligraphy at the Central School of Arts and Crafts, where Edward Johnston became a strong influence. In 1903, he gave up on his architectural training and became a calligrapher, letter-cutter and monumental mason. In 1925, He designed the font Perpetua for Morison, who was working for the Monotype Corporation. It was inspired by the Roman inscriptions. As well as in the period of 1930-31, the typeface Joanna was born where he used for his book An Essay on Typography. This later followed the typeface Gill Sans. Gill Sans was successfully issused by Monotype in 1928 to 1930. The origin of this typeface came from Gill’s teacher Edward Johnston, who designed the famous typeface Johnston Sans for the London Underground Railway in 1913. Eric Gill studied under Johnston at London’s Central School of Arts and Crafts. Thus leading his to assisting in creation of typefaces. Later, Gill went out to create the perfect, legible typeface. He first experimented with his improvements and sketches in 1926 when he hand painted lettering for a bookshop sign in his hometown, Bristol. When first designed the alphabet, it was in uppercase letters, Stanley Morison – a monotype advisor- took notice and was interested in its commercial potential. Morison later

Times New Roman c la s s ific a tio n

GĂźnter Gerhard Lange d es ig n e r

6.5/8

Times New Roman

Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931 and created by Victor Lardent in collaboration with the British branch of the printing equipment company Monotype.Although no longer used by The Times, Times New Roman is still very common in book and general printing. Through distribution with Microsoft products and as a standard computer font, it has become one of the most widely used typefaces in history.Times New Roman's creation took place through the influence of Stanley Morison of Monotype. Morison was an artistic director at Monotype, historian of printing and informal adviser to the Times, who recommended that they change typeface from the spindly and somewhat dated nineteenth-century Didone typeface previously used to a more robust, solid design, returning to traditions of printing from the eighteenth century and beforeThis matched a common trend in printing of the period.Morison proposed an older Monotype typeface named Plantin as a basis for the design, but revisions were made to increase legibility and economy of space. The new font was drawn by Victor Lardent, an artist from the advertising department of The Times, with Morison consulting, before refinement by the experienced Monotype drawing office team.The new design made its debut in the 3 October 1932 issue of The TimesAfter 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 have caused the newspaper to switch typeface five times since 1972. However, all the new fonts have been variants of the original New Roman typeface. Times New Roman has a robust colour on the page and influences of Dutch and Belgian early modern and Baroque printingThis style is sometimes categorised as part of the 'old-style' of serif fonts, or as a subgenre of

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abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

7/8.5

Times New Roman

Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931 and created by Victor Lardent in collaboration with the British branch of the printing equipment company Monotype.Although no longer used by The Times, Times New Roman is still very common in book and general printing. Through distribution with Microsoft products and as a standard computer font, it has become one of the most widely used typefaces in history.Times New Roman's creation took place through the influence of Stanley Morison of Monotype. Morison was an artistic director at Monotype, historian of printing and informal adviser to the Times, who recommended that they change typeface from the spindly and somewhat dated nineteenth-century Didone typeface previously used to a more robust, solid design, returning to traditions of printing from the eighteenth century and beforeThis matched a common trend in printing of the period.Morison proposed an older Monotype typeface named Plantin as a basis for the design, but revisions were made to increase legibility and economy of space. The new font was drawn by Victor Lardent, an artist from the advertising department of The Times, with Morison consulting, before refinement by the experienced Monotype drawing office team. The new design made its debut in the 3 October 1932 issue of The TimesAfter 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 have caused the newspaper to switch typeface five times since 1972. However, all the new fonts have been variants of the original New Roman typeface. Times New Roman has a robust colour on the page and influences of Dutch and Belgian early modern and Baroque printingThis style is sometimes categorised as part of the 'old-style' of serif fonts, or as a subgenre of this the 'Dutch taste' style. Morison admired this style for its solid structure and clarity. The design is slightly condensed, with short ascenders and descenders and a high x-height to save space and increase clarity.The ultimate origin of Plantin and Times New Roman was a metal type created in the late sixteenth century by French artisan Robert Granjon and pre-

Baskerville c l a ssi f i c ati o n

GĂźnter Gerhard Lange d esi g n er

8/10.5

Baskerville

Baskerville was born in the village of Wolverley, near Kidderminster in Worcestershire and was a printer in Birmingham, England. He was a member of the Royal Society of Arts, and an associate of some of the members of the Lunar Society. He directed his punchcutter, John Handy, in the design of many typefaces of broadly similar appearance. In 1757, Baskerville published a remarkable quarto edition of Virgil on wove paper, using his own type. It took three years to complete, but it made such an impact that he was appointed printer to the University of Cambridge the following year. Baskerville also was responsible for significant 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. Compared to earlier designs, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a

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Baskerville

Frutiger clas s if icatio n

GĂźnter Gerhard Lange d e s ig n e r

8.5/10

Frutiger

Originally designed by Adrian Frutiger in 1968, Frutiger is a series of typefaces that were created with the goal of being used for large and clear signs as part of the directional system for the then new Charles de Gaulle Airport in Paris at the time. The Frutiger series is part of the Stempel type foundry, which was in conjunction with the publisher, Linotype, and many claim this typeface to currently be number three in the top 100 best typefaces of all time. Quite an incredible feat. Unique characteristics of this typeface is are the square dots of the lowercase letter i, the double-story a, wide and open apertures on a, e, and s, very high x-height, and the numbers are monospaced. All these traits contribute to the purpose of having utmost clarity. Frutiger also created the well-received, Univers font family, however he took to the challenge of creating a whole new sans serif typeface for this project as Airport directional signs require a high level of clarity as in the intended environment, people would view

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Frutiger

Futura Light c l as si f i c at i o n

Günter Gerhard Lange de si g ne r

8.5/10.5

Futura Lt

Paul Renner was born in Germany in 1878. He was a painter, author, teacher, and a graphic designer as well as a type designer. He did not however study type design. He began his studies as an architect and a painter. He then went onto become a production assistant and presentation manager for Georg Müller Verlag and cofounded a private school for illustration. He was the head of the commercial art and typography department. He held many positions. He was the director of the City of Munich’s Hrafische Berufsschulen and then the Meisterschule für Deutschlands Buchdrucker. He became a representative of the German Reich and was put in charge f the design of the German section in Milan Triennale. In 1933 he is fired from his teaching job so he began to paint and write again especially about typography, lettering, graphics and colour studies. He designed the wildly popular Futura in 1928. He also designed Plak, Futura Black, Futura licht, Futura Schlagzeile, Ballade, Renner Antiqua, and Steile Futura. Futura was first released by the Bauer Type Foundry. It was heav-

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K Paul Renner was born in Germany in 1878. He was a painter, author, teacher, and a graphic designer as well as a type designer. He did not however study type design. He began his studies as an architect and a painter. He then went onto become a production assistant and presentation manager for Georg Müller Verlag and cofounded a private school for illustration.

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Futura Lt

Univers c la s s ific a tio n

GĂźnter Gerhard Lange d e s ig n e r

8/9.5

Univers

Univers was designed by Adrian Frutiger, a swiss type designer, in 1957. While in school in Zurich, Adrian Frutiger began to draft the foundation for Univers it would take 3 years before Univers would be released by the Deberny & Peignot foundry in Paris. The design is described as being neo-grotesque, similar to another famous swiss typeface, Helvetica. Originally when Univers was released, Frutiger used numbers rather than names to designate variations of weight, width, and slope. The Univers typeface is consisted of twenty-one typefaces, interestingly Frutiger has given numbers to other typeface families as well including Serifa,Frutiger, and later Linotype also adopted Frutigerâ&#x20AC;&#x2122;s numerical system for its type family as well. Frutiger originally imagined that all twenty-one Univers faces could be designed in such a way so that all of them would work together, because of this, they can be paired in a variety of ways leading to endless combinations. Frutiger, like his swiss compatriots, agreed that legibility was of the utmost concern for a typeface. Univers is no exception, because of the way the typeface was designed it can be used for

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Univers

Gotham cl ass i f i cat i o n

Günter Gerhard Lange d e s i g ne r

8/9.5

Gotham

It was after the two world wars when the typeface, Gotham, came out to lit on new way of approaching typography, outside of typographic tradition. Gotham was born in 2000, when men’s fashion magazine GQ commissioned New York-based Hoefler & Frere-Jones to create a new typeface for use in their publication. In 1999, Frere-Jones joined his friend Jonathan Hoefler to his company, and renamed Hoefler’s company to a Hoefler & Frere-Jones Typography. Hoefler & FrereJones are known for designing many typefaces for campaigns or corporations. The company creates a custom type font faces to satisfy all customers needs. They have clients from all fields like newspapers and magazines: The New York Times, The Guardian, The Sun, The Times, Esquire, GQ (Figure 3), Harper’s Bazaar, Newsweek, Premiere, Wired; Technology companies: Apple, IBM, HP, Kodak, Sony etc. Gotham was one of their successful typefaces they designed which is widely used nowadays. Provided with a brief to create something “masculine, new, and fresh,” type

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U U O

It was after the two world wars when the typeface, Gotham, came out to lit on new way of approaching typography, outside of typographic tradition. Gotham was born in 2000, when men’s fashion magazine GQ commissioned New York-based Hoefler & Frere-Jones to create a new typeface for use in their publication. In 1999, Frere-Jones joined his friend Jonathan Hoefler to his company, and renamed Hoefler’s company to a Hoefler & Frere-Jones Typography. Hoefler & Frere-Jones are known for designing many typefaces for campaigns or corporations. The company creates a custom type font faces to satisfy all customers needs. They have clients from all fields like newspapers and magazines: The New York Times, The Guardian, The Sun, The Times, Esquire, GQ (Figure 3), Harper’s Bazaar, Newsweek, Premiere, Wired; Technology companies: Apple,

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abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ

9/10.5

Gotham

It was after the two world wars when the typeface, Gotham, came out to lit on new way of approaching typography, outside of typographic tradition. Gotham was born in 2000, when men’s fashion magazine GQ commissioned New York-based Hoefler & Frere-Jones to create a new typeface for use in their publication. In 1999, Frere-Jones joined his friend Jonathan Hoefler to his company, and renamed Hoefler’s company to a Hoefler & FrereJones Typography. Hoefler & Frere-Jones are known for designing many typefaces for campaigns or corporations. The company creates a custom type font faces to satisfy all customers needs. They have clients from all fields like newspapers and magazines: The New York Times, The Guardian, The Sun, The Times, Esquire, GQ (Figure 3), Harper’s Bazaar, Newsweek, Premiere, Wired; Technology companies: Apple, IBM, HP, Kodak, Sony etc. Gotham was one of their successful typefaces they designed which is widely used nowadays. Provided with a brief to create something “masculine, new, and fresh,” type designer Tobias Frere-Jones drew influences from post-war building signage and hand-painted

Colophon Type Specimen book by Ishaan Bose Verma Chapters set in – • Akzidenz Grotesk • Gotham • Helvetica • Futura • Myriad Pro • Univers • Frutiger • Franklin Gothic • DIN • Gill Sans • Sabon • Times New Roman • Baskerville • Centaur • Minion Pro • Garamond • Bodoni • Didot • Bembo • Caslon • Clarendon • Palatino