24 Logotypes & Typefaces by istefo

24 Logotypes & Typefaces

Designed & Edited by

Irvi Stefo

All rights reserved. No part of this publication may be reproduced in any manner without permission. All images are ÂŠ the artists, reproduced with the kind permission of the artists and/or their representatives.

24 Logotypes & Typefaces

Designed & Edited by

Irvi Stefo

Contents

Serif

San Serif

Baskerville John Baskerville . 1757

Minion Robert Slimbach . 1989

Bembo Francesco Griffo . 1455

Serifa Hort Heiderhoff & Adrian Frutiger . 1957

Berthold City George Trump . 1930

Sabon Jan Tschichold . 1964

Caslon William Caslon . 1725

Cheltenham Bertram Goodhue . 1896

Clarendon Robert Beasley . 1845

Didot Firman Didot . 1784

Garamond Claude Garamond 1530

Times New Roman Stanley Morison & Victor Lardent . 1932

Akzidenz Grotesk Bold 82 Helvetica H Berthold AG . 1898 Max Meidinger & Edouard Hoffman . 1957 54 DIN Deutsches Institut fĂźr 86 Helvetica Light Normung German Institute Max Meidinger & for Standardisation 1451 Edouard Hoffman . 1957 50

Futura Paul Renner . 1928

Futura Bold Paul Renner . 1928

Frutiger Adrian Frutiger . 1976

Frutiger Light Adrian Frutiger . 1976

Gotham Hoelfer and Frere-Jones 1976 Gill Sans Eric Gill . 1928

Myriad Robert Slimbach & Carol Twombly . 1991

Univers Condensed Light Adrian Frutiger . 1957

Baskerville cl a ssi f i c ati o n

John Baskerville d esi g n er

10.5/12.5

Baskerville Regular

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

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Baskerville’s typeface was part of an ambitious project to create books of the greatest possible quality. Baskerville was a wealthy indus-trialist, who had started his career as a writing master (teacher of calligraphy) and carver of gravestones, before making a fortune as a manufacturer of varnished lacquer goods. At a time when books in England were generally printed to a low standard using typefaces of conservative design, Baskerville sought to offer books created to higher quality methods of printing than any 7.5/9

t Baskerville’s typeface was part of an ambitious project to create books of the greatest possible quality. Baskerville was a wealthy industrialist, who had started his career as a writing-master (teacher of calligraphy) and carver of gravestones, before making a fortune as a manufacturer of varnished lacquer goods. At a time when books in England were generally printed to a low standard using typefaces of conservative design, Baskerville sought to offer books created to higher quality methods of printing than any before, using carefully made level presses, a high quality of ink and very smooth paper pressed after printing to a glazed, gleaming finish. While Baskerville’s types in some aspects recall 9.5/11

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11.5/12.5

Baskerville Regular

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

Bembo cl a s s i f i c a t i o n

Francesco Gr iffo designer

11.5/13

Bembo Regular

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

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13.5/14.5

Bembo Regular

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

Berthold City c l a s s if ic a tio n

George Trump de s ig ner

11.5/13

Berthold City Regular

H. Berthold AG was one of the largest and most successful type foundries in the world for most of the modern typographic era. Established in 1858 by Hermann Berthold and based in Berlin, the company played a key role in the introduction of major new typefaces and was a successful player in the development of typesetting machines. To complement its proprietary typesetting equipment business activities, Berthold developed the Berthold Exklusiv Collection, a collection of typefaces created solely for Berthold by distinguished designers. GĂźnter Gerhard Lange, renowned master craftsman, began his association with Berthold at the same time Berthold entered phototype, in 1952. As artistic director from 1961 to 1990, Lange was responsible for the creation, meticulous production standards and attention to quality found in each of the Berthold Exklusivs. In 1991, Bernd

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a H. Berthold AG was one of the largest and most successful type foundries in the world for most of the modern typographic era. Established in 1858 by Hermann Berthold and based in Berlin, the company played a key role in the introduction of major new typefaces and was a successful player in the development of typesetting machines. To complement its proprietary typesetting equipment business activities, Berthold developed the Berthold Exklusiv Collection, a collection of typefaces created solely for Berthold by distinguished designers. GĂźnter Gerhard Lange, renowned master craftsman, began his association with Berthold at the same time Berthold entered phototype, in 1952. As artistic director from 1961 to 1990, Lange was respons9.5/11.5

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13/14.5

Berthold City Regular

H. Berthold AG was one of the largest and most successful type foundries in the world for most of the modern typographic era. Established in 1858 by Hermann Berthold and based in Berlin, the company played a key role in the introduction of major new typefaces and was a successful player in the development of typesetting machines. To complement its proprietary typesetting equipment business activities, Berthold developed the Berthold Exklusiv Collection, a collection of typefaces created solely for Berthold by distinguished designers. Günter Gerhard Lange, renowned master craftsman, began his association with Berthold at the same time Berthold entered phototype, in 1952. As artistic director from 1961 to 1990, Lange was responsible for the creation, meticulous production standards and attention to quality found in each of the Berthold Exklusivs. In 1991, Bernd Möllenstädt succeeded Lange as the type director for the Bert-

Caslon c la ssi fi c a ti on

William Caslon I d e s i gne r

10.5/12.5

Caslon Regular

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

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? Caslon is a serif font designed in 1722 by William Caslon I. Born in 1692 in England, Caslon was an engraver, type designer, and founder of Caslon Type foundry, carried on by his descendants for 200 years. He brought British foundries into the limelight in a time when Dutch and French foundries were considered superior. Much of his success is due to his artistic sensibility, uncommon as typecasting had been considered a commoner’s trade in England at the time. The Caslon typeface was modelled after Dutch Baroque typefaces during William Caslon’s life. All of its lowercase letters showcase a wedge shaped top serif. One of Caslon’s most defining characteristics is its stroke variation, which in combination with its graceful bracketing makes it a very delicate font. 8.5/11.5

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12/14.5

Caslon Regular

Clarendon cla s s i f i c at i on

Robert Beasley d e s i g n er

8.5/11.5

Clarendon Regular

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

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

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10.5/12.5

Clarendon Regular

Didot

c l as s i f i c ati o n

Firman Didot de s i g n e r

9/11

Didot Regular

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

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L Didot, also known as Didone, is a group of typefaces named after the renowned French type producing Didot family in the 18th and 19th centuries. Francois Didot founded the family business as a printer and bookseller in Paris, and his Eldest son Francois-Ambroise expanded it by altering the standard of type design for easier legibility and accessibility. The third generation of Didot family, Pierre, Henri, and 7.5/10

d Didot, also known as Didone, is a group of typefaces named after the renowned French type producing Didot family in the 18th and 19th centuries. Francois Didot founded the family business as a printer and bookseller in Paris, and his Eldest son Francois-Ambroise expanded it by altering the standard of type design for easier legibility and accessibility. The third generation of Didot family, Pierre, Henri, and Firmin used this as a foundation and created a series of new modern serif typefaces. Didot fonts are considered the first Modern typeface because of their revolutionary design that contrasts the Old Style typefaces from manuscripts. Even though their armature is still somewhat traditional with increasing stroke and condensed 8.5/11

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10.5/12.5

Didot Regular

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

Garamond c l a ss if i c at i o n

Claude Garamond designer

9/11

Garamond Pro Regular

The French type designer and publisher Claude Garamond trained in Paris as a punch cutter in the early 1500s, where he was taught the tradition of old-serif letter design. He eventually became one of the first independent punch cutters in Paris, where he designed type for commissions and out source purposes, paving the path for commercial design history. In 1540 he was commissioned by King Francis I to cut a Greek style typeface, the ‘Grec du Roi’. which was used in the printing of many large size Greek texts. The difference between Garamond’s cut of the type was its departure from the typical handwritten old-type engraving. His designs were tailored more towards the act of printing and legibility. His cuts were elegant and printed clearly when the ink bled on the paper. The serifs are more decorated than previous old-style types, having almost a symmetrical, angular feel to them. Then in the beginning of the 17th century, the French printer Jean Jannon ordered a collection of Garamond’s Greek and Roman types, which he then refined and used in the production of a multitude of French printing. These fonts were later discovered in the early 1900s and wrongfully credited to Garamond. However, much to his avail, the discrediting

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m r The French type designer and publisher Claude Garamond trained in Paris as a punch cutter in the early 1500s, where he was taught the tradition of old-serif letter design. He eventually became one of the first independent punch cutters in Paris, where he designed type for commissions and out source purposes, paving the path for commercial design history. In 1540 he was commissioned by King Francis I to cut a Greek style typeface, the ‘Grec du Roi’. which was used in the printing of many large size Greek texts. The 7.5/8

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10.5/12.5

Garamond Pro Regular

Minion cl ass i f i c at i on

Robert Slimbach d e s i g ne r

10.5/13

Minion Regular

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

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12/14.5

Minion Regular

Serifa c la s s ific a t io n

Hoefler and Co. d e s ig n e r

9.5/11.5

Serifa 55 Roman

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

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

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11/13.5

Serifa 55 Roman

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

Sabon c l a s s ifica tio n

Jan Tschichold designer

10/12.5

Sabon Roman

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

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One of the main leaders of the Elementare Typografie movement, or “Elementary Typography”, Germanborn Jan Tschichold was a calligrapher, typographer, as well as a book designer. Tschichold was the author of Die Neue Typographie, or “The New Typography”, in which he set forth rules for standardization of practices relating to modern type usage. He would actually later have much of his work seized by Nazis before fleeing the country because they saw his emphasis on new typography and sans-serif typefaces as a threat to the German traditions of Blackletter Typography. Luckily, his creation Sabon still stands to be appreciated today. Joint released by the Linotype, Monotype, and Stempel type foundries in the period 19641967, Sabon’s origin goes back to a printing firm’s interest in creating a 8.5/10.5

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11/13

Sabon Roman

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

Times

c l a s s ific a tio n

Stanley Morison & Victor Lardent d es ig n e r

10.5/12.5

Times Regular

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

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11.5/13.5

Times Regular

Akzidenz Bold Grotesk c la s s ific a t io n

H Berthold AG d e s ig n e r

9.5/12

Akzidenz Bold Grotesk

Akzidenz Grotesk Bold is a font that comes from the Akzidenz Grotesk typeface. Akzidenz Grotesk was designed by Gunter Gerhard Lange and Ferdinand Theinhardt. Though officially released in 1908 by the Berthold Type Foundry, Akizdenz Grotesk has had multiple weights added in over the years. Several variations of Berthold were added to the four styles that were created for the Prussian Academy of Sciences. Akizdenz means a â&#x20AC;&#x153;commercialâ&#x20AC;? typeface, which was what it was mostly used for in the nineteenth century. It was often used in advertising and publicity materials and not for books or decorative uses. Specifically in the nineteenth century, Akzidenz Grotesk became dominant in Germany where it was used for printing, and remains to be one of the most popular examples of this typeface. It is a simple typeface used for general purposes, which was why it was

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Akzidenz Grotesk Bold is an extension of Berthold’s famous font family. The font was designed by Gunter Gerhard Lange and Ferdinand Theinhardt. Though officially released in 1908 by the Berthold Type Foundry, Akizdenz Grotesk has had multiple weights added in over the years. Several variations of Berthold were added to the four styles that were created for the Prussian Academy of Sciences. Akizdenz means a “commercial” typeface, which was what it was mostly used for in the nineteenth century. It was often used in advertising and publicity materials and not for books or decorative uses. Specifically in the nineteenth century, Akzidenz Grotesk became dominant in Germany where it was used for 8/11

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10.5/12.5

Akzidenz Bold Grotesk

DIN

c la s s i fi ca ti o n

Hoefler and Co. designer

11/12.5

DIN Bold

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

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The typeface DIN 1451is a geometric sans serif named after Deutsches Institut für Normung (DIN), the institution that designed it. Also known as the German Institute for Standardization, the Deutsches Institut für Normung is the official German nationalstandards institution responsible for representing German interests on both national and European levels. Designed in 1931, DIN 1451was designed to for technical and administrative use in particular for road signs. It is characterized by its legibility, simplicity, and overall severe and industrial look, symptom of its con-sistent stroke value and the simple grid system on which 6.5/8.5

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

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10.5/12.5

DIN Bold

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

Futura

cl as si f i c at i o n

Paul Renner d e s i g ne r

10.5/12.5

Futura Medium

Paul Renner was an eminent twentieth century German graphic designer, type designer and typographer. He was also a remarkable painter and teacher. He is best known for designing Futura typeface which became the milestone creation of twentieth century and influenced the modern typeface designs. The typeface was influenced heavily by that of German professor Jakob Erbar and the Bauhaus school of designâ&#x20AC;&#x201D; a typeface that aimed for a pure functionality, with no ornamentation or individual characteristics. It is based on the circle â&#x20AC;&#x201D; the most fundamental of all typographic components. The Bauhaus school of design believed in a world where form and function destroyed ornamentation, clutter and revivals of the more decorative past. Renner too believed in the schoolâ&#x20AC;&#x2122;s principles and rejected the font styles of the past, the grotesques, their

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u Paul Renner was an eminent twentieth century German graphic designer, type designer and typographer. He was also a remarkable painter and teacher. He is best known for designing Futura typeface which became the milestone creation of twentieth century and influenced the modern typeface designs. The typeface was influenced heavily by that of German professor Jakob Erbar and the Bauhaus school of design— a typeface that aimed for a pure functionality, with no ornamentation or individual characteristics. It is based on the circle — the most fundamental of all typographic components. The Bauhaus school of design believed in a world 9.5/12

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11.5/14.5

Futura Medium

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

Futura Bold c la s s i f i c a t i on

Paul Renner de s i g n e r

10.5/12.5

Futura Bold

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11.5/14.5

Futura Bold

Paul Renner was an eminent twentieth century German graphic designer, type designer and typographer. He was also a remarkable painter and teacher. He is best known for designing Futura typeface which became the milestone creation of twentieth century and influenced the modern typeface designs. The typeface was influenced heavily by that of German professor Jakob Erbar and the Bauhaus school of design â&#x20AC;&#x201D; a typeface that aimed for a pure functionality, with no ornamentation or individual characteristics. It is based on the circle â&#x20AC;&#x201D; the most fundamental of all typographic components. The Bauhaus school of design believed in a world where form and function destroyed ornamentation, clutter and revivals of the more decorative past. Renner too

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Gotham c l ass i f i cat i o n

Hoefler and Co. d e s i g ne r

8.5/11

Gotham Book

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

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8.5/11

Gotham Book

Jonathan Hoefler founded the New York type foundry Hoefler & Co in 1989, specializing in editorial clients like the New York Times and The Guardian. The company later employed Tobias Free-Jones from 1999 to 2014. The foundry was inspired by the complex, yet straight forward design of sans serif lettering popularized between the two World Wars. In 2000 the company was commissioned by GQ Magazine to create a unique typeface, which communicated a “masculine, new, fresh” take on type. Their typeface design became known as Gotham. The type took the form of the direct approach to type design most common in the city’s bustling train station and road maps. They strived to create a font that contrasted a so called “grunge” type design of the time, trying to design a typeface that followed the clean formal qualities of traditional type design. The geometric typeface has a significant architectural form to it in its high x-height and wide apertures. Its appearance in media and commercial use transcended that of the magazine. Particularly, it was featured on the Freedom Tower in 2004, in addition to a series of presidential campaigns down the line. In this sense, it stands as almost the model for American type design in its bold political and consumerist use.

Gill Sans c la s s i fi ca t i o n

Eric Gill de s i g n e r

10/12

Gill Sans Regular

Eric Gill was a versatile talent, active in many disciplines from wood-engraving to sculpture and calligraphy. In 1920s, his creative abilities turned to type design and in 1928, Gill Sans was born. The roots of Gill Sans can be traced to the typeface that Gillâ&#x20AC;&#x2122;s teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gillâ&#x20AC;&#x2122;s alphabet is the more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, 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 variation, Gill Sans now represents one of

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Eric Gill was a versatile talent, active in many disciplines from woodengraving to sculpture and calligraphy. In1920s, his creative abilities turned to type design and in 1928, Gill Sans was born. The roots of Gill Sans can be traced to the typeface that Gill’s teacher, Edward Johnston, designed for the signage of the London Underground Railway in1918. Gill’s alphabet is the more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. 7.5/9

z Eric Gill was a versatile talent, active in many disciplines from wood-engraving to sculpture and calligraphy. In 1920s, his creative abilities turned to type design and in 1928, Gill Sans was born. The roots of Gill Sans can be traced to the typeface that Gill’s teacher, Edward Johnston, designed for the signage of the London Underground Railway in 1918. Gill’s alphabet is the more classical in proportion and contains what have become known as his signature flared capital R and eyeglass lowercase g. Gill Sans is a humanist sans serif with some geometric touches in its structures. It also has a distinctly British feel. Legible and modern though sometimes cheerfully idiosyncratic, the lighter weights work for text, and the bolder weights make for compelling display typography. Originally Gill designed this typeface as an uppercase set. The lowercase characters were 8.5/10.5

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11.5/14

Gill Sans Regular

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

Max Meidinger & Edouard Hoffman de s i g n e r

8.5/11.5

Helvetica Roman

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

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

6.5/8.5

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

7/10

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10/13

Helvetica Roman

Helvetica Light cla s s i fi c a ti o n

Max Meidinger & Edouard Hoffman designer

9.5/11.5

Helvetica Light

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Helvetica is the most widely used SansSerif font throughout 20th century. It was developed in 1957 by Swiss type designer Max Miedinger and Eduard Hoffman. Max Miedinger was born is Switzerland on 24, Dec 1910 and died in 1980. At the age of 26 he worked at an advertising studio called Globe as typographer. 10 years later, he became a representative for Hass Type Foundry. In 1957, Miedinger collaborated with Eduard Hoffman at Hass Type Foundry. They came up with making a new typeface that could be used on a wide 7/8

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was a scholar and historian of printing, but he is well known for his design of Times New Roman. From 1923 to 1967, Morison was a typographic consultant for the 8.5/10

Helvetica Light

Helvetica is the most widely used Sans-Serif font throughout 20th century. It was developed in 1957 by Swiss type designer Max Miedinger and Eduard Hoffman. Max Miedinger was born is Switzerland on 24, Dec 1910 and died in 1980. At the age of 26 he worked at an advertising studio called Globe as typographer. 10 years later, he became a representative for Hass Type Foundry. In 1957, Miedinger collaborated with Eduard Hoffman at Hass Type Foundry. They came up with making a new typeface that could be used on a wide variety of signage with its great clarity. Miedinger and Hoffman designed Neun Haas Grotesk, which was developed from Akzidenz Grotesk, a Sans-Serif font. This typeface became widely known throughout the world in 1960 through the German company called Stempel, and it comes from the Latin name for the pre-Roman tribes of what became Switzerland. Previously, Helvetica was a typeface representing the image of the Swiss nation, but thanks to its modern appearance, it focuses on the objectivity of the content and is usage. This tendency can be means of representing the identity of many national corporations such as Fedex, 3M, Jeep, and Flickr, or playing an important role in displaying information in public places like airports and NYC subway stations. The typeface has a both mundane and powerful impact, making it a long-loved font with universality and efficiency. Another type designer worth noting is Stanley Morison. He was born in England on May 6th, 1889. Morison

Myriad c l a s s i fi cati o n

Robert Slimbach & Carol Twombly d e s i gn e r

10/12

Myriad Regular

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

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Z Robert Slimbach began concentrating on type and calligraphy in 1983 in the type drawing department of Autologic in Newbury Park, California. He then joined Adobe in 1987 and has been directing Adobe’s type design team since. Most of the notable typeface designers have historically been men, but one of the twentieth century’s most influential designers is Carol Twombly, who worked for years in the type design department at Adobe, when many of the Adobe Originals typefaces were planned and carried out in the 1990s. Together, they worked to create the fontface Myriad. Released as part of the Adobe Originals series in 1992, Myriad became the flagship typeface for Adobe’s Multiple Master font format (which enabled the design to be rendered dynamically from light to 8.5/11

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FZ FZ

11/14

Myriad Regular

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

Univers Condensed classification

Günter Gerhard Lange designer

10.5/13

Univers Light Condensed

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

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

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

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12/14

Univers Light Condensed

Essays contributed by the students in Typography 1. Programs: Adobe Indesign CC 2017, Photoshop CC 2017, and Illustrator CC 2017 Printing Press: Blurb Printing Worldwide The fonts used to create the logotypes in this book were inspired by the designs of Adobe Typekit, Berthold Types, the Fontshop, and Hoefler & Co. I dedicate this book to the countless hours spent flipping through the fashion magazines at Barnes and Nobles, which continue to inspire my designs everyday.

This publication is designed to archive a collection of logotypes and the fonts that inspired them. Designed in Mark Laughlinâ&#x20AC;&#x2122;s Typography I course.

A portion of my first Semester work at the Rhode Island School of Design.