Type Specimen Book by Kara Louise

Type Specimen

About Kara Cox, 2011 Typography Credit: Wikipedia.org Typedia.com

n t e t n o

C Serif

2Baskerville 4Berkeley 6Bodoni 8Caslon 10Cheltenham 12Clarendon 14Garamond 16Minion 18Mrs. Eaves 20Sabon

22Akzidenz Grotesk 24Eurostile 26Frutiger 28Futura 30Gill Sans 32Helvetica 34Interstate 36Myraid 38Trade

Gothic 40Univers

Sans

g a Q

abcdefghijklm nopqrstuvwxyz ABCDEFGHI JKLMNOPQRS TUVWXYZ ”’:;.,?/{}][!@#$ %^&*()_+=-~` 1234567890

Baskerville Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot. The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon. He 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 greater consistency in size and form. Baskerville’s typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville’s ideals of perfection, where he chose simplicity and quiet refinement. His background as a writing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excellent choice to convey dignity and tradition.

Italic Regular Bold SemiBold Bold Italic SemiBold Italic

8/10 Bold

8/10 Regular

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg2

A y

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ â&#x20AC;&#x153;â&#x20AC;&#x2122;:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Berkeley

In 1938 the Regents invited renowned type designer Frederic W. Goudy to design a unique font for the University of California. The typeface Goudy crafted was called University Old Style. That type font was redrawn and digitized as UC Berkeley Old Style in 1994 by designer Richard Beatty. This font is now the exclusive typeface for the University of California, Berkeley. Using it gives a recognizable look to all communication materials. This classic and highly legible serif font is flexible enough to work across all media. UC Berkeley Old Style is preferred for body copy and may also be used for headlines, especially in materials requiring an elegant, classical tone. Whenever possible, type should be set without hyphenation.

Bold Italic Regular SemiBold Bold Italic SemiBold Italic

8/10 Bold

8/10 Medium

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg4

qQ a

abcdefghijklm nopqrstuvwxyz ABCDEFGHI JKLMNOPQRS TUVWXYZ â&#x20AC;?â&#x20AC;&#x2122;:;.,?/{}][!@#$ %^&*()_+=-~` 1234567890

Bodoni

Bodoni was designed by Giambattista Bodoni (1740-1813), late 18th-early 19th century, Italy in 1790. It is considered a slab-serif typeface. Bodoni designed several typefaces, and there are many modern versions of them. Maybe later on I will get into all the different versions. Generally, however, their similarities are more significant than their differences. Bodoni can be seen as the outcome of a movement initiated by by Baskerville in England and extended by the Didot family in France. Bodoni was meticulous in the design and print quality of his publications, produced under the patronage of the Duke of Parma. But he seems to have been relatively indifferent to the text, as his beautiful editions are marred by numerous typos. It has an easily recognizable Romantic typeface, vertical stress, slight serif bracketing, cupped top serifs on b,h,l, not parallel to baseline in some versions, top & bottom serifs on C, vertical tail of Q, small upper bowl of g, usually no middle serif on w, large ball terminal of c.

Italic Bold Roman Bold Italic Italic Oldstyle Figures Bold Oldstyle Figures Bold Italic Oldstyle Figures Small Caps & Oldstyle Figures

8/10 Bold

8/10 Roman

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg6

a z G p V

abcdefghijklm nopqrstuvwxyz ABCDEFGHI JKLMNOPQRS TUVWXYZ ”’:;.,?/{}][!@#$ %^&*()_+=-~` 1234567890

Caslon

Caslon’s earliest design dates to 1722. William Caslon (1692 – 1766) is the designer of this Typeface. Caslon is cited as the first original typeface of English origin, but some type historians point out the close similarity of Caslon’s design to the Dutch Fell types. This typeface is considered transitional. The Caslon types were distributed throughout the British Empire, including British North America. Much of the decayed appearance of early American printing is thought to be due to oxidation caused by long exposure to seawater during transport from England to the Americas. Caslon’s types were immediately successful and used in many historic documents, including the U.S. Declaration of Independence. After William Caslon I’s death, the use of his types diminished, but saw a revival between 1840–80 as a part of the British Arts and Crafts movement. The Caslon design is still widely used today. For many years a common rule of thumb of printers and typesetters was When in doubt, use Caslon. Caslon shares the irregularity characteristic of Dutch Baroque types. It is characterized by short ascenders and descenders, bracketed serifs, moderately-high contrast, robust texture, and moderate modulation of stroke. The A has a concave hollow at the apex, the G is without a spur. Caslon’s italics have a rhythmic calligraphic stoke. Characters A, V, and W have an acute slant. The lowercase italic p, q, v, w, and z all have a suggestion of a swash.

Italic Bold Regular Semibold Bold Italic Semibold Italic

8/10 Bold

8/10 Regular

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg8

E g j

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “ ’ : ; .,? / \ { } []!@#$%^ & * ( ) - + =` ~ 1234567890

Cheltenham Cheltenham is classified as a serif. It was designed by Bertram Goodhue and Ingalls Kimball, however Morris Fuller Benton did the final design It was released at American Type Founders (ATF) in 1902. Cheltenham was designed by Bertram Goodhue and Ingalls Kimball in 1896 for use by a New York publisher called the Cheltenham Press. It was six years later, when Morris Benton Fuller developed it into a final design and released it at American Type Founders. Cheltenham enjoyed massive success in the early 1900s, largely due to the robust variety of widths and styles it offered. By 1915, Benton had cut twenty-one variations of Cheltenham, leading the typeface to be considered one of the most widely known in the United States. Cheltenham isn’t based on a single historical model, it does however show influences of the Arts and Crafts Movement, which Benton was largely apart of. Bold condensed and bold condensed italic were used for headlines by the New York Times. Cheltenham is not for body copy however, it’s hard to read for any length of time. However, it has great letters for printing. It has a larger x-height and has improved italic details.

Light Book Bold Ultra Light Italic Book Italic Bold Italic Ultra Italic Light Condensed Book Condensed Bold Condensed Ultra Condensed Light Condensed Italic Book Condensed Italic Bold Condensed Italic Ultra Condensed Italic

8/10 Bold

8/10 Book

8/10 Light

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs.Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg10

Q G j

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Clarendon Clarendon was created by Robert Besley in 1845. It is classified as a Slab Serif Typeface. Clarendon as a typeface was very different from other Slab Serif typefaces. Many typographers actually classify it under another name called Ionic. It is a bold typeface that is at a point somewhere between the large square serifs of the Egyptian style and the thin strokes or the Roman style typefaces. With that said, the thick strokes and blocky serifs along with well-curved fillets made this typeface useful in a variety of places including newspapers, signage, and corporate identities. Clarendon is an English typeface originally made for the Fann Street Foundry. Due to its popularity, Besley registered the typeface under Britain’s Ornamental Designs Act of 1842. The patent expired three years later, and other foundries were quick to copy it. Clarendon is considered the first registered typeface, with the original matrices and punches remaining at Stephenson Blake and later residing at the Type Museum, London. It is one of the first typefaces recognized as a “bold” face.

Bold Light Roman

8/10 Light

8/10 Roman

8/10 Bold

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg12

e abcdefghijklm nopqrstuvwxyz ABCDEFGHI JKLMNOPQRS TUVWXYZ ”’:;.,?/{}][!@#$ %^&*()_+=-~` 1234567890

Garamond Garamond is the name given to a group of old-style serif typefaces that was designed in 1541named for the punch-cutter Claude Garamond (c. 1480–1561). Most of the Garamond faces are more closely related to the work of a later punch-cutter, Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Adobe Garamond, Granjon, Sabon, and Stempel Garamond. Garamond is Greek typeface, commissioned to create for the French King Francis Ito be used in a series of books by Robert Estienne. The French court later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond probably had seen Venetian oldstyle types from the printing shops of Aldus Manutius. Garamond based much of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant Robert Granjon. Distinguishing Characteristics: Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Garamond’s letterforms convey a sense of fluidity and consistency. Long extenders and top serifs have a downward slope.

Italic Bold Regular Bold Italic

8/10 Bold

8/10 Regular

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg14

G j

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Minion

Minion Pro was created by Robert Slimbach in 1990. It is classified as a Transitional typeface. Minion Pro is inspired by classical, old style typefaces of the late Renaissance, a period of elegant, beautiful, and highly readable type designs. Minion Pro combines the aesthetic and functional qualities that make text type highly readable with the versatility of OpenType digital technology, yielding unprecedented flexibility and typographic control, whether for lengthy text or display settings .The ffi ligature’s first f has a shorter stem than the second f. The G has a half-spur. The capital C has beaks on both ends.

Bold Italic Black Display Regular Semibold Bold Italic Italic Display Semibold Italic

8/10 Bold

8/10 Regular

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg16

G C

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Mrs.Eaves

Mrs. Eaves was created by Zuzana Licko in 1996. It is considered a serif typeface. Licko’s revival is less academic than some, basing as many of its details on contemporary methods of reproduction: the flatness of offset lithography in comparison to letterpress printing, and the resolution of set devices, and onscreen display. The overall stroke weight of Mrs Eaves is considerably heavier than most other revivals, countering the often anemic reproduction of smaller point sizes in other digital revivals of Baskerville, and restoring some of the feeling of letterpress printing’s unpredictability. Like Baskerville, Mrs Eaves has a near vertical stress, departing from the old style model. Identifying characters, similar to Baskerville’s types, are the lowercase g with its open lower counter and swashlike ear. Both the roman and italic uppercase Q have a flowing swashlike tail. The uppercase C has serifs at top and bottom; there is no serif at the apex of the central junction in uppercase W; and the uppercase G has a sharp spur suggesting a vestigial serif.

fractions Petite Caps Roman Small Caps Italic Bold

8/10 Bold

8/10 Regular

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg18

g e Q G y

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Sabon

Sabon was created by Jan Tshichold in 1967. It is classified as Old Style, serif typeface. The Sabon font family is a lyrical text typeface first released in 1967. The German Master Printers Association approached the Stempel foundry in the early 1960s with a request: they wanted a new typeface developed that would be identical on both Monotype and Linotype machines. Stempel’s Walter Cunz commissioned esteemed German typographer Jan Tschichold to design a new rendition of Claude Garamond’s classic roman letterforms. Jan Tschichold designed the roman style of Sabon after types designed by Claude Garamond, one that is printed by the Frankfurt printer named Konrad Berner. Berner had married the widow of another printer whose name was Jacques Sabon, hence the source of the typeface’s name. The italics are based on types designed by a friend of Garamond’s named Robert Grandjon. Roman, italic and bold weights all occupy the same width, when typeset. It’s unusual, because this means that the typeface only requires one set of copyfitting data, rather than three when compositors has to estimate the length of text prior to typesetting, which was done before the computer.

Bold Italic Roman Bold Italic

8/10 Bold

8/10 Roman

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg20

G a

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Akzidenz Grotesk Designed by Günter Gerhard Lange and issued by Berthold in 1896, Akzidenz was the forerunner of the ubiquitous Helvetica. It is clasified as a sans-serif typeface. It was used as a text font in Europe, especially Switzerland, until being supplanted by Univers and Helvetica, although in recent years it has made a comeback. Distinguishing Characteristics: Compared to Helvetica Akzidenz is overall somewhat less wide, although paradoxically letters like C, G, O, and Q are wider and more geometric than in Helvetica. The fonts share the weird right angle bar at the base of the G, but Akzidenz does not have the distinctive rounded off square tail of Helvetica’s R. Akzidenz’s J is more truncated and points horizontically rather than vertically. Akzidenz has a smaller x-height, which is among the qualities that make it more appealing to me for most usages, especially continuous text. It comes in a range of weights and condensed and expanded forms. The identifying characteristics of Akzidenz Grotesk is : tail of Q does not cross the circle, J does not descend below baseline, weird right-angle bar and spur at base of G (like Helvetica), middle of M descends to baseline, single-story g (no lower ball), square dots on i and j, double-story a, i is just a straight line, lacks Helvetica’s tail on the R.

Light Regular Medium Bold Condensed

8/10 Medium

8/10 Regular

8/10 Light

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg22

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Eurostile

Eurostile is one of the most important designs from the Italian font designer Aldo Novarese. It was originally produced in 1962 by the Nebiolo foundry as a more complete version of the earlier Microgramma, a capsonly font designed by Novarese and A. Butti. Eurostile is a sans-serif typeface. Eurostile has a large x-height and is distinctive without being flamboyant. In plain text, this means that it is not a replacement for sans serif text faces like Univers or Franklin Gothic. Nevertheless, Eurostile is easy to use well, and it has the added benefit of standing out from the crowd of other typefaces in the sans serif genre. While many individual letters distinguish Eurostile, some of the most interesting are the K and k, which have diagonals that do not touch the vertical stroke or the lowercase t, where the crossbar is long on the right and the long tail curves all the way back to vertical. A, M, N, V, and W all have flat apexes, and the Q has the odd distinction of a tail longer on the inside of the character than on the outside. Eurostile’s lowercase a is of the traditional two-storied variety found in 19th century grotesques and most roman types. The crossbar of the f mimics that of the t, and the g is a single-storied, like that found in Helvetica or Futura.

Bold Demi Oblique Medium Condensed Bold Condensed Bold Oblique Demi Oblique Extended 2 Bold Extended 2

8/10 Bold

8/10 Medium

8/10 Oblique

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg24

OM sg

abcdefghijklm nopqrstuvwxyz ABCDEFGHI JKLMNOPQRS TUVWXYZ ”’:;.,?/{}][!@#$ %^&*()_+=-~` 1234567890

Futura

Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer type foundry, Futura was commercially released in 1927. The family was originally published in Light, Medium, Bold, and Bold Oblique fonts in 1928. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner’s initial design included several geometrically constructed alternative characters and ranging (old-style) figures, which can be found in the typeface Architype Renner. Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (nearperfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals.

Light Book Bold Heavy Medium Light Condensed Bold Condensed Light Oblique Book Oblique Extra Bold Medium Condensed Heavy Oblique Bold Oblique Medium Oblique Light Condensed Oblique Medium Condensed Oblique Bold Condensed Oblique Extra Bold Condensed Extra Bold Oblique Extra Bold Condensed Oblique

8/10 Bold

8/10 Medium

8/10 Oblique

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, line length, adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg26

g Q fs

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Frutiger

Frutiger was created by Adrian Frutiger in 1976. It is classified as a humanist, sans-serif typeface. Published through the Stempel type foundry in conjunction with Linotype Distinguishable Characteristics: square tittle (dot) on the lowercase I, slanted finials (terminals) on the f and s. The typeface was commissioned in 1968 by the newly built Charles De Gaulle International Airport at Roissy, France, which needed a new directional sign system. Instead of using one of his previously designed typefaces, Frutiger chose to design a new one. The new typeface, originally called Roissy, was completed in 1975 and installed at the airport the same year. Frutiger’s goal was to create a sans serif typeface with the rationality and cleanliness of Univers, but with the organic and proportional aspects of Gill Sans. The result is that Frutiger is a distinctive and legible typeface. The letter properties were suited to the needs of Charles De Gaulle—modern appearance and legibility at various angles, sizes, and distances. Ascenders and descenders are very prominent, and apertures are wide to easily distinguish letters from each other.

45 Light 56 Italic 65 Bold 75 Black 55 Roman 57 Condensed 46 Light Italic 66 Bold Italic 76 Black Italic 47 Light Condensed 95 Ultra Black 67 Bold Condensed 87 Extra Black Condensed

8/10 Bold

8/10 Italic

8/10 Light

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg28

a g Q p r

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “ ’:;.,? / \ { } []!@#$%^ & * ( ) - + =` ~ 1234567890

Gill Sans

Gill Sans was created by Eric Gill in 1928.It is classified as a Humanist Sans-Serif typeface.Gill Sans first appeared in 1926 when Eric Gill produced a series of sans-serif capitals in the window of Douglas Cleverdon’s bookshop in Bristol. Gill Sans is a true hybrid, carrying characteristic of both serif and san serif fonts. Characteristics of Gill Sans are unique to the artist himself. Containing hardsculpted forms, this is also a likely representation of Gill carrying his artistic sculpting knowledge and applying that basis to the creation of this typeface. There is also a pronounced contrast in the strokes. This is seen primarily in the letter “r” and “a”. Also the lowercase letter “f” in Gill Sans Italic goes below the baseline of the font itself. The Italic “p” actually overlaps each other where the counter and stem meet. This could possibly be another reason why people felt it had a more human feel to it. In the Bolder faces of this type the lowercase “r” loses its stroke to a more bulbous rounded end. Gill Sans defies the standard because the x-height of this font face is slightly smaller than your average face that’s awarded on the fact of legibility alone. Probably one of the greatest qualities Gill Sans has is that it is space efficient when used in body text therefore giving the designer knowledge that they can work well incorporating this font into wordy body copy.

Light Italic Bold Condensed Regular Light Italic Bold Italic Bold Extra Condensed Shadowed Extra Bold Bold Condensed Light Shadowed Ultra Bold Condensed Extra Bold Display

8/10 Bold

8/10 Regular

8/10 Light

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques.The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs.Type glyphs are created and modified using a variety of illustration techniques.The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg30

R 1

s a

abcdefghijklm nopqrstuvwxyz ABCDEFGHI JKLMNOPQRS TUVWXYZ ”’:;.,?/{}][!@#$ %^&*()_+=-~` 1234567890

Helvetica Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful AkzidenzGrotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family. The Distinguishable Characteristics are the two-storied a (with curves of bowl and of stem), narrow t and f, square-looking s, bracketed top serif of 1, rounded off square tail of R.

35 Thin 45 Light 56 Italic 75 Bold 55 Roman 95 Black 85 Heavy 65 Medium 57 Condensed 36 Thin Italic 25 Ultra Light 46 Light Italic 76 Bold Italic 37 Thin Condensed 53 Extended 47 Light Condensed 26 Ultra Light Italic 86 Heavy Italic 96 Black Italic 66 Medium Italic 75 Bold Outline 77 Bold Condensed 27 Ultra Light Condensed 33 Thin Extended 57 Condensed Oblique 97 Black Condensed 87 Heavy Condensed 67 Medium Condensed 37 Thin Condensed Oblique 43 Light Extended 47 Light Condensed Oblique 27 Ultra Light Condensed Oblique 23 Ultra Light Extended 77 Bold Condensed Oblique 73 Bold Extended 53 Extended Oblique 107 Extra Black Condensed 97 Black Condensed Oblique 67 Medium Condensed Oblique 87 Heavy Condensed Oblique 33 Thin Extended Oblique 63 Medium Extended 83 Heavy Extended 43 Light Extended Oblique 93 Black Extended 23 Ultra Light Extended Oblique 107 Extra Black Condensed Oblique 73 Bold Extended Oblique 63 Medium Extended Oblique 83 Heavy Extended Oblique 93 Black Extended Oblique

8/10 Bold

8/10 Roman

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg32

t k

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Interstate Interstate was created by Tobias Frere-Jones in 1993. It is classified as a Sans-Serif Typeface. Interstate is based on the signage alphabets of the United States Federal Highway Administration, the letterforms seen and read by U.S. drivers on a daily basis. It is designed for legibility and is optimal for signage because of that reason. Frere-Jones took the original typeface used by the Highway administration and modified it slightly to be more appropriate for type setting both in print and on screen. While it is very similar to the highway signs it is not exactly the same because of these changes. In 2004, The Weather Channel started using the fonts on-air and on their radar systems. In 2006, the US Army launched its Army Strong ad campaign, utilising Interstate as its primary typeface for all ad material.The terminals of ascending and descending strokes are cut at an angle to the stroke (see lowercase t, and l), and on curved strokes (see lowercase e and s), terminals are drawn at a 90° angle to the stroke, positioning them at an angle to the baseline. In short, there’s angles on the vertical strokes of lowercase letters, and terminals are not level with the baseline.

Light Bold Black Regular Light Compressed Bold Compressed Black Compressed Light Condensed Regular Compressed Bold Condensed Black Condensed Regular Condensed

8/10 Light

8/10 Regular

8/10 Bold

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

pg34

t fy

a g abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “ ’: ; . , ? / \ { } []!@#$%^ & * ( ) - + =` ~ 1234567890

Myraid

Myraid Pro was created by Robert Slimbach and Carol Twombly in 2000. It is classifeid as a humanist, sans-serif typeface. The typeface is best known for its usage by Apple Inc., replacing Apple Garamond as Apple’s corporate font. 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, and oldstyle figures. Myriad Pro originally included thirty fonts in three widths and five weights each, with complementary italics. A “semi-condensed” width was added several years later, expanding the family to forty fonts in four widths and five weights each, with complementary italics. Lowercase a has an angled finial, the lowercase y has a slanted terminal, lowercase f and t have shorter strokes on the left than on the right, and the lowercase i has a round tittle (proper term) or dot (as we know it).

Bold Italic Regular Condensed Semibold Bold Italic Condensed Italic Bold Condensed Semibold italic Bold Condensed Italic

8/10 Bold

8/10 Regular

8/10 Italic

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters and adjusting the space between pairs of letters (kerning).

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg36

b Q d c

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Trade Gothic

Trade Gothic was created by Jackson Burke in 1948. It is classified as a sans-serif typeface. The typeface is a simple grotesk that remains a common choice for books, magazines, and newspapers due to its spacious counters and legibility. It portrays a wonderful character and sturdiness, especially in condensed weights. Trade Gothic does not display as much unifying family structure as many other sans-serif families (like Futura, Helvetica, Univers, ITC Avant Garde, Frutiger, Avenir, and Akzidenz Grotesk), but this dissonance is typical of typefaces which are— or seem to be—hand worked. It is often seen in combination in multimedia and advertising with Antiqua and/or roman text fonts, while the condensed versions are sometimes utilized for headlines. Slightly tapered stem on the lowercase b and d (the bottom of the stem), and tapered on the top of the lowercase q stem, the lowercase c and e have slightly angled terminals/finials.

Bold Light Medium Oblique Bold No. 2 Bold Oblique Light Oblique Condensed No. 18 Bold Condensed No. 20 Bold No. 2 Oblique Condensed No. 18 Oblique Bold Condensed No. 20 Oblique

8/10 Light

8/10 Medium

8/10 Bold

Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length,leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning).

pg38

a R

5 g

abcdefghijkl nopqrstuvwxyz ABCDEFGHI JKLNOPQR STUVWXYZ “’:;.,?/\{} []!@#$%^ & * ( ) - + =` ~ 1234567890

Univers

Originally conceived and released by Deberny & Peignot in 1957, the type library was acquired in 1972 by Haas. Haas’sche Schriftgiesserei (Haas Type Foundry) was later folded into the D. Stempel AG and Linotype collection in 1985 and 1989 respectively. Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957,that includes Folio and Neue Haas Grotesk (renamed Helvetica). These three faces are sometimes confused with each other, because each is based on the 1898 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design. Different weights and variations within the type family are designated by the use of numbers rather than names, a system since adopted by Adrian Frutiger for other type designs. Frutiger envisioned a large family with multiple widths and weights that maintained a unified design idiom. However, the actual typeface names within Univers family include both number and letter suffixes. Currently, Univers type family consists of 44 faces, with sixteen uniquely numbered weight, width, position combinations. Twenty fonts have oblique positions. Eight fonts support Central European character set. Eight support Cyrillic character set.

45 Light 65 Bold 75 Black 55 Roman 55 Oblique 57 Condensed 47 Light Condensed 45 Light Oblique 53 Extended 65 Bold Oblique 67 Bold Condensed 57 Condensed Oblique 75 Black Oblique 47 Light Condensed Oblique 63 Bold Extended 67 Bold Condensed Oblique 73 Black Extended 53 Extended Oblique 63 Bold Extended Oblique 73 Black Extended Oblique 93 Extra Black Extended 93 Extra Black Extended Oblique

8/10 Bold

8/10 Oblique

8/10 Light

pg40