Logotype Book

24 logotypes 1

1

24

Logotypes & Typefaces Kasia Sasinowska

Contents

Serif 1

Clarendon Robert Beasley . 1845

5

Didot Firman Didot . 1784

9

Janson Nicholas Kis c 1690

13

Garamond c1530 Claude Garamond .

17

Minion Robert Slimbach . 1989

21

Opitma Herman Zapf . 1958

25

Palatino Herman Zapf . 1950

29

Big Caslon William Caslon . 1994

San Serif 33

Times New Roman Stanley Morison & Victor Lardent .1932

Sabon 37 Jan Tschichold . 1967

41

45

Baskerville John Baskerville . 1754 Adelle JosĂŠ Scaglione and Veronika Burian . 2009

49

Akzidenz Grotesk H Berthold AG . 1898

53

85 Myriad Helvetica Max Meidinger & Robert Slimbach & Carol Edouard Hoffman . 1957 Twombly . 1928

81

DIN Albert-Jan Pool . 1931

89 Gill Sans Helvetica Light Max Meidinger & Eric Gill . 1928 Edouard Hoffman . 1957 93 Franklin 61 Frutiger Morris Fuller Benton Adrian Frutiger . 1976 . 1902 57

65

Frutiger Light Adrian Frutiger . 1976

69

Futura Paul Renner . 1928

73

Futura Light Paul Renner . 1928

77

Futura Bold Paul Renner . 1928

I

Claredon s eri f

R o b e r t B e sl e y

8.5/11.5

Claredon

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

2

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3

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 slabserif 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.

6.5/7

j 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 7/9.5

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10.5/12.5

Aksidenz Grotesk Light

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

4

know

Didot se ri f

Fi rmi n D i d o t

9.5/11.5

Didot

Firmin Didot, born 1974 in Paris, is best remembered today as one of the most defining typographic giants in history and it is under his name that his family’s printing company still exists. He cut his first typeface at the age of 19. In 1797, he was granted a patent for his developments in the field of stereotype printing, which revolutionized the book trade with cheap printing costs. Didot’s greatest accomplishment, however, was perfecting the Didone or “Modern” style typeface in 1784. These typefaces are characterized by their extreme contrast in thick and thin strokes, use of hairline serifs, and vertical stress of their letters. With a classic and elegant feel, Didot’s typeface undoubtably drew inspiration from John Baskerville’s experimentation with increasing stroke contrast and a more condensed armature.

Since its original creation, the Didot typeface has experienced several revivals, including one drawn

by Adrian Frutiger for the Linotype Foundry and

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WA

7

Firmin Didot, born 1974 in Paris, is best remembered today as one of the most defining typographic giants in history and it is under his name that his family’s printing company still exists. He cut his first typeface at the age of 19. In 1797, he was granted a patent for his developments in the field of stereotype printing, which revolutionized the book trade with cheap printing costs.

Didot’s greatest accomplishment, however, was perfecting the Didone or “Modern” style typeface in 7/9

Firmin Didot, born 1974 in Paris, is best remembered today as one of the most defining typographic giants in history and it is under his name that his family’s printing company still exists. He cut his first typeface at the age of 19. In 1797, he was granted a patent for his developments in the field of stereotype printing, which revolutionized the book trade with cheap printing costs. Didot’s greatest accomplishment, however, was perfecting the Didone or “Modern” style typeface in 1784. These typefaces are characterized by their extreme contrast in thick and thin strokes, use of hairline serifs, and vertical stress of their letters. With a classic and elegant feel, Didot’s typeface undoubtably drew inspiration from 8.5/11

abcdefghijklmnopqrstuvwxyz A B C D E G H I J K L M N O P Q R S TVWXYZ

WA

11/13.5

Didot

Firmin Didot, born 1974 in Paris, is best remembered today as one of the most defining typographic giants in history and it is under his name that his family’s printing company still exists. He cut his first typeface at the age of 19. In 1797, he was granted a patent for his developments in the field of stereotype printing, which revolutionized the book trade with cheap printing costs. Didot’s greatest accomplishment, however, was perfecting the Didone or “Modern” style typeface in 1784. These typefaces are characterized by their extreme contrast in thick and thin strokes, use of hairline serifs, and vertical stress of their letters. With a classic and elegant feel, Didot’s typeface undoubtably drew inspiration from John Baskerville’s experimentation with increasing stroke contrast and a more condensed armature. Since its original creation, the Didot typeface has experienced several revivals, including one drawn by Adrian Frutiger for

8

I

Janson s e r if

M ik lo s K is

11/13.5

Janson

The Hungarian punchcutter Miklós Kis designed and cut this typeface in about 1685 while working in Amsterdam. It was not cut by Anton Janson, a Dutch punchcutter who worked in Leipzig in the seventeenth century. For many years this typeface was wrongly attributed to Janson, and the font still erroneously bears his name. Now a versatile family of eight weights, this version of Janson® Text is the most authentic digital version of the Kis types. With its legible, sturdy forms and strong stroke contrast, Janson Text has proved very successful for book and magazine text, and it continues to appear in the ranks of bestselling types.

Despite the use of Janson Text in many forms today, there wasn’t a revival of the font until

10

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11

The Hungarian punchcutter Miklós Kis designed and cut this typeface in about 1685 while working in Amsterdam. It was not cut by Anton Janson, a Dutch punchcutter who worked in Leipzig in the seventeenth century. For many years this typeface was wrongly attributed to Janson, and the font still erroneously bears his name. Now a versatile family of eight weights, this version of Janson® Text is the most authentic digital version of the Kis types. With its 7/9.5

The Hungarian punchcutter Miklós Kis designed and cut this typeface in about 1685 while working in Amsterdam.

It was not cut by Anton Janson, a Dutch punchcutter who worked in Leipzig in the seventeenth century. For many years this typeface was wrongly attributed to Janson, and the font still erroneously bears his name. Now a versatile family of eight weights, this version of Janson® Text is the most authentic digital version of the Kis types. With its legible, sturdy forms and strong stroke contrast, Janson Text has proved very successful for book and magazine text, and it continues to appear in the ranks of bestselling types.

Despite the use of Janson Text in many forms today, there wasn’t a revival of the font until the 1930s. This came from American printer and typeface designer Chauncey H. Griffith. With 8.5/10

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HB

12/14

Janson

The Hungarian punchcutter Miklós Kis designed and cut this typeface in about 1685 while working in Amsterdam.

It was not cut by Anton Janson, a Dutch punchcutter who worked in Leipzig in the seventeenth century. For many years this typeface was wrongly attributed to Janson, and the font still erroneously bears his name. Now a versatile family of eight weights, this version of Janson® Text is the most authentic digital version of the Kis types. With its legible, sturdy forms and strong stroke contrast, Janson Text has proved very successful for book and magazine text, and it continues to appear in the ranks of bestselling types. Despite the use of Janson Text in many forms today, there wasn’t a revival of the font until the 1930s. This came from American printer and typeface designer Chauncey H. Griffith. With Griffith’s invention of the Excelsior font and its use in newspapers nationwide, he was already well-

12

should

s eri f

Cl a u d e G a ra m o n d

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 9/11

Garamond

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Garamond

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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 7.5/9

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 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 9/10.5

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10.5/12.5

Garamond

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

16

crumble

se r i f

R ob e r t Sl i mb a ch

Robert Slimbach was born in Evanston, Illinois in 1956 but most of his youth he spend in Southern California. After attending UCLA on an athletics scholarship, he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with Autologic Incorporated where he received further training, not just as a type designer but also as a calligrapher.

Later on Slimbach was self-employed for as a freelance type designer. During this time he developed the two typefaces ITC Slimbach and ITC Giovanni for the International Typeface Corporation. Because working as a free lanser, Slimbach â&#x20AC;&#x153;wasnâ&#x20AC;&#x2122;t really making enough money to live onâ&#x20AC;? he decided to join Adobe Systems in1987 where he has developed many new fonts for the Adobe Originals program. Among 10.5/12.5

Minion

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Minion

18

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19

Robert Slimbach was born in Evanston, Illinois in 1956 but most of his youth he spend in Southern California.

After attending UCLA on an athletics scholarship, he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with Autologic Incorporated where he received further training, not just as a type designer but also as a calligrapher.

Later on Slimbach was 7/9

Robert Slimbach was born in Evanston, Illinois in 1956 but most of his youth he spend in Southern California. After attending UCLA on an athletics scholarship, he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with Autologic Incorporated where he received further training, not just as a type designer but also as a calligrapher.

Later on Slimbach was self-employed for as a freelance type designer. During this time he developed the two typefaces ITC Slimbach and ITC Giovanni for the International Typeface Corporation.

Because working as a free lanser, Slimbach “wasn’t really making enough money to live on” he decided to join Adobe Systems in1987 where he has developed many new 8.5/10.5

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JK

12/14

Minion

Robert Slimbach was born in Evanston, Illinois in 1956 but most of his youth he spend in Southern California. After attending UCLA on an athletics scholarship, he developed an interest in graphic design and typefaces while running a small screen printshop for manufacturing posters and greeting cards. This work brought him into contact with Autologic Incorporated where he received further training, not just as a type designer but also as a calligrapher.

Later on Slimbach was self-employed for as a freelance type designer. During this time he developed the two typefaces ITC Slimbach and ITC Giovanni for the International Typeface Corporation. Because working as a free lanser, Slimbach “wasn’t really making enough money to live on” he decided to join Adobe Systems in1987 where he has developed many new fonts for the Adobe Originals program. Among his early projects at Adobe were the Utopia(1988), Adobe Garamond

20

for

Optima se rif

H e rm a n n Z a p f

9.5/11.5

Optima

Optima is a humanist serif typeface designed by Hermann Zapf in 1958 for the D. Stempel AG foundry, Germany. Zapfâ&#x20AC;&#x2122;s intent was to create a classic roman without serifs. Though classified as a sansserif, Optima has a subtle swelling at the terminal producing a suggestion of a glyphic serif. Optimaâ&#x20AC;&#x2122;s design follows humanist lines, but its italic variant is merely an oblique, essentially a sloped roman without characteristic italic letterforms such as a single storey a and rounded base of v and w. This is more typical of a realist sans-serif like Helvetica or Univers. Also unconventional for the contemporary sans, Optimaâ&#x20AC;&#x2122;s capitals are directly derived from the classic Roman monumental capital model. Like Palatino, another Zapf design, Optima is both widely admired and much imitated. Optima and Palatino are trademarks of Linotype. In 2002, Zapf and Akira Kobayashia redesigned the font family and titled the new version Optima Nova. Optima is the typeface used on the

22

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23

Optima is a humanist serif typeface designed

by Hermann Zapf in 1958 for the D. Stempel AG foundry, Germany. Zapf’s intent was to create a classic roman without serifs.

Though classified as a sans-serif, Optima has a subtle swelling at the terminal producing a suggestion of a glyphic serif. Optima’s design follows humanist lines, but its italic variant is merely an oblique, essentially a sloped roman without characteristic italic letterforms such as a single storey a and rounded base of v and w. This is more typical of a realist sans-serif like Helvetica 6.5/8.5

Optima is a humanist serif typeface designed by Hermann Zapf in 1958 for the D. Stempel AG foundry, Germany.

Zapf’s intent was to create a classic roman without serifs. Though classified as a sans-serif, Optima has a subtle swelling at the terminal producing a suggestion of a glyphic serif. Optima’s design follows humanist lines, but its italic variant is merely an oblique, essentially a sloped roman without characteristic italic letterforms such as a single storey a and rounded base of v and w. This is more typical of a realist sans-serif like Helvetica or Univers. Also unconventional for the contemporary sans, Optima’s capitals are directly derived from the classic Roman monumental capital model. Like Palatino, another Zapf design, Optima is both widely admired and much imitated.

Optima and Palatino are trademarks 8/10.5

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g &

11/13.5

Optima

Optima is a humanist serif typeface designed by Hermann Zapf in 1958 for the D. Stempel AG foundry, Germany. Zapf’s intent was to create a classic roman without serifs. Though classified as a sans-serif, Optima has a subtle swelling at the terminal producing a suggestion of a glyphic serif. Optima’s design follows humanist lines, but its italic variant is merely an oblique, essentially a sloped roman without characteristic italic letterforms such as a single storey a and rounded base of v and w. This is more typical of a realist sans-serif like Helvetica or Univers. Also unconventional for the contemporary sans, Optima’s capitals are directly derived from the classic Roman monumental capital model. Like Palatino, another Zapf design, Optima is both widely admired and much imitated.

Optima and Palatino are trademarks of Linotype. In 2002, Zapf and Akira Kobayashia redesigned the font family and titled the new version Optima Nova. Optima is the typeface used on

24

better

Palatino se r i f

H e r m a n n Za p f

8.5/11

Palatino

Palatino is the name of an old-style serif typeface designed

by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company. Font is named after 16th century Italian master of calligraphy Giambattista Palatino.

Palatino is based on the humanist types of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this gives a grace reflecting Zapf’s expertise as a calligrapher. Its capital ‘Y’ is in the unusual ‘palm Y’ style, inspired by the Greek letter upsilon Palatino has larger proportions, increasing legibility. Palatino was particularly intended as a design for trade or ‘jobbing’ use, such as headings, advertisements and display printing, and was created with a solid, wide structure and wide apertures that could appear clearly on poor-quality paper, when read at a distance or printed at small sizes. Palatino group of fonts also includes: Sistina, Michaelangelo Titling, and Aldus. Palatino rapidly became popular for book body text use, overshadowing the narrower and lighter Aldus, which Zapf had designed for this role. It has been described as

26

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Palatino is the name of an old-style serif typeface designed

by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company.

Font is named after 16th century Italian master of calligraphy Giambattista Palatino.

Palatino is based on the humanist types of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this gives a grace reflecting Zapf’s expertise as a calligrapher. Its 6.5/9

f Palatino is the name of an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company. Font is named after 16th century Italian master of calligraphy Giambattista Palatino. Palatino is based on the humanist types of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this gives a grace reflecting Zapf’s expertise as a calligrapher. Its capital ‘Y’ is in the unusual ‘palm Y’ style, inspired by the Greek letter upsilon Palatino has larger proportions, increasing legibility.

Palatino was particularly intended as a design for trade or ‘jobbing’ use, such as headings, advertisements and display printing, and was created with a solid, wide structure and wide apertures 8/10.5

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9/11.5

Palatino

Palatino is the name of an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company. Font is named after 16th century Italian master of calligraphy Giambattista Palatino. Palatino is based on the humanist types of the Italian Renaissance, which mirror the letters formed by a broad nib pen; this gives a grace reflecting Zapf’s expertise as a calligrapher. Its capital ‘Y’ is in the unusual ‘palm Y’ style, inspired by the Greek letter upsilon Palatino has larger proportions, increasing legibility. Palatino was particularly intended as a design for trade or ‘jobbing’ use, such as headings, advertisements and display printing, and was created with a solid, wide structure and wide apertures that could appear clearly on poor-quality paper, when read at a distance or printed at small sizes. Palatino group of fonts also includes: Sistina, Michaelangelo Titling, and Aldus. Palatino rapidly became popular for book body text use, overshadowing the narrower and lighter Aldus, which Zapf had designed for this role. It has been described as one of the ten most used serif typefaces. Since Palatino was not originally designed for body text, some of its characters were intended to stand out with quirky, calligraphic design features, and Zapf later redesigned them

28

reasons

Big Caslon se r i f

Wi l l i am Cas l o n

9.5/11.5

Big Caslon

William Caslon started his career engraving government marks on gunlocks. A group of London printers and booksellers asked him to cut a font of Arabic of English size for a Psalter and a New Testament. Soon he was cutting his own font designs. In London in 1722, Caslon cut a roman typeface for the printer William Bowyer that later came to be called Caslon. The success of Caslon’s new typefaces in England was almost instantaneous and enabled him to set up a complete type foundry. His work helped modernize the book, making it a separate creation rather than a printed imitation of the old hand-produced book. Caslon’s fonts show an ‘A’ has a concave hollow at top left, the ‘G’ is without a downwards-pointing spur at bottom right and the sides of the ‘M’ are straight. The ‘W’ has three terminals at the top and the ‘b’ has a small tapered stroke ending at the bottom left. Ascenders and descenders are short and the level of stroke contrast is modest in body text sizes. Caslon type fell into disuse at the start of the 19th century. But in 1844, Charles

30

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31

William Caslon started his career engraving government marks on gunlocks. A group of London printers and booksellers asked him to cut a font of Arabic of English size for a Psalter and a New Testament.

Soon he was cutting his own font designs. In London in 1722, Caslon cut a roman typeface for the printer William Bowyer that later came to be called Caslon. The success of Caslon’s new typefaces in England was almost instantaneous and enabled him to set up a complete type foundry. His work helped modernize the book, making it a separate creation rather than a printed imitation

6.5/8.5

William Caslon started his career engraving government marks on gunlocks. A group of London printers and booksellers asked him to cut a font of Arabic of English size for a Psalter and a New Testament. Soon he was cutting his own font designs. In London in 1722, Caslon cut a roman typeface for the printer William Bowyer that later came to be called Caslon. The success of Caslon’s new typefaces in England was almost instantaneous and enabled him to set up a complete type foundry. His work helped modernize the book, making it a separate creation rather than a printed imitation of the old hand-produced book. Caslon’s fonts show an ‘A’ has a concave hollow at top left, the ‘G’ is without a downwardspointing spur at bottom right and the sides of the ‘M’ are straight. The ‘W’ has 8.5/11

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RF

11/12.5

Big Caslon

William Caslon started his career engraving government marks on gunlocks. A group of London printers and booksellers asked him to cut a font of Arabic of English size for a Psalter and a New Testament. Soon he was cutting his own font designs. In London in 1722, Caslon cut a roman typeface for the printer William Bowyer that later came to be called Caslon. The success of Caslon’s new typefaces in England was almost instantaneous and enabled him to set up a complete type foundry. His work helped modernize the book, making it a separate creation rather than a printed imitation of the old hand-produced book. Caslon’s fonts show an ‘A’ has a concave hollow at top left, the ‘G’ is without a downwards-pointing spur at bottom right and the sides of the ‘M’ are straight. The ‘W’ has three terminals at the top and the ‘b’ has a small tapered stroke ending at the bottom left. Ascenders and descenders are short and the level of stroke contrast is modest in body text sizes.

Caslon type fell into disuse at the start of the 19th century. But in 1844, Charles Whittingham initiated a Caslon revival by using the typeface to create an archaic effect for the publication of The Diary

32

but

Times New Roman se rif

Sta n ley M o ris o n

10.5/12.5

Times New Roman

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

34

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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 critcizing The Times for being badly printed and typographically behind its time.

The new design was supervised

by Morison and drawn by Victor 7.5/9

t 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 9/11

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ut

11.5/13.5

Times New Roman

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 switch typeface five times since 1972. However, all the new fonts have been variants of the original New Roman typeface. Times New

36

have

Sabon serif

Ja n Ts ch i ch o l d

10/12.5

Sabon

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 sansserif 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

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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 8/9

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 1964-1967, Sabon’s origin goes back to 8.5/10.5

abcdefghijklmnopqrstuvwxyz A B C D E G H I J K L M N O P Q R S TVWXYZ

ab

11/13

Sabon

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 technology used to create the original plates. These flaws, though, such as the

40

you

Baskerville s er i f

Jo h n B a sker v i l l e

10.5/12.5

Baskerville

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

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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 industrialist, who had started his career as a writingmaster (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 7.5/9

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 been cut 9.5/11

abcdefghijklmnopqrstuvwxyz A B C D E G H I J K L M N O P Q R S TVWXYZ

KJ

11.5/12.5

Baskerville

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. Such

44

seen

Adelle serif

Ve ro n i k a B u ri a n , J o s e S c a g l i one

11/13.5

Adelle

Adelle was designed by Veronika Burian and Jose Scaglione in 2009. They wanted to create a serif font that was versatile and could be used in a variety of ways.

It was designed primary for editorial use in magazines and newspapers. The intermediate weights allow for the text to be very neutral however if used as title or larger text the reader is able to enjoy the personality within the text and see the unique quirks of each letter or symbol.

There are 14 styles ranging from light to heavy as well as more than 90 characters per font. Adele has received gold at the European Design Awards in 2010 for its impeccable design. Adelle was designed by Veronika Burian and Jose Scaglione in 2009.

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Adelle was designed

by Veronika Burian and Jose Scaglione in 2009. They wanted to create a serif font that was versatile and could be used in a variety of ways. It was designed primary for editorial use in magazines and newspapers.

The intermediate weights allow for the text to be very neutral however if used as title or larger text the reader is able to enjoy the personality within the text and see the unique quirks of each letter or symbol. There are 7/8.5

Adelle was designed by Veronika Burian and Jose Scaglione in 2009.

They wanted to create a serif font that was versatile and could be used in a variety of ways. It was designed primary for editorial use in magazines and newspapers. The intermediate weights allow for the text to be very neutral however if used as title or larger text the reader is able to enjoy the personality within the text and see the unique quirks of each letter or symbol. There are 14 styles ranging from light to heavy as well as more than 90 characters per font. Adele has received gold at the European Design Awards in 2010 for its impeccable design. Adelle was designed by Veronika Burian and Jose Scaglione in 2009. They wanted to create a serif font that was versatile and could be 8/10.5

abcdefghijklmnopqrstuvwxyz A B C D E G H I J K L M N O P Q R S TVWXYZ

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11/13

Adelle

Adelle was designed by Veronika Burian and Jose Scaglione in 2009. They wanted to create a serif font that was versatile and could be used in a variety of ways. It was designed primary for editorial use in magazines and newspapers. The intermediate weights allow for the text to be very neutral however if used as title or larger text the reader is able to enjoy the personality within the text and see the unique quirks of each letter or symbol. There are 14 styles ranging from light to heavy as well as more than 90 characters per font. Adele has received gold at the European Design Awards in 2010 for its impeccable design. Adelle was designed by Veronika Burian and Jose Scaglione in 2009. They wanted to createa serif font that was versatile and could be used

48

that

s a n se rif

He rma n n B e rth old

Hermann Berthold first published Akzidenz-Grotesk in 1898. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights. In post-war 1920s graphic designers of the period found “industrial” sans-serifs like Akzidenz-Grotesk appealingly neutral in contrast to the more eccentric, purely geometric sans-serifs of the inter-war period. Akzidenz-Grotesk Bold was originally sold and maintained by the Berthold Type Foundry, later by Berthold Types Ltd, and is now available along with the other weights through Linotype. Akzidenz-Grotesk is a grotesque typeface. It has a ‘monoline’ in structure, with all strokes of the letter of quite similar width, giving a sense of simplicity. The ‘g’ of Akzidenz-Grotesk is a ‘single-story’ design, like in many other German sans-serifs.

Intended use includes publicity materials, advertising, tickets and forms, rather than for decorative purposes or book use. Akzidenz-Grotesk is an early 9/12

Aksidenz Grotesk

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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 Ber7/9

] Hermann Berthold first published

Akzidenz-Grotesk in 1898. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights.

In post-war 1920s graphic designers of the period found “industrial” sans-serifs like Akzidenz-Grotesk appealingly neutral in contrast to the more eccentric, purely geometric sans-serifs of the inter-war period.

Akzidenz-Grotesk Bold was originally sold and maintained by the Berthold Type Foundry, later by Berthold Types Ltd, and is now available along with the other weights through Linotype.

Akzidenz-Grotesk is a grotesque typeface. It has a ‘monoline’ in structure, with all strokes of the letter of quite similar width, giving 9/11

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

Sk

11.5/13

Aksidenz Grotesk

Hermann Berthold first published Akzidenz-Grotesk in 1898.

The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights. In post-war 1920s graphic designers of the period found “industrial” sans-serifs like Akzidenz-Grotesk appealingly neutral in contrast to the more eccentric, purely geometric sans-serifs of the inter-war period. Akzidenz-Grotesk Bold was originally sold and maintained by the Berthold Type Foundry, later by Berthold Types Ltd, and is now available along with the other weights through Linotype. Akzidenz-Grotesk is a grotesque typeface. It has a ‘monoline’ in structure, with all strokes of the letter of quite similar width, giving a sense of simplicity.

The ‘g’ of Akzidenz-Grotesk is a ‘single-story’ design, like in many other German sans-serifs. Intended use includes publicity materials, advertising, tickets and forms, rather than for decorative purposes or book use. Akzidenz-Grotesk is an early example of general-purpose sans serif types that are

52

boy

Helvetica s a n s e ri f

Ma x M i e d i n g e r

9/12.5

Helvetica

In 1957, Max Miedinger, a Swiss typeface designer worked with Eduard Hoffmann to create Helvetica. It quickly became one of the most popular typefaces of the 20th century. The typeface was designed to be easily read, a neutral design that could be used in a variety of places without any difficulties. Helvetica is a neo-grotesque typeface. This meant the design was solid and bold which made it most suitable for headlines or advertisements. The style is extremely vertical and there is a limited variation, if any, in the stroke. Even the curves of grotesque fonts terminated horizontally. To create a uniform appearance, capitals were usually fit within a square, cap and ascender high was kept uniform and descenders were short.

This allowed for tighter linespacing. Grotesque typefaces were so bold they vey rarely had a true italic but anther a sloped alternative design. Some specific attributes of Helvetica are: a narrow t and f a square

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In 1957, Max Miedinger, a Swiss typeface designer worked with Eduard Hoffmann to create Helvetica. It quickly became one of the most popular typefaces of the 20th century. The typeface was designed to be easily read, a neutral design that could be used in a variety of places without any difficulties. Helvetica is a neo-grotesque typeface.

This meant the design was solid and bold which made it most suitable for headlines or advertisements. The style is extremely vertical and there is a limited variation, if any, in the stroke. Even the curves of grotesque fonts terminated horizontally. To create a uniform appearance, capitals were usually fit within a square, cap and ascender high was kept uniform and descenders were short.

6/7

& In 1957, Max Miedinger, a Swiss typeface designer worked with Eduard Hoffmann to create Helvetica. It quickly became one of the most popular typefaces of the 20th century. The typeface was designed to be easily read, a neutral design that could be used in a variety of places without any difficulties. Helvetica is a neo-grotesque typeface. This meant the design was solid and bold which made it most suitable for headlines or advertisements. The style is extremely vertical and there is a limited variation, if any, in the stroke. Even the curves of grotesque fonts terminated horizontally. To create a uniform appearance, capitals were usually fit within a square, cap and ascender high was kept uniform and descenders were short. This allowed for tighter linespacing. Grotesque typefaces were so bold they vey rarely had a true italic but anther a sloped alternative design. Some specific attributes of Helvetica are: a narrow t and f a square looking s bracketed top serif of 1 rounded off square 7.5/9.5

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&i

10/12.5

Helvetica

In 1957, Max Miedinger, a Swiss typeface designer worked with Eduard Hoffmann to create Helvetica. It quickly became one of the most popular typefaces of the 20th century. The typeface was designed to be easily read, a neutral design that could be used in a variety of places without any difficulties. Helvetica is a neo-grotesque typeface. This meant the design was solid and bold which made it most suitable for headlines or advertisements. The style is extremely vertical and there is a limited variation, if any, in the stroke. Even the curves of grotesque fonts terminated horizontally.

To create a uniform appearance, capitals were usually fit within a square, cap and ascender high was kept uniform and descenders were short. This allowed for tighter linespacing. Grotesque typefaces were so bold they vey rarely had a true italic but anther a sloped alternative design. Some specific attributes of Helvetica are: a narrow t and f a square looking s bracketed top serif of 1 rounded off square tail of R concave curved stem of 7 a two-stored “a” narrow apertures no difference between lower case “l” and upper case “I” An interesting tidbit is that Helvetica was originally

56

Helvetica Light san s er if

Max M ied ing er

57

he

Helvetica Light s a n s e ri f

M a x Mi e d i n g e r

9/11

Helvetica Light

Helvetica was developed in 1957 by Max Miedinger and Eduard Hoffmann at the Haas Type Foundry of Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz Grotesk. Originally called Neue Haas Grotesk, its design was based on SchelterGrotesk and Haas’s 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 a wide variety of usage. The final result would come to be characterized by its tall x-height, tight letter spacing, and narrow apertures. When Linotype Foundry adopted Neue Haas Grotesk, its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family. In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Helvetica in order to make it more marketable internationally. What is known now as the Helvetica Light font was later drawn and added by Stempel’s artistic director Erich

58

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Helvetica was developed in 1957 by Max Miedinger and Eduard Hoffmann at the Haas Type Foundry of Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz Grotesk. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’s Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in 7/9

Helvetica was developed in 1957 by Max Miedinger and Eduard Hoffmann at the Haas Type Foundry of Switzerland.

Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz Grotesk. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’s 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 a wide variety of usage. The final result would come to be characterized by its tall x-height, tight letter spacing, and narrow apertures.

When Linotype Foundry adopted Neue Haas Grotesk, its design was reworked.

After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family. In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Helvetica in order to make it more marketable internationally. What is known now as the 7.5/9.5

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

G

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11/13

Helvetica Light

Helvetica was developed in 1957 by Max Miedinger and Eduard Hoffmann at the Haas Type Foundry of Switzerland.

Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz Grotesk. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’s 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 a wide variety of usage. The final result would come to be characterized by its tall x-height, tight letter spacing, and narrow apertures.

When Linotype Foundry adopted Neue Haas Grotesk, its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family. In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Helvetica in order to make it more marketable internationally. What is known now as the Helvetica Light font was later drawn and added

60

61

brings

Frutiger sa n s e r if

Ad r ia n F r u t ig e r

8/10.5

Frutiger

Adrian Frutiger is a renowned twentieth century Swiss graphic designer. His forte was typeface designing and he is considered responsible for the advancement of typography into digital typography. Adrian Frutiger has created some of the most used typefaces of the 20th and 21st centuries. Although interested in many fields including woodcut and paper silhouettes, Frutiger has been passionate about typography for his entire life. Spending most of his career working for Deberny & Peignot updating typefaces and preparing them for photo-typesetting, as well as designing typefaces of his own accord, he has created almost 30 typefaces. Some of his most famous typefaces include Univers, Frutiger (created for the Charles de Gaulle airport), Egyptienne, Serifa, and Avenir. Frutiger is one of only a few typographers whose career span across hot metal, photographic and digital typesetting. He has also been instrumental in refining his own typefaces to include more weights and true italics, some examples are Frutiger Next and Avenir Next.

62

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Adrian Frutiger is a renowned twentieth century Swiss graphic designer. His forte was typeface designing and he is considered responsible for the advancement of typography into digital typography.

Adrian Frutiger has created some of the most used typefaces of the 20th and 21st centuries. Although interested in many fields including woodcut and paper silhouettes, Frutiger has been passionate

7/10

Adrian Frutiger is a renowned twentieth century Swiss graphic designer. His forte was typeface designing and he is considered responsible for the advancement of typography into digital typography. Adrian Frutiger has created some of the most used typefaces of the 20th and 21st centuries. Although interested in many fields including woodcut and paper silhouettes, Frutiger has been passionate about typography for his entire life. Spending most of his career working for Deberny & Peignot updating typefaces and preparing them for photo-typesetting, as well as designing typefaces of his own accord, he has created almost 30 typefaces.

Some of his most famous typefaces include Univers, Frutiger (created for the Charles de Gaulle airport), Egyptienne, Serifa, and Avenir. Frutiger is one of only a few typographers whose career 7.5/10

abcdefghijklmnopqrstuvwxyz ABCDEGHIJKLMNOPQRSTVWXYZ

D G

9.5/12.5

Frutiger

Adrian Frutiger is a renowned twentieth century Swiss graphic designer. His forte was typeface designing and he is considered responsible for the advancement of typography into digital typography. Adrian Frutiger has created some of the most used typefaces of the 20th and 21st centuries. Although interested in many fields including woodcut and paper silhouettes, Frutiger has been passionate about typography for his entire life. Spending most of his career working for Deberny & Peignot updating typefaces and preparing them for photo-typesetting, as well as designing typefaces of his own accord, he has created almost 30 typefaces. Some of his most famous typefaces include Univers, Frutiger (created for the Charles de Gaulle airport), Egyptienne, Serifa, and Avenir. Frutiger is one of only a few typographers whose career span across hot metal, photographic and digital typesetting. He has also been instrumental in refining his own typefaces to include more weights and true italics, some examples are Frutiger Next and Avenir Next.

64

the

Frutiger Light sa n s e ri f A d ri a n F ru ti g e r

9.5/12

Frutiger Light

Frutiger was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. Frutigerâ&#x20AC;&#x2122;s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neo grotesque, humanist and geometric.

From 1961 to 1964, Frutiger created a sans-serif font named Concorde for news use in regular and bold styles for the Parisian printing company, Sofratype.

However the design failed to attract attention and was withdrawn from sale after a few years. In 1970, Frutiger was asked to design signage at the new Charles de Gaulle Airport in the Roissy suburb of Paris.

This â&#x20AC;&#x153;way-finding-signageâ&#x20AC;? commission required a typeface that was both legible from afar and from an angle. Frutiger adapted Concorde using legibility research as a guide, and titled the new design Roissy.

Four years later, the Mergenthaler Linotype Company

66

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Frutiger was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neo grotesque, humanist and geometric.

From 1961 to 1964, Frutiger created a sansserif font named Concorde for news use in regular and bold styles for the Parisian printing company, Sofratype.

However the design failed to attract attention and was with6.5/9

Frutiger was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sansserif typefaces: neo grotesque, humanist and geometric.

From 1961 to 1964, Frutiger created a sans-serif font named Concorde for news use in regular and bold styles for the Parisian printing company, Sofratype. However the design failed to attract attention and was withdrawn from sale after a few years. In 1970, Frutiger was asked to design signage at the new Charles de Gaulle Airport in the Roissy suburb of Paris. This “way-finding-signage” commission required a typeface that was both legible from afar and from an 8/10.5

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10.5/13

Frutiger Light

Frutiger was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century and into the 21st. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces: neo grotesque, humanist and geometric.

From 1961 to 1964, Frutiger created a sans-serif font named Concorde for news use in regular and bold styles for the Parisian printing company, Sofratype. However the design failed to attract attention and was withdrawn from sale after a few years. In 1970, Frutiger was asked to design signage at the new Charles de Gaulle Airport in the Roissy suburb of Paris. This “way-finding-signage” commission required a typeface that was both legible from afar and from an angle. Frutiger adapted Concorde using legibility research as a guide, and titled the new design Roissy. Four years later, the Mergenthaler Linotype Company commissioned Frutiger to develop a print a version of Roissy with improvements, which

68

sun

sa n s e r i f

Pa u l R e n n e r

PaulRennerwasaneminenttwentiethcenturyGerman 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 influencedthemoderntypefacedesigns.Thetypeface 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 narrowness and lack of a consistentsystemtotheirweightsandshapeforms.The 10.5/12.5

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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.Thetypeface was influenced heavily by that of German professor 8/11

z 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 typographiccomponents.TheBauhaus school of design believed in a world where form and function destroyed 9.5/11.5

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11.5/14.5

Futura

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. The design of

72

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Futura Light sa n s e r i f

Pa u l R e n n e r

10.5/12.5

Futura Light

PaulRennerwasaneminenttwentiethcenturyGerman graphic designer, type designer and typographer. He was also a remarkable painter and teacher. He is best knownfordesigningFuturatypefacewhichbecamethe milestonecreationoftwentiethcenturyandinfluenced the modern typeface designs. The typeface was influenced heavily by that of German professor Jakob Erbar and the Bauhaus school of design— a typeface thataimedforapurefunctionality,withnoornamentation or individual characteristics. It is based on the circle — themostfundamentalofalltypographiccomponents.

TheBauhausschoolofdesignbelievedinaworldwhere formandfunctiondestroyedornamentation,clutterand revivalsofthemoredecorativepast.Rennertoobelieved in the school’s principles and rejected the font styles of the past, the grotesques, their narrowness and lack of a consistentsystemtotheirweightsandshapeforms.The designofFuturahelpedusherinanewModernageand

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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.Thetypeface was influenced heavily by that of German professor 8/11

Paul Renner was an eminent twentieth centuryGermangraphicdesigner,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 influencedthemoderntypefacedesigns.

Thetypefacewasinfluencedheavily by that of German professor Jakob Erbar and the Bauhaus school of design— a typeface that aimed for a pure functionality,withnoornamentationor individual characteristics. It is based on thecircle—themostfundamentalofall typographiccomponents.TheBauhaus school of design believed in a world where form and function destroyed ornamentation, clutter and revivals of 9.5/11.5

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Futura Light

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 influencedthemoderntypefacedesigns.Thetypefacewasinfluenced heavily by that of German professor Jakob Erbar and the Bauhaus schoolofdesign—atypefacethataimedforapurefunctionality,with noornamentationorindividualcharacteristics.Itisbasedonthecircle —themostfundamentalofalltypographiccomponents.TheBauhaus school of design believed in a world where form and function destroyedornamentation,clutterandrevivalsofthemoredecorative 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.The design of Futura helped usher in a new Modern age and was emblematic of

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Futura Bold sa n s e r i f

Pa u l R e n n e r

10.5/12.5

Aksidenz Grotesk Light

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

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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 8/11

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 9.5/11.5

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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 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

80

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A l b e r t-Ja n Po o l

11.5/14

DIN

Founded in 1917 Deutsches Institut fĂźr Normung (DIN; the German Institute for Standardization) is the German national organization for standardization and is the German ISO member body. DIN is a German Registered Association headquartered in Berlin. There are currently around thirty thousand DIN Standards, covering nearly every field of technology. In 1931 the DIN institute published DIN 1451. It contained several standard typefaces for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used for signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. Originally designed for

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Founded in 1917 Deutsches Institut für Normung (DIN; the German Institute for Standardization) is the German national organization for standardization and is the German ISO member body. DIN is a German Registered Association headquartered in Berlin. There are currently around thirty thousand DIN Standards, covering nearly every field of technology. In 1931 the DIN institute published DIN 1451.

7.5/10

f Founded in 1917 Deutsches Institut für Normung (DIN; the German Institute for Standardization) is the German national organization for standardization and is the German ISO member body.

DIN is a German Registered Association headquartered in Berlin. There are currently around thirty thousand DIN Standards, covering nearly every field of technology. In 1931 the DIN institute published DIN 1451. It contained several standard typefaces for mechanically engraved lettering, 10.5/13.5

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DIN

Founded in 1917 Deutsches Institut fĂźr Normung (DIN; the German Institute for Standardization) is the German national organization for standardization and is the German ISO member body. DIN is a German Registered Association headquartered in Berlin. There are currently around thirty thousand DIN Standards, covering nearly every field of technology. In 1931 the DIN institute published DIN 1451. It contained several standard typefaces for mechanically engraved lettering, hand-lettering, lettering stencils and printing types. These were to be used for signage, traffic signs, wayfinding, lettering on technical drawings and technical documentation. Originally designed for industrial uses, the first DIN-type fonts were a simplified design that could be applied with limited

84

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Myriad sa n s e r i f

R o be r t Sl i m ba ch

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Myriad

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

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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 6.5/8

i 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 8.5/11

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11/14

Myriad

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

88

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Eric Gill

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 10/12

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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 7.5/9

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 8.5/10.5

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11.5/14

Gill Sans

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

92

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Franklin Gothic sa n s er i f

M o r r i s Ful l er B en ton

9.5/12

Franklin Gothic

Franklin Gothic is a workhorse sans-serif typeface first designed by Morris Fuller Benton (1872–1948) in 1902, and first produced by ATF in 1903. Benton was the influential American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer. “Gothic” here is another name for sans serif, particularly in the nineteenth century. Franklin Gothic is based on earlier nineteenth century sans serif models. It was named in honor of that prolific American printer, Benjamin Franklin. Benton designed many variations on the face, including condensed, wide, and shaded variations.

The various variations in the Franklin Gothic family were issued over a period of ten years, all of which were designed by Benton and issued by A.T.F. It was popular enough with printers that it was produced in monotype and linotype versions, and there are many digital versions of the face available to designers today.

Franklin Gothic is an extra-bold sans-serif type which

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Franklin Gothic is a workhorse sans-serif typeface first designed

by Morris Fuller Benton (1872–1948) in 1902, and first produced by ATF in 1903. Benton was the influential American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer.

“Gothic” here is another name for sans serif, particularly in the nineteenth century.

Franklin Gothic is based on earlier nineteenth century sans serif models. It was named in honor of that prolific American printer, 6.5/9

Franklin Gothic is a workhorse sansserif typeface first designed by Morris Fuller Benton (1872–1948) in 1902, and first produced by ATF in 1903.

Benton was the influential American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer. “Gothic” here is another name for sans serif, particularly in the nineteenth century. Franklin Gothic is based on earlier nineteenth century sans serif models. It was named in honor of that prolific American printer, Benjamin Franklin. Benton designed many variations on the face, including condensed, wide, and shaded variations. The various variations in the Franklin Gothic family were issued over a period of ten years, all of which were 8.5/11

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10.5/12.5

Franklin Gothic

Franklin Gothic is a workhorse sans-serif typeface first designed by Morris Fuller Benton (1872–1948) in 1902, and first produced by ATF in 1903. Benton was the influential American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer. “Gothic” here is another name for sans serif, particularly in the nineteenth century.

Franklin Gothic is based on earlier nineteenth century sans serif models. It was named in honor of that prolific American printer, Benjamin Franklin. Benton designed many variations on the face, including condensed, wide, and shaded variations. The various variations in the Franklin Gothic family were issued over a period of ten years, all of which were designed by Benton and issued by A.T.F. It was popular enough with printers that it was produced in monotype and linotype versions, and there are many digital versions of the face available to designers today. Franklin Gothic is an extra-bold sans-serif type which can be distinguished from other sans serif typefaces by its double-story g and a. Other main distinguishing characteristics are the tail of the Q and the ear of

96

This book was designed by Kasia Sasinowska as a project for Typography class at Northeastern University (Boston, Fall semester, 2017).

Some of the photographs used were taken from Tumblr; some of the line drawing have been created by Frederic Forest.

The pages were printed by Blurb. Helvetica Neue was used for the book title, colophon, page numbers, and table of contents.

Poem used in this book was writen by Rupi Kaur.