t he
FAC E of
bodoni miller futura
the three
TYPEFACE SPECI M E NS of bodoni miller futura
by Kevan D’Agostino
DEL
PERFEZIONE VOLUME PRIMO
Bodoni is a Modern typeface, designed in 1798 by one of the most prolific type designers of all time, Giambattista Bodoni. He was meticulous in the design and print quality of his publications and produced under the patronage of the Duke of Parma. Although most designers dedicate their lives to creating several typefaces, Bodoni spend his entire life refining and expanding the range of his single typeface. Bodoni’s serifs are both f lat and unbracketed and the font is recognized for it’s modern style that consisted of a vertical stress and thin hairlines. Bodoni believed in plenty of white space and therefore descenders are long. Some of its other characteristics are it’s upped top serifs on b,h,l, top & bottom serifs on C, vertical tail of Q, small upper bowl of g and the large ball terminal of c.
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BODONI di
GIAMBATTISTA BODONI
PAR M A progettato da uno dei type designer pi첫 prolifici di tutti i tempi
1798
boston, massachusetts, saturday, may 22, 1822 no. 43
at
Fon t -Bu r e au
design ed i n 1997
M AT T HE W CA RT ER
BY
MILLER
ba sed on t he scotch rom a n st y l e .
vol 3
M
a feature of the originals; The Miller fam-
Miller Text Roman Miller Text Roman
Miller Text Italic SC
Miller Text SC
Miller Display Italic
Miller Display Roman
Miller Display Italic SC
Miller Display Roman SC
family & weights
Book, Web and Corporate use.
is recommended for Newspaper, Magazine,
Cyrus Highsmith. Among other uses, Miller
the Font Bureau's Tobias Frere-Jones and
developed by Carter with the assistance of
Solidity of Construction, Excellence of Workmanship
ade
Lorillards Climax Plug
r.u that aware
Hearing a red tin tag, that Lorillard's Rose Leaf fines cut, that Lorillard's navy clippings, and that Lorilard's Sauf 's are the best and cheapest, quality considered? say yes, come have a grand old chew.
gr
Lorillard
l im a
1766 Street Warerooms, 3 West 14 Street, n.y.
the best now made
ing Pianists and Musical Authorities.
and Elegance of Finish, and are pronounced by lead-
Sent By Mail Safely s.e.c. rason, 1320 powell drive, boston, massachusetts
Lecture on Nervous Teaslon & Circular Malled Free
Now the most excellent fit adjusts to the satisfaction of those who want it. That is so, the most affordable and highest quality made is now automatically adjustable, a perfect fit guaranteed. Available through mail and postage.
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RAWSONS (Self Adjusting) U.S. ARMY suspensory bandage
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numerals & punctuation
faces used today in American newspapers.
revival has become one of the most popular type-
newspapers during the 19th century. Miller's new
in having both roman and italic small caps,
ily was designed by Matthew Carter and
foundries of Alexander Wilson and William Miller in the period of 1810–1820; once a style popular in
in types cut by Richard Austin at the Scottish type
any one historical example—and authentic
is faithful to the Scotch style though not to
ness of Tone, Elasticity of Touch, Simplicity of Action,
c
Miller is a Scotch Roman—a style which originated
glected since and overdue for revival. Miller
Have universally received Highest Awards and Hon-
pianos
luhnum ors wherever exhibited for greatest Purity and Even-
a b c d e f g h i j k l m n o p q r s t u v w x y z
used in the usa in the 19th century, but ne-
al purpose types of Scottish origin, widely
al Scotch Romans, a class of sturdy, gener-
It is an inspiration of the popular Industri-
Bureau in 1997 by Matthew Carter.
iller is a typeface designed at Font
x
Designed by Paul Renner between 1924-1926, Futura was commercially released soon after the type foundry “Bauer� commissioned it in 1927. Futura is one of the most popular German sans ever created. While designing Futura, Renner avoided creating any non-essential elements, making use of basic geometric proportions with no serifs or frills. Futura’s clean form reflects the appearance of efficiency and forwardness. Every letter, lowercase or uppercase, seems to have geometric form. This is evident especially in the squares, triangles, and the almost perfect circles. Every stem is a rectangle or a straight
line and ascenders move past the cap height.
Fu
paul renner
a b c d e f g h i j k l m o p q r s t u v w x y z 12 3 4 5 6 7 8 9 ? ! ( ) & [ ] # $ %
Die
tura Bauer 1927
A B C D E F G H I J K L M N O P Q R S T U V W X YZ & ? ! ( )
Futura's success spawned a range of new geometric sans-serif typefaces from competing foundries, and remains one of the most used sans-serif types into the twenty-first century. Particularly during the 1950's it was used extensively by the publishing industry as a general purpose font. Futura remains one of the most important typeface families and is used on a daily basis for print and digital purposes as both a headline and body font. Although Paul Renner was not associated with the Bauhaus at the time 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.
Futura Bold Futura Demibold Futura Medium Futura Book Futura Light