god is in the details - digital edition

GOD IS IN THE DETAILS AN EXERCISE IN TYPOGRAPHIC DETAIL

A workshop for: Editors, Designers, Writers, Producers, & Publishers Hosted by: Joseph Miceli & Lina Ozerkina 1

WEEK 1

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MONDAY 11:20, EHU, Room 107

THURSDAY time and location to be announced

group b

• Presentation of class theme

Group font presentations.

Presentations will happen by fonts in alphabetical order.

• Assigning of fonts

The group will be divided into two groups, and will meet on alternating days.

NEXT STEP: for next class bring in an image that most fits your font, visually and conceptually

—————————————— —————————————— PART 1: RESEARCH We want you to breathe and live the font you were given, you must know everything about it, and be able to answer questions that might arise from class discussions.

PART 2: PRACTICE Begin to familiarize yourself with your font, explore its possibilities and potential applications, de-compose the letter-shapes to discover the logic of the forms.

Research criteria: • History of the font

——————————————

• 5 distinct features • Find similar fonts

FRIDAY

• Find examples of the font

time and location to be announced

(online, in the city, books...)

+ group b Present your images to the whole group. We will present some existing type specimens. group a

Explore the whole family of your font, discover it’s unique characteristics.

NEXT STEP: Make a type specimen for your font.

Tasks: Prepare a presentation for Wednesday (group a), Thursday (group b) introducing your font to the group.

The goal of this exercise is for you learn about type specimens by making one.

——————————————

FORMAT: BOOKLET, 8 PAGES (2 x FOLDED A4’S)

TUESDAY (time and location to be announced)

Tasks: • Make a map of the characters

+ group b A day for your research group a

of your font, highlighting the characters that are most unique • Type set a paragraph in your font

13:00 We will give you a small presentation on typography covering the basics of typography (kerning, legibility, serif/sans, spacing, paragraphs, ligatures, etc.) and introduce you to some inspiring fonts.

(use a text from your research about the history of your font) • Make an impressive title for your specimen’s front cover • Present the image you found that best represents your font

All the remaining pages of the specimen are up to you, review and use your preliminary research material, find the most impressive way to introduce your font through your specimen.

—————————————— WEDNESDAY (time and location to be announced)

group a

——————————————

Group font presentations.

Presentations will happen by fonts in alphabetical order.

NEXT STEP: for next class bring in an image that most fits your font, visually and conceptually

2

WEEK 2

—————————————— MONDAY + group b Presentations, review of progress with your specimen group a

—————————————— TUESDAY + group b Presentations, review of progress with your specimen group a

—————————————— WEDNESDAY + group b Progress review and critiques group a

—————————————— THURSDAY + group b Review and finalizing your specimen group a

—————————————— FRIDAY + group b Presentation and distribution of your final type specimen booklet group a

——————————————

3

DESCRIPTION This workshop will be an intensive introduction to the world of typographic detail.

AIMS To broaden the student’s knowledge of typography through historical study and practical assignments.

For more information or questions contact us: joe@alfa60.com +37.06.811.9187 lina@alfa60.com +37.06.811.9085 8

Welcome

to

BELL

In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by.

Bell MT

Bell MT BOLD

In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters .

Bell MT Std Semibold

In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded

by Stanley Morison as the first English Modern face.

Bell MT Std Semibold italic

In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French

Bell MT Std BoldItalic

Essentially a text face, Bell can be

Bell MT BOLD 48pt

In 1931 Monotype made this facsimile of the typeface cut originally for John Bell

Bell MT BOLD 36pt

In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the

Bell MT BOLD 24pt

Bell MT BOLD 12pt

In 1931 Monotype made this facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, “The Oracle,” it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, the face is less severe than the

Transitional

Bell MT Std SemiBold 70pt

How to perform an english speech?

ALL THE SAME

Bell MT BoldItalic 25 pt

Bell MT Regular 49 pt

"Just think," he said wryly How can you say that?..

Bell MT BoldItalic 34 pt

Of course, that was true

Bell MT Bold 34 pt

Bell MT Std SemiBold 36 pt

atmosphere of the Metro had evaporated

to be with her

Bell MT Std SemiBold 22pt

I love you too much...

Bell MT Bold 56 pt

THE SEASON

Bell MT Std SemiBold 43pt

150 969 444 553

Bell MT Std SemiBold Italic 57pt

Dutruelle's

Bell MT Std SemiBold 57pt

Bell MT Bold 70pt

Q Bell MT BOLD 450pt

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wv X

oe

Hnf

pqb

ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ

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The typeface is of classified as didone modern.

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by Giambattista Bodoni more vertical, slightly condensed, upper case, but taking them to a mo sizes.

(1740–1813) in 1798. The typeface is classified ashas didone modern.underlying Bodoni followed thewith ideasflat, of unbrac Bodoni’s typeface a narrower structure John Baskerville, as found in the printing type Baskerville, that ofthin increased stroke contrast extreme contrast between thick and strokes, and an overalland geometr a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. admired the work of John Baskerville and studied in detail the designs o Bodoni’s typeface has a narrower underlying structureand with flat, unbracketed serifs. has Pierre Simon Fournier Firmin Didot. Although he The drewface inspiration extreme contrast between thickdesigners,[citation and thin strokes, needed] and an overall construction. above geometric all from Didot, no doubtBodoni Bodoni foun admired the work of John Baskerville and studied in detailgained the designs of French type founders typefaces, which deservedly worldwide acceptance among printer Pierre Simon Fournier and Firmin Didot.

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specimen

by Sabina Klianina

Regular 6/8 pt Bodoni is the name given to a series of serif typefaces first designed

by Giambattista Bodoni (1740–1813) in 1798. The typeface is classified as didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni’s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni admired the work of John Baskerville and studied in detail the designs of French type founders Pierre Simon Fournier and Firmin Didot. Although he drew inspiration from the work of these designers.

Regular 8/9 pt Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni (1740–1813) in 1798. The typeface is classified as didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni’s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni admired the work of John Baskerville and studied in detail the designs of French type founders Pierre Simon Fournier and Firmin Didot. Although he drew inspiration from the work of these designers.

Regular 9/12 pt Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni (1740–1813) in 1798. The typeface is classified as didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni’s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni admired the work of John Baskerville and studied in detail the designs of French type founders Pierre Simon Fournier and Firmin Didot. Although he drew inspiration from the work of these designers.

j j j j j j j j j j j j

Bodoni Std Text

j j j j j j j j j j j j

90 90

90

Bodoni Std Character Map

A BC D E F G HIJK LMN O P QRSTUVWXYZ abcdefghijklmnopqrstuvwzyx !@#$%^&*()_+}{“:?>< 1234567890 àçèéùš

y you’re lucky

U

JUST REMEMBER HOW LUCKY YOU ARE

to do

WHAT YOU REALLY

like

U

own is a song about you ...You don’t know how lucky you are, you don’t know how much I adore you ...You are the welcoming back ...t back to the ocean today ...”What are you trying to find, I d...own is a song about you ...You don’t know how lucky you are, you don’t know how much I adore you ...You are the welcoming back ... ones that can know you so well are the ones that can swallow you whole. ...You are the welcoming back ...I didn’t go back today ...s I brought them to you ...But you frowned when I smil...You said, “Let me tell you the song of this to...You said, “Everything closes at five.

After that, well, you just got the bars ...You don’t know how precious you are, walking around...where we came from, you know, and sometimes...You don’t know how precious you are, I am the one w...You don’t know how I am the one. You don’t know how I am the one. own is a song about you ...You don’t know how lucky you are, you don’t know how much I adore you ...You are the welcoming back ...t back to the ocean today ...”What are you trying to find, I d...own is a song about you ...You don’t know how lucky you are, you don’t know how much I adore you ...You are the welcoming back ... on

Italic

14/16 pt

Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni.

The typeface is classified as didone modern.

Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni. The typeface is classified as didone modern.

24/24 pt

Bodoni is the name given to a series of serif typefaces first designed by Bodoni.

Bodoni is the name given to a series of serif typefaces first designed by Bodoni.

Bodoni is the name given to a series of serif type.

Bodoni is the name given to a series of serif typefaces.

36/30 pt

Regular

Bodoni Std Display

Bold

Condensed

Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni. The typeface is classified as didone modern.

Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni. The typeface is classified as didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville.

Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni.

Bodoni is the name given to a series of serif typefaces first designed

by Giambattista Bodoni.

Bodoni followed the great ideas of John Baskerville.

Bodoni is the name given to a series of serif type.

Bodoni is the name given to a series of serif types designed

by Baskerville.

PMN Caecilia

Catherine Sazytch

UUUU uuuu

NNNN nnnn

OOOO oooo

X

E k

The CAECILIA has both geometric and humanist aspects with variations of stroke thikness

T

L

B

Caecilia font distinguishes itself in the completeness of each of its cuts.

Each comes complete with small caps and old style figures, such

Roman 6/9 pt

Caecilia font distinguishes itself in the completeness of each of its cuts.

Each comes complete with small caps and old style figures, such

Light 8/11 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small

Roman 8/11 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small

Light 9/12 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Roman 9/12 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Light 10/13 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Roman 10/13 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Light 12/15 pt

Caecilia font distinguishes itself in the completeness of each of its cuts.

Roman 12/15 pt

Caecilia font distinguishes itself in the completeness of each of its cuts.

Light 6/9 pt

Light Italic 6/9 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small caps and old style figures, such details giving

Italic 6/9 pt

Light Italic 9/12 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small

Italic 9/12 pt

Light Italic 12/15 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each

Italic 12/15 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small caps and old style figures, such details giving

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with

Caecilia font distinguishes itself in the completeness of each of its cuts. Each

Bold 6/9 pt

Caecilia font distinguishes itself in the completeness of each of its cuts.

Each comes complete with small caps and old style figures, such

Heavy 6/9 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small caps and old style figures,

Bold 8/11 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small

Heavy 8/11 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with

Bold 9/12 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Heavy 9/12 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Bold 10/13 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Heavy 10/13 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Bold 12/15 pt

Caecilia font distinguishes itself in the completeness of each of its cuts.

Heavy 12/15 pt

Caecilia font distinguishes itself in the completeness of each of its cuts.

Bold Italic 6/9 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small caps and old style figures, such details giving

Heavy Italic 6/9 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes complete with small caps and old style figures, such details giving

Bold Italic 9/12 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Heavy Italic 9/12 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each comes

Bold Italic 12/15 pt

Caecilia font distinguishes itself in the completeness of each of its cuts. Each

Heavy Italic 12/15 pt

Caecilia font distinguishes itself in the completeness of each of its cuts.

Latin capitals

Latin lowercase

Latin small capitals

Latin ligatures

Figures, currency & related forms

Punctuations & marks

ABCDEFGHIJKLMNO P Q R ST UVW XY ZÀÁ ÃÄÅÆÇÈÉÊËÌÍÎÏÐÑÒ Ó Ô Õ Ö Ø Ù Ú Û Ü Ý Þ Ł OE ŠŸ Ž abcdefghijklmnop qrstuvwxyzßàáâãä åçèéêëìíîïðñòóôõö ø ù ú û ü ý þ ÿ ı ł oe š ž abcdefghijklmnop qrstuvwxyz fl fi æ €#$%0123456789¢£ ¤¥ƒ‰0123456789¢ _ - – — −“ ‘ « » ‘ ’ ‚ “ ” „ ‹ ›! , . : ; ? ¡ ¿ …& ( ) / [ \ ] { }* @ § ©®¶†‡•™

a

caslon

A Type Specimen by Veranika Ardytskaya

į

A Sf e

æ

O h m

j

y

Q

Weight 80 pt

Ligatures 35 pt

BB BB BB BB BB BB regular

italic

semibold

semibold italic

bold

bold italic

ff fi fj fl ffi ffj fh ffh fb ffb fk ffk Th ff fi fj fl ffi ffj fh ffh fb ffb fk ffk Th

Punctuation & Symbols 36 pt

ˇ ˆ ˉ ˙ ˝ ˘ ˚ ˜’` . , : ; ‘ “ ¨¿ ? ! ¡ | / «{ [ ( ) ] }» \ ¦ @%#§©®¶µ

¾ ¼ ½ ² ³ ° Lining figures 35 pt Not-lining figures 35 pt

Special characters 22 pt

H1234567890 H 1234567890 ÀÁÂÃÃÄÅÅÆ ÇÈÉËÊÌÍÎÏÐÑ ÒÓÔÕÖÙÚÛÜÜ àáâãäåæçèéêëìîíï ðñòóôõöøùúûü

R

G

double storey

e

curved leg

without spur

closed tail horizontal cross-bar

g

A

concave apex

Q

contrast: high, vertical, gradual

a l roman with blunt serif

softened teardrop lobe

T symetrical and splayeds

long tail

double-storey

bracketed

Caslon text set at

regular, 15/18 pt

italic, 15/18 pt

i carry your heart with me (i carry it in my heart) i am never without it (anywhere i go you go, my dear; and whatever is done by only me is your doing, my darling)

i carry your heart with me (i carry it in my heart) i am never without it (anywhere i go you go, my dear; and whatever is done by only me is your doing, my darling)

semibold, 15/18 pt

semibold italic, 15/18 pt

i carry your heart with me (i carry it in my heart) i am never without it (anywhere i go you go, my dear; and whatever is done by only me is your doing, my darling)

i carry your heart with me (i carry it in my heart) i am never without it (anywhere i go you go, my dear; and whatever is done by only me is your doing, my darling)

bold, 15/18 pt

bold italic, 15/18 pt

i carry your heart with me (i carry it in my heart) i am never without it (anywhere i go you go, my dear; and whatever is done by only me is your doing, my darling)

i carry your heart with me (i carry it in my heart) i am never without it (anywhere i go you go, my dear; and whatever is done by only me is your doing, my darling)

Remarked when Owl’s chuckling first soft cry and the first star. A long stretched hour it was; all safely sown

as hatracks into peachtrees grow or hopes dance best on bald men’s hairand every finger is a toe and any courage is a fear long enough and just so long will the impure think all things pure and hornets wail by children stung or as the seeing are the blin and robins never welcome spring nor flatfolk prove their world is round nor dingsters die at break of dong and common’s rare and millstones float long enough words

Like the touch of rain she was. On a man’s flesh and hair and eyes

moutains She speaks in our spirit

making me feel how myself has been coarse and dull compared with you, silently who are and cling to my

perfect day beauty is there

have you said of beauty. Yet in truth you spoke not of her but of needs unsatisfied. And beauty is not a need but an ecstasy

all these things

thirsting nor an empty hand stretched forth

But rather a heart enflamed and a soul enchanted and it is not the image you would see

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Cooper Black was first released as a handwritten type It is based on extra black version typefase Cooper Old Style Oswald Brus Cooper designed CB in 1921 Released by the Barnhart & Spindler foundry of Chicago in 1922 The blund and rounded forms, blurred serifs, and very small counters make it friendly face

Cooper

Black

The Cooper Old Style family was advertised as being for far sighted printers with near sighted customers

6 pt / 7,2 pt

Popular since it was designed in 1921, Cooper Black has inspired many imitations. However, although many type designers and manufacturers have tried to market similar designs, none has outdone Cooper Black.

Popular since it was designed in 1921, Cooper Black has inspired many imitations. However, although many type designers and manufacturers have tried to market similar designs.

Cooper Black is a very heavy version of Cooper Oldstyle (also known simply as Cooper), an innovative typeface with rounded serifs and long ascenders designed in 1919.

Once upon a time there was a little lass who wanted nothing more than to touch the stars in the sky. On clear, moonless nights she would lean out her bedroom window, gazing up at the thousand tiny lights scattered across the heavens, wondering what it would be like to hold one in her hand.

7 pt / 8,4 pt

The blund and rounded forms, blurred serifs and very small counters make this a warm, rounded, unique, readable, easy-to-use, beautiful and very friendly typeface 8 pt / 9,6 pt

The Milky Way shined more brightly, she decided she couldn't stand it any longer-she just had to touch a star or two, no matter what.

9 pt / 10,8 pt

She walked a far, far way from her house, and then farther still, until she came to a mill wheel, creaking and grinding away.

10 pt / 12 pt

12 pt / 14,4

ABCDEFGH IJKLMNOP QRSTUVW XYZ&ß0123 456789!?{}() /|\<>$§%@~^ *”:;’,.=+_-°´´

THE BACKWARD TILTED COUNTERS

Q

It is the most distinctive features are the backward tilt of the counters on the ‘O’ and ‘Q’ It is the most distinctive features are the backward tilt of the counters on the ‘O’ and ‘Q’ It is the most distinctive features are the backward tilt of the counters on the ‘O’ and ‘Q’ It is the most distinctive features are the backward tilt of the counters on the ‘O’ and ‘Q’

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Popular since it was designed in 1921, Cooper Black has inspired many imitations. However, although many type designers and many facturers have tried to market similar designs, none has outdone CB

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Cooper Black

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ALWAYS SMILE

GLADNESS YOU CAN TRUST

MY WORLD IS SO SMALL

JUST SEE ON SKY Don’t Follow Your Fear and Keep Smile Everyday

ALL ABOUT YOU HIS WORDS ARE TRUE!!

The movie’s premise is simple: the typical boy meets girl love story, with the cliché rich boy, poor girl angle. But I think its simplicity is part of what’s so great about it. I fell in love with Oliver and Jenny (and as corny as it may sound, I think their undying love for each other is ultimately what we’re all searching for), and their tragedy became my devastation as well.

It’s generally your typical soppy chick flick (with the exception that the pair don’t “live happily ever after”), but probably the best one of its kind.

UNTIL MORNING

IT’S SO COLD TODAY. I’M STANDING AT MY WINDOW, LOOKING AT THE PEOPLE MOVING LIKE LITTLE DOTS. STANDING IN A HEATED ROOM, I’M BEGINNING TO PITY THOSE PEOPLE. WHY DON’T THEY GO HOME? DO THEY PLAN ON WANDERING UNTIL MORNING? ONE WARM SUMMER EVENING, A NIGHT WHEN THE MILKY WAY SHINED MORE BRIGHTLY THAN EVER BEFORE, SHE DECIDED SHE COULDN’T STAND IT ANY LONGER-SHE JUST HAD TO TOUCH A STAR OR TWO, NO MATTER WHAT. SO SHE SLIPPED OUT THE WINDOW AND STARTED OFF BY HERSELF TO SEE IF SHE COULD REACH THEM.

I CANNOT SLEEP,

EVERY NIGHT THEY SHINE IN MY FACE FROM THE SURFACE

LOTS OF STARS HERE I see them all the time.

COOPER BLACK DISPLAY Once upon a time there was a little lass who wanted nothing more than to touch the stars in the sky. On clear, moonless nights she would lean out her bedroom window.

ONCE UPON A TIME THERE WAS A LITTLE LASS WHO WANTED NOTHING MORE THAN TO TOUCH THE STARS IN THE SKY. ON CLEAR, MOONLESS NIGHTS SHE WOULD LEAN.

But after a while she realized she was shivering with cold, and when she looked down into the darkness, she could no.

AFTER A WHILE SHE REALIZED SHE WAS SHIVERING WITH COLD, AND WHEN SHE LOOKED DOWN.

She walked a far, far way, and then farther still, until she came to a mill wheel, creaking and grinding.

SHE WALKED A FAR, FAR WAY, AND THEN FARTHER STILL, UNTIL SHE CAME TO A MILL WHEEL.

14 pt/ 16,8 pt

16 pt / 19,2 pt

18 pt / 21,6 pt

14 PT/ 16,8 PT

16 PT / 19,2 PT

18 PT / 21,6 PT

lk

B per

BT

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Co

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B per

T

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Coo

Hd

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Coo

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Oswald Brus Cooper designed CB in 1921 Released by the Barnhart & Spindler foundry of Chicago in 1922 Cooper Black is a heavier version of Cooper Old Style Cooper old style is not based on a single historic model It exibits influences of art nouveau, art deco and the machine age Cooper Old Style enjoyed popularity in the 1920â&#x20AC;&#x2122;s and became somewhat iconic of the in 1970 Cooper Black was first released as a handwritten type The Cooper Old Style family was advertised as being for far sighted printers with near sighted customers The blund and rounded forms, blurred serifs, and very small counters make it friendly face Many type designers and manufacturers have tried to market similar designs, none has outdone Cooper Black Designed by Hanna Ihnatsenka

8 / 10 pt

12 / 14 pt

Egyptienne is a serif typeface belonging to the classification slab serif, or Egyptian, where the serifs are unbracketed and similar in weight to the horizontal strokes of the letters. Egyptienne was designed in 1956 by Adrian Frutiger for the Deberny & Peignot foundry and was the first new text face created for process of photocomposition.

Their bold appearance, they are most commonly used in large headline but are seldom used in body text.

In the 19th century Egypt and Egyptian culture become very fashionable leading to development of fonts referred to as Egyptienne. Their name likely comes from that time, when Napoleon invaded in Egypt. During the 19th and 19th centuries, printers became more and more skilled at making letters for letter presses.

They started to experiment with really thin strokes combined with really thick strokes.

Fonts became really formal and this was considered a very modern thing to do at the time. Those fonts are therefore called modern even though they now come across as very old-fashioned. A typical example of a modern font is Bodoni.

Unfortunately, things get quite complicated at the end of the nineteenth century and the beginning of the twentieth. For example, in the nineteenth century Egypt and Egyptian culture become very fashionable leading to the development of fonts referred to Egyptienne.

ABOUT font specimens 72 pt black

34 pt bold

EGYPTIENNE 24 pt small caps

tipographic

10 / 12 pt

In typography, a slab serif (also called mechanistic, square serif or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serif.

24 pt roman

DISCOVER YOU CHARACTERISTICS AN UNIQUE 36 pt bold

Slab and Serifs 17 pt italic caps

Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier).

Slab serif typefaces generally have no bracket (feature connecting the strokes to the serifs).

34 pt bold

The quick brown fox jumps 11,5 over the lazy dog! pt bold

likely film flam float quilty ets.

17 pt italic

Lorsque, par un décret des puissances suprêmes, Le Poète apparaît en ce monde ennuyé, Sa mère épouvantée et pleine de blasphèmes Crispe ses poings vers Dieu, qui la prend en pitié:

Je ferai rejaillir ta haine qui m'accable Sur l'instrument maudit de tes méchancetés, Et je tordrai si bien cet arbre misérable, Qu'il ne pourra pousser ses boutons empestés!"

– "Ah! que n'ai je mis bas tout un nœud de vipères, Plutôt que de nourrir cette dérision!

Maudite soit la nuit aux plaisirs éphémères Où mon ventre a conçu mon expiation!

Pourtant, sous la tutelle invisible d'un Ange, L'Enfant déshérité s'enivre de soleil Et dans tout ce qu'il boit et dans out ce qu'il mange Retrouve l'ambroisie et le nectar vermeil.

Puisque tu m'as choisie entre toutes les femmes Pour être le dégoût de mon triste mari, Et que je ne puis pas rejeter dans les flammes, Comme un billet d'amour, ce monstre rabougri,

II joue avec le vent, cause avec le nuage, Et s'enivre en chantant du chemin de la croix; Et l'Esprit qui le suit dans son pèlerinage Pleure de le voir gai comme un oiseau des bois.

6 / 7 pt roman

Some consider slab serifs to be a subset of modern serif typefaces. Because of their bold appearance, they are most commonly used in large headlines and but are seldom used in body text. The exception is those that are monospaced, because of their usage in typewriters, but that is declining as electronic publishing becomes more common.

Another recent exception is the typeface designed for The Guardian newspaper in the UK which is Egyptian used through the paper as body text. Some consider slab to be a subset of modern typefaces.

The exception is those that are monospaced, because of their usage in typewriters, but that is declining as electronic publishing becomes common.

Another recent exception is the typeface designed for The Guardian newspaper in the UK which is an Egyptian used through the paper as body text.

Unfortunately, things get quite complicated at the end of the nineteenth century and the beginning of the twentieth. For example, in the nineteenth century Egypt and Egyptian culture become very fashionable leading to the development of fonts referred to Egyptienne.

14 / 16 pt

In typography, a slab serif (also called mechanistic, square serif or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs.

Serif terminals may be either blunt and angular, or rounded (Courier). Slab serif typeface generally have no bracket.

Some consider slab serifs to be a subset of modern slabserif typeface Because of their bold appearance, they are most commonly used in large headlines and advertis.

Another recent exception is the typeface designed for The Guardian newspaper in the UK which is an Egyptian used through the paper as body text.

!¡∙¬?¿:;. … ’()*+,-– — −{}[\]`´ˆ˜¯˘˙¨˚•‚„”»ˇ 0123456789½¾%‰¼<=>≠≤≥◊#√∏²³∆Ω∑∞∫≈÷·˝ μπ€ℓ℮∂$&¥ƒ§¤¢£@™µ–†‡º¶⁄'“«‹›~°¦_‘ ABCDEFGHIJKLMNOPQRSTUVWXYZ¸ abcdefghijklmnopqrstuvwxyz˛ ÁÂÄÀÅÃÇÉÊËÈÍÎÏÌÑÓÔÖÒÕŠÚÛÜÙÝŸŽ áâäàåãçéêëèíîïìñóôöòõšúûüùÿýž ^fiflªıł¹×−þÞ±©ˉ| ® ÆÐØŒðæŁœß∕ø

DIFFERENT TEXT SAMPLES

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EGYPTIENNE

egyptienne character set 10 pt and 18 pt roman

Egyptienne

FONT type specimen

400 pt roman

bold roman italic

a a a a b b b b c c c c d d d d e e e e f f f f g g g g h h h h i i i i j j j j k k k k l l l l mmmm n n n n o o o o p p p p q q q q r r r r s s s s t t t t u u u u v v v v wwww y y y y z z z z black

bold roman italic

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slab serifs

A A A A B B B B C C C C D D D D E E E E F F F F G G G G H H H H I I I I J J J J K K K K L L L L MMMM N N N N O O O O P P P P Q Q Q Q R R R R S S S S T T T T U U U U V V V V WWWW Y Y Y Y Z Z Z Z

black

18 pt

fl fi OQ ligatures

BY MARGARITA YASINSKAYA

12 pt

a a a a b b b b c c c c d d d d e e e e f f f f g g g g h h h h i i i i j j j j k k k k l l l l mmmm n n n n o o o o p p p p q q q q r r r r s s s s t t t t u u u u v v v v wwww y y y y z z z z

A A A A B B B B C C C C D D D D E E E E F F F F G G G G H H H H I I I I J J J J K K K K L L L L MMMM N N N N O O O O P P P P Q Q Q Q R R R R S S S S T T T T U U U U V V V V W WW W Y Y Y Y Z Z Z Z

flammable flaunching flexibilizer flocculator flexometer

fibrils dbp fictile dbp fiddle dbp fifties dbp fidget dbp

150 pt roman

I N THE 19TH CENTURY EGYPT AND EGYPTIAN CULTURE BECOME VERY FASHIONABLE LEADING TO THE DEVELOPMENT OF FONTS REFERRED TO

EGYPTIENNE. T HEIR NAME LIKELY COMES NAPOLEON INVADED IN EGYPT. D URING THE EIGHTEENTH AND NINETEENTH CENTURIES, PRINTERS BECAME AS

FROM THAT TIME, WHEN

tT

300 pt roman

MORE AND MORE SKILLED AT MAKING LETTERS FOR LETTER PRESSES.

12 / 14 pt small caps

&

fifl&ß

48 pt italic

350 pt roman

AAAA BBBB CCCC DDDD EEEE FFFF GGGG HHHH IIII JJJJ KKKK LLLL MMMM NNNN OOOO PPPP QQQQ RRRR SSSS T TT T UUUU V VV V WWWW Y YY Y ZZZZ 36 pt

150 pt roman

4PT

6PT

8PT

10PT

12PT

16PT 24PT

36PT

48PT

60PT

72PT

84PT

100PT

120PT

140PT

Futura

Futura

Futura

Futura

Futura

Futura

Futura

Futura

Futura

Futura

Futura

Futura

Futura

Futura

Futura

FUTURA TYPE SPECIMEN

FOR WE OURSELVES LOOK

IN EVERYONE

0

3 6

4

5555555555555

666666

77777

77 77 77

1234567890

1 234567890

4444444

333333333

2222222222

77 7

11111111111111

8888 8888 8888

27 4 6

4

FUTURA TYPE SPECIMEN MADE BY JULIE BERESTOVA

FUTURA TYPE SPECIMEN

GOOD BAD TYPO TYPOGR GRAPHY APHY IS IS INVISI EVERY BLE WHERE

FUTURA TYPE SPECIMEN

ec rpn og u

p and r, n and u

o and e, g and c

n v rhm yv w y and v, w and v

h and u, m and n

FUTURA TYPE SPECIMEN

M X V AY WM

V

W and M, M and V

A and V, X and Y

PP QG RB CO R and P, B and P

Q and C, O and G

FUTURA TYPE SPECIMEN

Fututa light, medium, heavy 6 / 7.2pt

Futura is a geometric sans-serif typeface designed between 1924 and 1926 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. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932.

Futura is a geometric sans-serif typeface designed between 1924 and 1926 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. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932.

Futura is a geometric sans-serif typeface designed between 1924 and 1926 by Paul Renner. It is based on geometric shapes that became representative visual elements of the Bauhaus design style of1919–1933.

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. Light Oblique, Medium Oblique, Demibold,and Demibold Oblique fonts were later released in 1930. Book font was released in 1932.

Fututa light, medium, heavy 8 / 9.6pt

Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson.

Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect

Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson.

Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect

Book Oblique font was released in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edvin W. Shaar and Tommy Thompson.

Futura has an appearance of efficiency and forwardness. The typeface is derived from simple geometric forms (near-perfect

Fututa light, medium, heavy 10 / 11pt

circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. It has long ascenders and descenders and therefore requires generous line spacing. Its image is clear, elegant.

circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. It has long ascenders and descenders and therefore requires generous line spacing. Its image is clear, elegant.

circles,triangles and squares) and is based on strokes of near-even weight, which are low in contrast. It has long ascenders and descenders and therefore requires generous line spacing. Its image is clear, elegant.

Fututa light, medium, heavy 12 / 12pt

The font Futura is used in: books/text, magazines, posters, advertisements, documenta tion/business reports, corporate design, multimedia.

The font Futura is used in: books/text, magazines, posters, advertisements,docu mentation/business reports, corporate design, multimedia.

The font Futura is used in: books/text, magazines, posters, advertisements, docu mentation/business reports, corporate design, multimedia.

1

gill sans type specimen

Arthur Eric Rowton Gill 1882â&#x20AC;&#x201C;1940

4

check this out

14/15

12/14

11/13

Gill Sans is a humanist sans-serif typeface designed by Eric Gill.

The original design appeared in 1926 when Douglas Cleverdon opened his own bookshop in his home town of Bristol, where Eric Gill painted the fascia over the window in sans-serif capitals that would be later be known as Gill Sans. In addition, Gill had sketched a design for the publisher and bookseller Douglas Cleverdon, intended as a guide for Cleverdon to make future notices and announcements.

Gill further developed it into a complete font family after Stanley Morison commissioned the development Gill Sans to combat the families

of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s.

Gill Sans was later released in 1928 by Monotype Corporation.

10/12

9/11

Gill Sans became popular when in 1929 Cecil Dandridge commissioned Eric Gill to produce Gill Sans to be used on the London and North Eastern Railway for a unique typeface for all the LNER's posters and publicity material.

Gill was a well established sculptor, graphic artist and type designer, and the Gill Sans typeface takes inspiration from Edward Johnstonâ&#x20AC;&#x2122;s Johnston typeface for London Underground, which Gill had worked on while apprenticed to Johnston.

Eric Gill attempted to make the ultimate legible sans-serif text face. Gill Sans was designed to function equally well as a text face and for display. It is distributed as a system font in Mac OS X and is bundled with certain versions of Microsoft products as Gill Sans MT.

5

t h e f a m i ly : s o d i ff e r e n t y e t s o t h e s a m e

Being based on a circle the letters got slight optical compensation

Capital M is traditionally wider than capital N. Not in Gill sans

6

unlike most other sans serifs C is two times weider than s.

The reason for that is classic construction based on a circle

The construction of lowercase letters is different within the cuts

C is open anywhere within the family, while it's cut is slanting in italic

6 cuts of gill sans typeface family the bolder the higher

7

GILL SANS BOLD ITALIC, 13.5 PT

Красота среди бегущих — первых нет и отстающих

GILL SANS LIGTH, 63 PT

GILL SANS ITALIC, 69 PT

ТРОЕШНИКИ

GILL SANS BOLD, 35 PT

СТОЛИЧНЫЕ

ПРИВЕТСТВУЕМ ВАС

GILL SANS LIGHT, 27 PT

Это либо западня, либо Слоним

GILL SANS REGULAR, 45 PT

GILL SANS REGULAR, 116 PT

Францыск Скарына

GILL SANS REGULAR, 42 PT

Вилейка

ВЕЛИКОБРИТАНИЯ

GILL SANS ITALIC, 34 PT

Черное лондонское такси

GILL SANS BOLD, 59 PT

GILL SANS LIGHT ITALIC, 43 PT

Раннее утро

GILL SANS REGULAR, 24 PT

Хороша ложка к обеду

Вам английским языком говорят, сэр

GILL SANS LIGHT ITALIC, 108 PT

GILL SANS REGULAR, 40 PT

GILL SANS LIGHT, 49 PT

GILL SANS BOLD ITALIC, 19 PT

The double decker

HERE IS THE BIG DEAL FOR YOU, BABY

GILL SANS BOLD, 72 PT

Hello, my name is Gill!

GILL SANS ITALIC, 51 PT

THE TUBE

GILL SANS REGULAR, 30 PT

The flock is on fire!

LONDON UNDERGROUND

GILL SANS BOLD, 40 PT

So black to be bold

GILL SANS LIGHT, 40 PT

Quick pic

POSH&GLAMOROUS

GILL SANS ITALIC, 52 PT

CZECH OCTOBER

GILL SANS REGULAR, 28 PT

British Broadcasting Corporation

g i l l s a n s i ta l i c c h a r a c t e r s e t

standart latin

extended latin

symbols

numbers

10

upper case

lower case

ABCDEFGHIJKLMN OPQRSTUVWXYZ

abcdefghijklmnopqrs tuvwxyz

upper case

lower case

ÀÁÂÃÄÅÆĄÇÈĆÉ ÊËĘÌÍÎÏÐŁÑŃÒÓÔÕ ÖØŒÙÚÛÜŸÞŹŻŽ

àáâãäåæąçèéêëęìíîïıƒ flðłñòóôõöøùúûüýÿþ źżž

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gill sans character set

standart latin

extended latin

symbols

numbers

upper case

lower case

ABCDEFGHIJKLMN OPQRSTUVWXYZ

abcdefghijklmnopqrs tuvwxyz

upper case

lower case

ÀÁÂÃÄÅÆĄÇÈĆÉ ÊËĘÌÍÎÏÐŁÑŃÒÓÔÕ ÖØŒÙÚÛÜŸÞŹŻŽ

àáâãäåæąçèéêëęìíîïıƒfi flðłñòóôõöøùúûüýÿþ źżž

№€₴$¢£¥¤§©®™¶!¡?¿#%‰&@†‡[]{}()«» ^`¦°¨´¸˘˙˚˛˜˝"'*,-./:;_· ̀ ́ ̂ ̃ ̄ ̆ ̇ ̈ ̊ ̋ ̌ ̧ ̨ ̸\ – —‘’‚“”„•…‹›¯ +<=>|~¬±×÷⁄−���������������� � ¹²³�0123456789¼½¾ 11

gill sans light character set

standart latin

extended latin

symbols

numbers

12

upper case

lower case

ABCDEFGHIJKLMN OPQRSTUVWXYZ

abcdefghijklmnopqrs tuvwxyz

upper case

lower case

ÀÁÂÃÄÅÆĄÇÈĆÉ ÊËĘÌÍÎÏÐŁÑŃÒÓÔÕ ÖØŒÙÚÛÜŸÞŹŻŽ

àáâãäåæąçèéêëęìíîïıƒfi flðłñòóôõöøùúûüýÿþ źżž

№€₴$¢£¥¤§©®™¶!¡?¿#%‰&@†‡[]{}()«» ^`¦°¨´¸˘˙˚˛˜˝"'*,-./:;_· ̀ ́ ̂ ̃ ̄ ̆ ̇ ̈ ̊ ̋ ̌ ̧ ̨ ̸\ – —‘’‚“”„•…‹›¯ +<=>|~¬±×÷⁄−���������������� � ¹²³�0123456789¼½¾

g i l l s a n s l i g h t i ta l i c c h a r a c t e r s e t

standart latin

extended latin

symbols

numbers

upper case

lower case

ABCDEFGHIJKLMN OPQRSTUVWXYZ

abcdefghijklmnopqrs tuvwxyz

upper case

lower case

ÀÁÂÃÄÅÆĄÇÈĆÉ ÊËĘÌÍÎÏÐŁÑŃÒÓÔÕ ÖØŒÙÚÛÜŸÞŹŻŽ

àáâãäåæąçèéêëęìíîïıƒ flðłñòóôõöøùúûüýÿþ źżž

№€₴$¢£¥¤§©®™¶!¡?¿#%‰&@†‡[]{}()«» ^`¦°¨´¸˘˙˚˛˜˝ "'*,-./:;_· ̀ ́ ̂ ̃ ̄ ̆ ̇ ̈ ̊ ̋ ̌ ̧ ̨ ̸ \ – —‘’‚“”„•…‹›¯ +<=>|~¬±×÷⁄−���������������� � ¹²³�0123456789¼½¾ 13

gill sans bold character set

standart latin

extended latin

symbols

upper case

lower case

ABCDEFGHIJKLMN OPQRSTUVWXYZ

abcdefghijklmnopqrs tuvwxyz

upper case

lower case

ÀÁÂÃÄÅÆĄÇÈĆÉ ÊËĘÌÍÎÏÐŁÑŃÒÓÔÕ ÖØŒÙÚÛÜŸÞŹŻŽ

àáâãäåæąçèéêëęìíîïıƒ fiflðłñòóôõöøùúûüý ÿþźżž

№€₴$¢£¥¤§©®™¶!¡?¿#%‰&@†‡[]{}( )«» ^`¦°¨´¸˘˙˚˛˜ ˝ "'*,-./:;_· ̀ ́ ̂ ̃ ̄ ̆ ̇ ̈ ̊ ̋ ̌ ̧ ̨ ̸ \ – —‘’‚“”„•…‹›¯ +<=>|~¬±×÷⁄−���������������� �

numbers

14

¹²³�0123456789¼½¾

g i l l s a n s b o l d i ta l i c c h a r a c t e r s e t

standart latin

extended latin

symbols

upper case

lower case

ABCDEFGHIJKLMN OPQRSTUVWXYZ

abcdefghijklmnopqrs tuvwxyz

upper case

lower case

ÀÁÂÃÄÅÆĄÇÈĆÉ ÊËĘÌÍÎÏÐŁÑŃÒÓÔÕ ÖØŒÙÚÛÜŸÞŹŻŽ

àáâãäåæąçèéêëęìíîïıƒ flðłñòóôõöøùúûüýÿþ źżž

№€₴$¢£¥¤§©®™¶!¡?¿#%‰&@†‡[]{}()«» ^`¦°¨ ´¸˘˙˚˛˜ ˝ "'*,-./:;_· ̀ ́ ̂ ̃ ̄ ̆ ̇ ̈ ̊ ̋ ̌ ̧ ̨ ̸ \ – —‘’‚“”„•…‹›¯ +<=>|~¬±×÷⁄−���������������� �

numbers

¹²³�0123456789¼½¾

15

Siarhei Stashkevich www.ufoby.com

European Humanities University Vilnius, 2009 â&#x20AC;˘ www.ehu.lt

16

Caps height

s n a S

s t x te

e l p am

r e fo com - to s a eh sly e tim nsciou defeat h t t o tha of unc very ense egin - view e n. And, of s e to eb he nw er Whe nge, w again, until t r numb ave a h d u e h a c he tap erience lder, o er. We ntal for e t o g p m r me o run ave ex grow rows la n our of our as c ly - to h e h e w g o s we e, as nts e tim ciou tape nly ape feat urs t mome cond t ch the If we o d at th uncons very de , of o h c t se e d. win cul wat nd nse diffi ay that e only aralyze ses, we ally e se e begin to view hen. A er of w l n e p t w s b to p too. If ecome r succe n we r Whe nge, w again, until r num have a a d u b e , u h h e VCR ts, we pe of o iser t pes. a c he tap erienc lder, o er. We ntal w a e o t g defe h the ta we are those ta run ave exp e grow ows lar our m f our r n c h o g w t o g o e wa inkin both f we e, as ents d tape the tap e only s h m r o u n w pt up t e need co nd lt m t seco watch ed. If i u w W c c, 11 i i . e l f z a y e f l a y r i w h t l n t , a d ly ns i para lay sses real we o a Sa to p too. If ecome r succe an we n i c i b , u h e Off VCR ts, we pe of o wiser t pes. com s a a a a t e t h e f sly e ar those de h the tim nsciou ry we f c e g t o h a n o i w th eve at t unc t hink d bo e th egin - o view then.

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a n i c ffi

ign Des

r u o wy

S M A o l l o F

S E AR

M T GH

NI

E

S CHA

E R D

r u o y

made by KRISTINA PASHUKEVICH

72pt 60pt 48pt 36pt 24pt 21pt 18pt 14pt 12pt 10pt 8pt

Prestige Elite

1953

19531953

AQ

AÆBCDÐEFHIIJJKLŁMN OŒØÓÕP₧QRSTUVWYŸZ aæøpbqrsßtnuvwxyz ŧçđłÿħfifleijkh&åμŋœ 0123456789$£¥¤§ƒ# ÁáÀÄäÂâÅåÃãÇçÉéËë ĦħÍíìÏïÎîÑñÓóÖöÕõ ŁłĿŀŠšÚúÜüÛûÝýŸÿŽ Ωαδ‡εμπτσŊŋ⌠⌡∩∑√ℓ ¼¾⅛⅝⅞ª˘˚“”ˆˇˉ≈∫≡•

H

H N This is an example of H and N, to highlight ric costruction as it monospaced fonts like Elite.

the letter the geometis used in Prestige

nu fl nunu unun nunu

P R

fi

About

Prestige Elite is a slab serif monospaced typeface originally intended for use on a typewriter. It was designed in 1953 by Howard Kettler for IBM. Prestige Elite is a good choice for price lists, tabular material, and informal office correspondence. Typefaces that were originally designed as monospaced typewriter types are effective in materials for personal communication or for capturing the look and feel of bygone days.

g

GG GG GG

gGgGgGgGg

OoOoOoOoO qQqQqQqQq

Regular/8 pt

amil

The first of these four independent personalities is the totality of that automatic functioning which is proper to man as well as to all animals, the data for which are composed in them firstly of the sum total of the of the impressions previously perceived.

O

Bold/10 pt The second of the four personalities, functioning in most cases independently of the first, consists of the sum of the results which have been perceived by the common presence of every animal through its six organs called "receivers-of-the-variedqualitied-vibrations",

Slanted/12 pt The third part of the whole being is the prime functioning of his organism as well as the "motor-reflex-reciprocally-affecting-manifestations-proceeding-in-it".

Bold Slanted/14 pt And the fourth, which should also be a part of die whole individual, is the manifestation of the totality of the results of the automatized functioning.

Prestige Elite Type Specimen

by Alina Prykhadouskaya 2009

Neo-Grotesque Sans-Serif

Univers Regular | Italic | Bold | Bold Italic

AG R t y flat apex

curved tail

without spur

angled top

straight descender

Regular

ABCDEFGHIJKLMNOP QRSTUWWXYZabcde fghijklmnopqrstuvw xyz0123456789 !?#%@*-+;:[{(|)}]

Italic

ABCDEFGHIJKLMNOP QRSTUWWXYZabcde fghijklmnopqrstuvw xyz0123456789 !?#%@*-+;:[{(|)}]

Q K a g ji

arms join at the stem

tail runs along the baseline

double storey

single storey

Bold

ABCDEFGHIJKLMNOP QRSTUWWXYZabcde fghijklmnopqrstuvw xyz0123456789 !?#%@*-+;:[{(|)}]

Bold Italic

ABCDEFGHIJKLMNOP QRSTUWWXYZabcde fghijklmnopqrstuvw xyz0123456789 !?#%@*-+;:[{(|)}]

All lettering, especially

type, is first &

foremost an

expression of its

own time, just as every man is a

symbol of his time. And what sans-serif expresses

is not lack of feeling but the 20th century!

Univers 39

Univers 45 6 Univers

8 Univers

9 Univers

10 Univers

12 Univers

14 Univers Univers 49

6 Univers

8 Univers

9 Univers

10 Univers

12 Univers

14 Univers Univers 53

6 Univers

6 Univers

8 Univers

8 Univers

10 Univers

10 Univers

9 Univers

12 Univers

14 Univers Univers 57

9 Univers

12 Univers

14 Univers Univers 59

6 Univers

8 Univers

6 Univers

8 Univers

9 Univers

9 Univers

12 Univers

12 Univers

10 Univers

14 Univers Univers 85

10 Univers

14 Univers Univers 93

6

Univers

8 Univers

9 Univers

10 Univers

12 Univers

14 Univers

6 Univers

8 Univers

9 Univers

10 Univers

12 Univers

14 Univers

14/16 Univers Family Types

Univers 39 Univers 49 Univers 59 Univers 47 Univers 57 Univers 45 Univers 55 Univers 66 Univers 85 Univers 53 Univers 73 Univers 93

Univers 47 6 Univers

8 Univers

9 Univers

10 Univers

12 Univers

14 Univers Univers 55 6 Univers

8 Univers

9 Univers

10 Univers

12 Univers

14 Univers Univers 66 6 Univers

8 Univers

9 Univers

10 Univers

12 Univers

14 Univers Univers 73 6 Univers

8 Univers

9 Univers

10 Univers

12 Univers

14 Univers

e ive

de

sig

com ne

db yA dria

e

Un sim ivers ple 55 & co ol

Be

rs w as

liev

Un

nF rut ig

er

in 1 95

6

HO

NO

R

8/10 Univers 55

8/10 Univers 45

Some feel that the modulated strokes give it a bit more character than Helvetica. It was designed as a full system of fonts with a wide range of weights, unlike Helvetica, which spawned variants in a rather disordered way (this disorder was addressed, much later, with the release of Helvetica Neue). Universe was the first typeface in which the weights were classified with a numerical system. Univers 55 is probably the base text font — the one most similar in weight to the standard version of Helvetica anyway — but a nice thing about Univers is that the lighter weights, especially 45, have even color and can be used to set

Some feel that the modulated strokes give it a bit more character than Helvetica. It was designed as a full system of fonts with a wide range of weights, unlike Helvetica, which spawned variants in a rather disordered way (this disorder was addressed, much later, with the release of Helvetica Neue). Universe was the first typeface in which the weights were classified with a numerical system. Univers 55 is probably the base text font — the one most similar in weight to the standard version of Helvetica anyway but a nice thing about Univers is that the lighter weights, especially 45, have even color and can be used to set continuous text.

8/10 Univers 57

8/10 Univers 66

Some feel that the modulated strokes give it a bit more character than Helvetica. It was designed as a full system of fonts with a wide range of weights, unlike Helvetica, which spawned variants in a rather disordered way (this disorder was addressed, much later, with the release of Helvetica Neue). Universe was the first typeface in which the weights were classified with a numerical system. Univers 55 is probably the base text font — the one most similar in weight to the standard version of Helvetica anyway — but a nice thing about Univers is that the lighter weights, especially 45, have even color and can be used to set continuous text.

Some feel that the modulated strokes give it a bit more character than Helvetica. It was designed as a full system of fonts with a wide range of weights, unlike Helvetica, which spawned variants in a rather disordered way (this disorder was addressed, much later, with the release of Helvetica Neue). Universe was the first typeface in which the weights were classified with a numerical system.

Univers 55 is probably the base text font — the one most similar in weight to the standard version of Helvetica anyway — but a nice thing about Univers is that the lighter.

8/10 Univers 93

8/10 Univers 47

Some feel that the modulated strokes give it a bit more cha racter than Helvetica. Univers was designed as the full sys tem of fonts having a really wide range of weights, unlike Helvetica, which spawned va riants in a rather disordered way (this disorder was add ressed, much later, with the release Helvetica Neue) continuous text.

Some feel that the modulated strokes give it a bit more character than Helvetica. It was designed as a full system of fonts with a wide range of weights, unlike Helvetica, which spawned variants in a rather disordered way (this disorder was addressed, much later, with the release of Helvetica Neue). Universe was the first typeface in which the weights were classified with a numerical system. Univers 55 is probably the base text font — the one most similar in weight to the standard version of Helvetica anyway — but a nice thing about Univers is that the lighter weights, especially 45, have even color and can be used to set continuous text.

Univers 55 Univers 59 Ultra Condensed Univers 57 Condensed Univers 66 Bold Italic Univers 85 ExtraBlack Univers 73 BlackExtended Univers 93 ExtraBlackEx

Karina Biruk

1

Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! Hi! 10

Antique Olive, 72pt

2

Cooper Black, 72pt

11

Baskerville, 72pt

3

Egyptienne, 72pt

12

Bell, 72pt

4

Futura, 72pt

13

Bembo, 72pt

5

Gill Sans, 72pt

14

Bodoni, 72pt

6

Helvetica Neue, 72pt

15

Caecilia, 72pt

7

Kabel, 72pt

16

Caslon, 72pt

8

Memphis, 72pt

17

Caxton, 72pt

9

Meridien, 72pt

18

Clarendon, 72pt

Officina, 72pt

6

19

Hi! Hi! Hi! Hi! Hi! Optima, 72pt

20

Prestige Elite, 72pt

21

Serif Gothic, 72pt

22

Times New Roman, 72pt

23

Univers, 72pt

7