typeface catalog by Lisa Penedo

typefaces

... ...

editorial text and display

typefaces

...

... editorial text and display This catalog is a result of a search of a personal taste for typefaces with serifs. In here you can find beautiful serif typefaces, and the main correspondent information. Because ‘‘God is on Details’’.

what is a serif ? In typography, serifs are the small features and extensions that occur at the end of the stems of letters.

why serif ? Serif fonts are often recognized as easier to read than sans serif fonts, the term for the kind of font that does not have serifs. Therefore, serif fonts are considered somewhat better than sans serif fonts for body text.

To understand APERTURE The aperture is the partially enclosed, somewhat rounded negative space in some characters such as ‘n’, ‘C’, ‘S’, the lower part of ‘e’, or the upper part of a double-storey ‘a’. ARM Horizontal stroke on some characters that does not connect to a stroke or stem at one or both ends. ASCENDER The upward vertical stem on some lowercase letters, such as ‘h’ and ‘b’, that extends above the x-height is the ascender. AXIS The real or imaginary straight line on which the letter rotates and the degree to which it deviates from strictly vertical. BASELINE The imaginary line upon which the letters in a font appear to rest.

CAP HEIGHT The height from the baseline to the top of the uppercase letters (not including diacritics). COUNTER The enclosed or partially enclosed circular or curved negative space (white space) ofsome letters such as ‘d’, ‘o’, and ‘s’. CROSSBAR The horizontal stroke across the middle of ‘A’ and ‘H’ ‘e’. DESCENDER Part in a lowercase letter that extends below the baseline, found for example in ‘g’, ‘j’, ‘p’, ‘q’, ‘y’, etc. Some types of the descenders have specific names. EAR Typically found on the lower case ‘g’, an ear is a decorative flourish usually on the upper right side of the bowl.

BEAK Sharp spur, found on the ‘f’, and also often on ‘a’, ‘c’, ‘j’, ‘r’, and ‘y’.

EYE The eye refers to the enclosed space in a lowercase such the letter ‘e’, much like a counter.

BOWL The curved part of the character that encloses the circular or curved parts (counter) of some letters such as ‘d’, ‘b’, ‘o’, ‘D’, and ‘B’.

FINIAL Part of a letter known as a finial is usually a somewhat tapered curved end on letters such as the bottom of ‘C’ or ‘e’ or the top of a ‘a’.

BRACKET The bracket is a curved or wedge-like connection between the stem and serif of some fonts. Not all types of serifs are bracketed serifs.

LIGATURE Two or more letters tied into a single character to perfectly design their spatial interaction. Make beautiful visual asthetics to text.

8 typefaces - editorial - text and display

LINK / NECK The stroke that connects the bowl and the loop of a lowercase roman ‘g’. LIGATURE Two or more letters tied into a single character to perfectly design their spatial interaction.

you should tear the perforation on the side of this page to find the map of

typeface anatomy

LOOP In a double-storey ‘g’, the loop is the enclosed or partially enclosed counter below the baseline that is connected to the bowl by a link. The enclosed or partially enclosed extenders on cursive ‘p’, ‘b’, ‘l’, and similiar letters are also called loops. OVERSHOOT Degree to which a letter dips below baseline, or exceeds the cap height. SERIF Little extra stroke found at the end of main vertical and horizontal strokes of some letterforms. SPINE Central curved stroke of the letter ‘S’. SPUR Small bit at the end of certain curved portions of a letterform such as the end(s) of a C or S or the middle of G. Similar to but generally smaller than a serif or beak. TAIL The descending, often decorative stroke on the letter ‘Q’, or the descending, often curved diagonal stroke on ‘K’ or ‘R’. TEARDROP TERMINAL Stroke ending letter that tapers into a teardrop shape. TERMINAL The end (straight or curved) of any stroke that doesn’t include a serif. VERTEX Section of the bottom of a letter where two straight strokes or sterns join and create an angle ‘V’ and ‘W’. X HEIGHT The height of the lowercase letters, disregarding ascender or descender, typically exemplified by the letter x. The relationship of the x-height to the body defines the perceived type size. A typeface with a large x-height looks much bigger than a typeface with a small x-height at the same size.

types of serif Serif fonts are a type of typeface characterized by small details in the form or tiny lines or hooks at the tops and bottoms of certain letters. These details are called serifs. The four types of serif fonts are old style, transitional, slab serif and modern.

OLD STYLE This type of serif fonts are the oldest type of serif font. Old style serif fonts are characterized by only moderate transitions between the thinner and thicker parts of the stroke with diagonal stress, meaning that the thinnest parts of strokes on a diagonal. Old style fonts work well for body text. Examples of old style fonts are Garamond, Palatino, Goudy Old Style and Minion.

MODERN Modern serif fonts are characterized by a high contrast between the thinnest and thickest parts of strokes and have very thin serifs, often hairline thin. The modern serif font style is not connected to how recent the font was developed. The modern style first appeared in the late 1700s. Of the different serif fonts, it is the most decorative and the least suitable for body text.Some are Bodoni and Didot.

TRANSITIONAL Serif fonts in the transitional style fall between the old style and the modern style. Transitional serif fonts are characterized by a horizontal stress, unlike the old style which features a diagonal stress, and have a moderately higher contrast between the thinner and thicker parts of strokes than old style fonts. Transitional fonts are quite common and include Times New Roman and Baskerville. They are considered to be a neutral font and work well for body text for books and magazines.

SLAB SERIF Slab serif fonts are almost like the serif form of the sans serif, in that that strokes are generally of equal weight or have little variation, and the serifs are thick and often angular. Slab serifs tend to be good for body text. Some slab serif fonts are monospace, such as Courier. All the letters and spaces in a monospace font are the same, making them excellent for coding or in any situation in which uniformity is desired. Examples of the slab serif style are Rockwell, Courier and Clarendon.

10 typefaces - editorial - text and display

* ‘‘Typefaces with serifs are used for body text because sans serif causes fatigue. Serifs are used to guide the horizontal “flow” of the eyes.’’ Alex Poole, an interaction designer

‘‘Serifs are used to increase spacing between letters and words to aid legibilitys.’’ Rubinstein, R. in Digital Typography

‘‘Increase contrast and irregularity between different letters to improve identification.’’ Reynolds, L. in Journal of Documentation

typefaces

...

editorial text and display

Bembo_1496 Francesco Griffo Renascentist Transitional Roman Manual Movable Type Monotype

Bembo Regular_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?’+*´`ºª~^\|-_.:,;

.................................................................................................... Bembo Italic_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?’+*´`ºª~^\|-_.:,;

............................................................................................. Bembo Bold_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?’+*´`ºª~^\|-_.:,; ..........................................................................................

Bembo Bold Italic_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?’+*´`ºª~^\|-_.:,; 14 typefaces - editorial - text and display

the

‘B’ for

BEMBO .........................................................................................

Is a very legible typeface which is frequently

used for books You can however use Bembo for any type of project in which you need a

classical stylish look An english monotype classic An extensive family of display And text designs

renaissance splendour

venetian origins

Is noted for its ability to provide a text that is extremely consistent in color and texture, helping it to remain one of the most popular book types since its release .........................................................................................

the

‘B’ for

BOOKS

16 typefaces - editorial - text and display

18 typefaces - editorial - text and display

20 typefaces - editorial - text and display

Didot_1799 Firmin Didot Lyrical Post Modernist Modern Serif Mechanical Movable Type Linotype

Didot Regular_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢∞•⁄{}≈¿◊≥”·–ˆ˚˝› .................................................................................................... Didot Italic_13 pt.

Didot LT Std Headline_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢ •⁄{} ¿ ”·–ˆ˚˝› ..........................................................................................

Didot LT Std Roman_13 pt.

Didot LT Std Italic_13 pt.

22 typefaces - editorial - text and display

â&#x20AC; Didot THE STRONG

clear forms of this alphabet display objective

rational characteristics and are the

Representative of the time and philosophy of the

Enlightenment

New Caledonia_1939 William A. Dwiggns Neo Classic Transitional Mechanical Offset Linotype

New Caledonia LT Std_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢ •⁄{} ¿ ”·–ˆ˚˝›

.................................................................................................... New Caledonia LT Std Italic_13 pt.

New Caledonia LT Std Bold_13 pt.

New Caledonia LT Std Semibold Italic_13 pt.

New Caledonia LT Std Bold Italic_13 pt.

New Caledonia LT Std Black_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢ •⁄{} ¿ ”·–ˆ˚˝› 24 typefaces - editorial - text and display

§ New Caledonia

perfect for large amounts of text due to the

cool and classic look

can be used in almost

any application

look at the beauty of this capital, it’s a

Reference IT’S THE

26 typefaces - editorial - text and display

28 typefaces - editorial - text and display

Garamond Premier Pro_1989

Robert Slimbach_Claude Gramond Neo Classic

French Old Style Serif_Humanist Manual Offset Adobe

Gramond Premier Pro Regular_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢ •⁄{} ¿ ”·–ˆ˚˝›

.................................................................................................... Gramond Premier Pro Italic_13 pt.

Gramond Premier Pro Medium_13 pt.

Garamond Premier Pro Light Display_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢ •⁄{} ¿ ”·–ˆ˚˝›

..........................................................................................

Garamond Premier Pro Semibold_13 pt.

30 typefaces - editorial - text and display

32 typefaces - editorial - text and display

Mrs. Eaves_1996 Zuzana Licko Transicional Trasitional Serif Mechanic Offset Emigre

Mrs Eaves Roman_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢ •⁄{} ¿ ”·–ˆ˚˝›

.................................................................................................... Mrs Eaves Medium Italic_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢ •⁄{} ¿

”·–ˆ˚˝›

............................................................................................. Mrs Eaves Bold_13 pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!Ó#$%&/()=?*`|^_:;¢°¥Ú{}ÅÀ×³ÓáÐöûýÝ

.......................................................................................... Mrs Eaves Small Caps Regular_13 pt.

.......................................................................................... Mrs Eaves JustLigatures_13 pt.

ABCDEFGHIJKLMNOPQRS TUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890!”#$%&/()=?*`|^_:;¢ •⁄{} 34 typefaces - editorial - text and display

Q AAAAAAAAAAAAATAAAAAAAAAAAAA

i’s useful for gving presence to small amounts of text such as

POERY

or for elegant headlines and for use in print ads AAAAAAAAATAAAAAAAAA

AAAAAAAAAAAAATAAAAAAAAAAAAA

INDEX

index by typeface

index by type designer

BASKERVILLE pag. 18

BRAM DE DOES pag. 28

BEMBO pag. 14

FIRMIN DIDOT pag. 22

BODONI pag. 20

FRANCESCO GRIFFO pag. 14

DIDOT pag. 22

CLAUDE GRAMOND pag. 16

FILOSOFIA pag. 32

GIAMBATTISTA BODONI pag. 20

GARAMOND pag. 16

JAN TCHICHOLD pag. 26

GARAMOND PREMIER pag. 30

JOHN BASKERVILLE pag. 18

MRS EAVES pag. 34

ROBERT SLIMBACH pag. 30

NEW CALEDONIA pag. 24

WILLIAM A. DWIGGNS pag. 24

SABON pag. 26

ZUZANA LICKO pag. 32, 34

TRINITÉ pag. 28

index by year

index formals

1496 pag. 14

MECHANICAL pag. 20, 22, 24, 32, 34, 22

1530 pag. 16

MANUAL pag. 14, 16, 18, 26, 28, 30

1757 pag. 18

OLD STYLE pag. 16, 22, 30

1790 pag. 20

TRANSITIONAL SERIF pag. 14, 18, 24, 26, 32, 34

1799 pag. 22

MODERN SERIF pag. 18, 20, 22

1939 pag. 24 1966 pag. 26 1982 pag. 28 1989 pag. 30 1996 pag. 32, 34

Crédits of CATALOG OF TYPEFACES Editorial / Text And Dispay Tipografia III Designer Lisa Penedo N. 3080406 Tipography used Scala Printed on Oficinas Digitais esad.cr ESAD CR 2011

Bibliography Typedia.com Wikipédia.com Carolinekey.com Abduzeedo.com Typografie.info Openlibrary.org Vi.sualize.us Whatstype.com Myfont.com Fontfont.com Intellectadesign Typophile.com

index WHAT IS A SERIF? pag. 06 WHY SERIF? pag. 07 TYPEFACE ANATOMY pag. 08 TYPES OF SERIF pag. 10 BEMBO pag. 14 GARAMOND pag. 16 BASKERVILLE pag. 18 BODONI pag. 20 DIDOT pag. 22 NEW CALEDONIA pag. 24 SABON pag. 26 TRINITÉ pag. 28 GARAMOND PREMIER pag. 30 FILOSOFIA pag. 32 MRS EAVES pag. 34