Natalie Dixon TSB by natalieedixon

TYPE SPECIMEN BOOK

TABLE OF CONTENTS AVANTE GARDE GOTHIC .... 2 AVENIR ................................... 4 BAUER BODONI .................... 6 BEMBO ................................... 8 CLARENDON ....................... 10 FRANKLIN GOTHIC ............ 12 FRUTIGER ............................. 14 FUTURA ................................ 16 GARAMOND ....................... 18 GILL SANS ............................ 20 GROTESQUE ....................... 22 MELIOR ................................ 24 MODERN ............................. 26 NEW BASKERVILLE ............. 28 NEWS GOTHIC .................... 30 PALATINO ............................ 32 ROTIS .................................... 34 SABON ................................. 36 SLIMBACH ........................... 38 UNIVERS ............................... 40

A A

Avante Garde Gothic

In 1970 Herb Lubalic and Tom Carnase partnered together and designed the geometric sans serif typeface Avante Garde Gothic. This typeface was based off of Lubalin’s logo and headline for Avante Garde Magazine. Avante Garde Gothic wasn’t initially designed to be full or commercially available.The condensed version was drawn by Ed Benguiat in 1974, and obliques designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977. Today the modern version comes with many unique ligatures and alternate characters.

Extra Light Condensed Extra Light Condensed Oblique Book Condensed Book Condensed Oblique Medium Condensed Medium Condensed Oblique Demi Condensed Demi Condensed Oblique Bold Condensed Bold Condensed Oblique Extra Light Extra Light Oblique Book Book Oblique Medium Medium Oblique Demi Demi Oblique Bold Bold Oblique

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im Sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorerOr

ABCDE FGHIJK LMNOP Q R ST U VW XY Z abcde f g h i j k l m n o p q r s t u v w x y z 123456 7890!@ #$%^& *()-_= + [ ] { } ;’: ”,./ < > ?

9/11 Ecustrum nobitas pietur aliciaslias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolescielis quodi duntiaamn porest haritatia

10/12 Ecustrum lab nobitas pietur alicias perfero doluptat omnis nobit moullute que eicimagnis nihilit, eos neta nate aut audant lab illuptatecti cone molesci

Bowl of R doesn’t close

Low cross bar

Curved tail

8/10 Ecustrum nobitas pietur aliciasoper perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatectiesoeli conemolesci quodi duntia porestomo haritatia nihilique sit ipsandi psamus

A v e n i r

In 1988 Avenir was designed by Adrian Frutiger and released by Linotype. The design is based on two earlier sans serif typefaces, Erbar and Futura. Frutiger described Avenir as a geometric sans serif with a human touch. The original version of Avenir only had 3 styles. The popularity of the typeface brought on a new form of Avenir in 2004 called Avenir Next. Frutiger worked along side type designer Akira Kobayashi on Avenir Nex. Together they reworked the entire font to fix digital display problems.

35 Light 35 Light Oblique 45 Book 45 Book Oblique 55 Roman 55 Oblique 65 Medium 65 Medium Oblique 85 Heavy 85 Heavy Oblique 95 Black 95 Black Oblique

ABCDE FGHIJK LMNOP QRSTU VWXYZ abcdef ghijklm nopqrst uvwxyz 123456 7890!@ #$%^& *()-_=+ []{};â&#x20AC;&#x2122;:â&#x20AC;? , . / < > ?

7/9 Ecustrum nobitas pietureni aliias perfero dolupt ean omnis nobit molut queeno ei magnis nihilit, eoseali necta nate aut audant lab illuptatecti conemolescilo quodi duntia porestealay haritatia nihilique situsuli ipsandi psamus dolupta im Sitatur, est, ut verum nos et inulpa sitibusest parum, saesequi nesui volorer est lentibus apicieliu eutvrem

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnisuli nobit molut queeso eicimagnisuili nihilit, eos necta nate aut audant lab illuptatecties conemolesci quodilibno duntia porest haritatia nihilique sit ipsanddiey upa psamus dolupta im epudaece rcimetdunt nihiliti nobit molut alic

9/11 Ecustrum nobitas pietur alicia fauelis perfero doluptat omnisuli nobit molut queeso eicimagn uiliutiza algulie nihilit, eos necta nate aut audant lab illuptatecties conem olesciiluaoc molut quodilibno duntia

Pointed vertex

Horizontal tail

10/12 Ecustrum lab nobitas pietfuur alicias perfero liab doluptat omnissu nobit moulluteenu que eicimagnislie nihilit, eos netaia nate aut audantue lab illuptat ectieu lab cone molesci

y Curved tail

B B

Bauer Bodoni

Designed

by:

Heinrich

Jost

The original Bodoni font was named after its designer, Giamattista Bodoni in 1798, he was often referred to as the King of Printers. Multiple variations of Bodoni have been created since then. In 1926 Bauer Bodoni was designed by Heinrich Jost for the Bauer Foundry. Jost was the artistic director of the foundry from 1923 until 1948. The forms are closely related to the original Bodoni typefaces, and are considered to be more delicate and graceful than many other Bodoni interpretations.

Italic Roman Bold Bold Italic Bold Condensed Black Black Italic Black Condensed

ABCDE FGHIJK LMNOP QRSTU VWXYZ abcdef ghijklm nopqrst uvwxyz 123456 7890!@ #$%^& * ( ) - _ = +[]{};â&#x20AC;&#x2122;: â&#x20AC;?,./<>?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti necta conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im Sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer berum secepraeriam psam usolere conemolesci quodi duntia

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemoles quodi duntia porest lab haritatia nihilique autoi sit ipsandi psamusesa dolupta im pit et quatia anderovitium duntira molut doluptat pieturesa

9/11 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im perfero nomibtsas

Large ball terminal

Small upper bowl

10/12 Ecustrum lab omnis nobitas pietur alicias perfero doluptat omnis nobit moullute que eicimagnis porf nihilit, eos neta alie nate aut audant lab illuptatecti coneeyo molesci duntia liap porest haritatia que

Q Vertical tail

B B e m b o

Designed by: Francesco Griffo The Bembo design is an old-style humanist serif typeface originally cut by Francesco Griffo in 1495 and revived by Stanley Morison in 1929. The original Morison typeface contained only four weights and no italics. The typeface was first used in a book entitled De Aetna, a short text about a journey to Mount Aetna written by a 16th Century Italian Cardinal Pietro Bembo. This is where Bembosâ&#x20AC;&#x2122; name came from. Bembosâ&#x20AC;&#x2122; timeless classical characters make it suitable for almost any application.

Regular Italic Bold Semibold Semibold Italic Bold Italic Extra Bold Extra Bold Italic

ABCDE FGHIJK LMNOP Q R ST U V W XY Z abcdefg h i j k l m nopqrst uvwxyz 123456 7890!@ # $ % ^ & * ( ) - _ = + [ ] { } ;â&#x20AC;&#x2122;: â&#x20AC;?,./ < > ?

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im citiis ea num ut la volo doluptio corecus aligendae nulpa num necta nate aut audant labeloios

J Soft rounded serifs

10/12 Ecustrum lab nobitas pietur alicias perfero doluptat omnis nobit moullute eicimagnis nihilit, eos netasilim nate aut audantasos illuptatecti coneeyli molesci quodi duntia post haritatia nihilique sit ipsandi psamusese

Tail comes from center

Slightly outward slanted sides

C Clarendon

Robert Besley designed Clarendon in 1845, for Thorowgood and Co. of London, a letter foundry often known as the Fann Street Foundry. It was inspired by the typeface Antique, one of the original slab serifs. Clarendon is also a slab serif in the category known as Ionic or Egyptian. Clarendon quickly became one of the most popular typefaces of its time period and to the point where today we associate it with turn of the century England and in the U.S., the old west.

Light Roman Bold

ABCDE FGHIJ K L M N O P Q R S T U V W X Y Z a b c d e fghijk l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 ! @ # $ % ^ & * ( )-_=+[ ]{};â&#x20AC;&#x2122;:â&#x20AC;? , . / < > ?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eosomo necta nate aut audantant lab illuptatecti conemoles quodi duntia porestelio haritatia nihilique siter ipsandi psamus dolupta im sitatur, est, ut verum nos et inulpa sitibus imol parum, saesequi nesdeio volorer ugitat illailit.

8/10 Ecustrum nobitas que pietilures aliciasuas omi perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate autauo audant lab illuptatecti conemolesci quodies duntia porest haritatia nihilique sit ipsandi psamus dolupta imer ugitat vellab illa divid

g Short descender

9/11 Ecustrum nobitas pietur aliciasuas perfero doluptat omnis nobit molut que eicimagnis lili nihilit, eos nectase nate aut audantant laberoi illuptatecti nate conemolescies quodi duntia porest haritatia nihilique

10/12 Ecustrum laberio nobitas pieturaes alicias perferonoi doluptat omnisoit nobit moulluteali que eicima nicslo nihilit, eos netase nate aut audantat lab illuptate ese cone molescifeur

Swoosh tail

Strong bracketed serif

FFF

Franklin Gothic

Designed by: Morris Fuller Benton Franklin Gothic was designed by Morris Fuller Benton between 1903 and 1912 for the American Type Founders Company. The typeface was so popular Vic Caruso updated it for ITC in 1979. This new version included more weights and became the standard choice for newspapers and advertising. Franklin Gothic can be distinguished from other sans serif typefaces by its extra bold weight with a combination of subtle irregularities. Other characteristics of this typeface consist of organic features that distinguish it from the geometric typefaces.

Book Extra Compressed Demi Extra Compressed Book Compressed Book Compressed Italic Demi Compressed Demi Compressed Italic Book Condensed Book Condensed Italic Medium Condensed Medium Condensed Italic Demi Condensed Demi Condensed Italic Book Book Italic Medium Medium Italic Demi Demi Italic Heavy Heavy Italic

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eoswa necta nate aut audant illuptatecti conemolesci quodi duntia poressut haritatia nihilique sitas ipsandi psamus dolupta im duntia porest nate aut Sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorerir

8/10 Ecustrum nobitas lil pietur alicias perfero doluptat omniserlie nobit molut quesos eicimagnis nihilitesle eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta ease imVolupis asperum

9/11 Ecustrum nobitas pietur alicias pores perfero doluptat omnis nobit molut que eicimagnis lilie nihilit, eos necta nate aut audant lab illuptatecti laber conemolesci quodi duntia porest eusa haritatia nihilique

A B C D FGHIJ LMNO Q R S T V W X Y

E K P U Z

abcdef ghijklm nopqrs tuvwxyz 1 2 3 4 5 67890! @#$%^ &*()-_= +[]{};â&#x20AC;&#x2122;: â&#x20AC;?,./<>?

10/12 Ecustrum labeioi nobitas pieturesu ealicias perfero doluptat omnis nobit moullute que eicimagnis nihilit, eos neta nateesu aut audant laber illuptatecti cone molesci quodisin

Blunt terminus

Ear on lowercase g

Tail curves downward

FF Frutiger

Frutiger is a sans-serif typeface designed by the Swiss type designer Adrian Frutiger. It was commissioned in 1968 by the Charles De Gaulle International Airport at Roissy, France, for their new directional sign system. The Frutiger typeface which was originally called Roissy, wasnt completed until 1975, it was then installed at the airport that same year. Frutigerâ&#x20AC;&#x2122;s goal was to create a sans serif typeface with the cleanliness of Univers, but with the organic and proportional aspects of Gill Sans.

47 Light Condensed 57 Condensed 67 Bold Condensed 77 Black Condensed 87 Extra Black Cond. 45 Light 46 Light Italic 55 Roman 56 Italic 65 Bold 66 Bold Italic 75 Black 76 Black Italic 95 Ultra Black

ABCDE FGHIJK LMNOP Q R S T U VWXYZ a b c d f g h i j l m n o q r s t v w x y

e k p u z

123456 7890!@ #$%^& * ( ) - _ = +[]{};â&#x20AC;&#x2122;: â&#x20AC;?,./<>?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molutun que eicimagnis nihilit, eos necta nate autaus audant lab illuptatecti conemolesci quodilie duntia porest haritatia nihilique sit ipsandias psamus dolupta imum sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer omi illuptatecti conemolesci

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos nectaiu nate aut audantan lab illuptate ctiuse conemolesci quodi duntia omolumit porestoques haritatia nihilique sit ipsandi psamus dolupta imerso plie omniperf alicias

A Wide A Low crossbar

9/11 Ecustrum nobitas pietur aliciasaul omin perfero doluptataes omnis nobit molut que eicimagnis eos nihilit, eos nectaaner nate aut audantilit lab illuptat ectiunuls conemolesci quodi duntia poresteli laber haritatia nihilique

10/12 Ecustrum laberilno nobitas pieturerse alicias perferosni doluptat omnissil nobit moulluteamo que eicimagnis eos nihilit, eos netaanli nate aut audantate lab illuptatecti nate cone molesci quodi

Square tittle

Stroke outside the bowl only

F F

F u t u r a

Designed

by:

Paul

Renner

German type designer Paul Renner first created Futura between 1924 and 1926 using the Bauhaus design philosophy. While designing Futura, Renner used basic geometric proportions with no serifs or frills. The font family was expanded by designers other than Renner to over twenty different faces of varying weights and widths. Originally, Futura was intended to be used for body text for books, but in the 1950’s and 1960’s it was commonly used in headlines and subheads in advertising. Since it’s creation almost 90 years ago, Futura has been continuously used by brands such as Volkswagen, Ikea and Absolut Vodka.

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut quesa eicimagnis nihilit, eosenu necta nate aut audant lab illuptatecti conemolesci quodi duntia porestes haritatia nihilique situl ipsandi psamus dolupta im sitatur, est, ut verum nos et inulpa sitibuuils parum, saesequi nesWea volorer ugitat illau nihilit, eosenu necta nate alicias perfero

Light Condensed Light Condensed Obl. Medium Condensed Medium Condensed Obl. Bold Condensed Bold Condensed Obl. Extra Bold Cond. Extra Bold Cond. Obl. Light Light Oblique Book Book Oblique Medium Medium Oblique Heavy Heavy Oblique Bold Bold Oblique Extra Bold Extra Bold Obl.

ABCDE FGHIJK LMNOP Q R S T U VWXYZ

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im ugitat vellab illa dis vid magnitatur labnate alicias perfero doluptat pieturea

9/11 Ecustrum nobitas pietur aliciasusn perfero moli doluptat omnis nobit molut que eicimagnis nihilit, eos nectaerine nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihiliquesos .sit ipsandi psamuses dolupta im emicigain

10/12 Ecustrum labulausi nobitas pietureses alicias perferon eli doluptat omnisulul nobit moullute que eicimagnis nihilit, eos neta nateenuili aut audant labaeran illuptatecti coneeyil molesci quodi duntia

Straight descender on lowercase J

Distinctly round bowls

Pointed apex

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Garamond

Designed by: Claude Garamond Typ efaces known as Garamond are modern inter pretations of fonts that were ins pired b y drawings which were modeled af ter the punches of Cl aude Garamond . T he orig inal punches, long slender metal rectangles with individual letter forms carved into the end s, were f inely-tuned and p er fected during the early to mid 1500â&#x20AC;&#x2122;s up until Cl audeâ&#x20AC;&#x2122;s death in 1561. Af ter his death, sets of his punches found their way into the hand s of foundries and served as ins pirations for many different t yp efaces in addition to the many variations of Garamond.

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatectiulna conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamuseli dolupta im sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer ugitatatmi illa. Equodi duntia porestesos haritatianaind nihili sitaturestut dolupta omnis nobit nobitas

Light Display Light Italic Display Caption Reg ular Subhead Display Italic Caption Italic Italic Subhead Italic Display Med ium Caption Medium Medium Subhead Medium Display Medium Italic Caption Medium Italic Medium Italic Subhead Medium Italic Display Semibold Caption Semibold Semibold Subhead Semibold Display Semibold Italic Caption Semibold Italic Semibold Italic Subhead Semibold Italic Display Bold Caption Bold Bold Subhead Bold Display Bold Italic Caption Bold Italic Bold Italic Subhead Bold Italic Display

ABCDE FGHIJK LMNOP QRSTU VWXYZ

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti eios conemolesci quodi duntia poresteso haritatia nihilique sit ipsandi psamus dolupta im ugitat vellab illa dis vid magnitatur? Nate aut audant lab eximoniobit poresteso haritatia nihilique doluptat

9/11 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos nectanla nate aut audant lab illuptatecti conemoles quodi duntia poresteler haritatia nihilique sitiner ipsandi psamus dolupta im nobiatlicias omnis nobit molut que ecustrum piter

10/12 Ecustrum lab nobitas pietur alicias perfero doluptat omnisula alica nobit moulluteeus que eicimagnisis lus nihilit, eos netaan nate autenre audant lab illuptatecti coneey molesci quodi dunti porest haritatias aut nihilique sit ipsandi

Scooped serif

Medium contrast

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Rounded serifs

Gill Sans

G GG G Designed

by:

Eric

Gill

In 1928 Eric Gill came out with a typeface that later became known as the “Helvetica of England.” The histor y of Gill Sans stems from Edward Johnston’s iconic typeface, Johnston Sans; Eric Gill studied under Johnston at London’s Central School of Arts and Crafts. Gill Sans rose to popularity in 1929 when it became the standard typeface for the London and North Eastern Railway. Today over two dozen Gill Sans designs are available digitally; it can be seen ever ywhere, and is used on ever ything from corporate logos to movie posters.

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

ABCDE FGHIJK LMNOP Q R ST U VW XY Z abcdefg hijklmn o p q r s t uvwxyz 123456 7890!@ # $ % ^ & * ( ) - _ = + [ ] { } ;â&#x20AC;&#x2122; :â&#x20AC;? ,./ < > ?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eossoi necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamuses dolupta im sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer ugitat illam Oluptatus cor assit reicatio. Ibus eribusa nihilique sit ipsandi psamus custrum nobitas pietur

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eoslio necta nate aut audant lab illuptatecti conemolesci quodi duntia porestesni haritatia nihilique sitener ipsandi psamus dolupta im ugitat vellab illa ipu dis vid magnitaturm asperatibus autemquae duntia poreste

9/11 Ecustrum nobitas pietur alicias perfero doluptat omnisuli nobit molut queas eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique .sit ipsandi psamus dolupta imueas eicimagnis nihilitmolut

10/12 Ecustrum labuloas pieturei aliciamimi perferosre doluptat omnisuli nobiteler moullute que amnilo eicimagnis nihilit, eos neta nate auterli audant illuptatecti eoc cone molesci quodien duntia porest haritatia

Eyeglass g

Calligraphic tail

Sharp triangle cut

Gr o t esque

G G G Designed by:

F.H. Pierpont

Frank Hinman Pierpont released a realist sans-serif typeface out of the Monotype foundry in 1926 called Grotesque. This was the basis for the design of the typeface Arial. The Grotesque design was originally based upon the sans-serif design of the H Berthold AG foundry and William Thorogood‘s original “Grotesque” typeface. Monotype Grotesque was one of the earliest sans-serif typefaces to be cut for hotmetal machine typesetting and so it became a favorite for a number of typesetters and page designers.

Extra Condensed Light Condensed Condensed B la c k L ig h t Light Italic Regul ar Italic Bold Bold Ext.

ABCDE FGHIJK LMNOP Q R ST U VW XY Z abcdef ghijklm nopqrs tuvwxyz 123456 7890!@ #$%^&* ()-_=+ []{};â&#x20AC;&#x2122;:â&#x20AC;? , . / < > ?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut queemo eicimagnis nihilit, eoslios necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer ugitat illam Oluptatus cor assit reicatio. Ibus eribusa.

8/10 Ecustrum nobitas pietur alicias perfo doluptat omnisusa nobit molut quelo eicimagnis nihilit, eos necta nate auterli audant lab illuptateise conemolesci quodimi duntia porestesa mobit haritatia nihilique sit ipsandi psamus dolupta im ugitat vellab illliera dis vid magnitat alimini

9/11 Ecustrum nobitas pietur aliciasililer perfero doluptat lio omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptat ectilemer conemolesci quodi duntia pore stonlier haritatia nihilique .sit ipsandi psamus

Bears a spur

Square M

10/12 Ecustrum labefer nobitas pieturerse alicias perfero nobi doluptat omniseler nobit moullute eos que eicimagnis enta nihilit, eos netaeler nate aut audanter mat lab illuptatecti cone molesci quodi

p Line weight variation

M e l i o r

Designed by: Hermann Zapf Released by the Stempel foundry in 1952 a German designer by the name of Hermann Zapf, aimed to create a typeface that was suitable for use in newspaper columns or short publications. The Melior font familyâ&#x20AC;&#x2122;s strong and sturdy letterforms give the typeface a formal look while aiding readability. The design excels in text sizes and is an ideal choice for newspapers and more formal documents. Its straightforward but elegant design incorporates strong square serifs and condensed proportions based on the superellipse.

Regular Italic Bold Bold Italic

ABCDE FGHIJK LMNOP QRSTU VWXYZ abcdef ghijklm nopqrst uvwxyz 123456 7890!@ #$%^& *()-_=+ []{};â&#x20AC;&#x2122;:â&#x20AC;? , . / < > ?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer ugitat illam Oluptatus cor assit

9/11 Ecustrum nobitas pietur alicias perfero doluptat omnis aoli nobit molut queesmi eicimagnis nihilit, eos necta nate auterl audant lab illuptatecti conemolesci quodise duntia poreste milae haritatia nihiliques .sit ipsandi psamus

10/12 Ecustrum laberli nobitas pietur aomi alicias perferoelio doluptat omnisbio nobit moullu uteae que eicimag niserli nihilit, eos netaomi nate aut audantas lab illupta tectiki coneeqis molesci

Squared off O

No serif at the apex

Heavy drop serifs

Modern

M M M Designed by: Lanston Monotype Monotype Modern was t he first typeface produced by Lanston Monotype, and was rel eased in t he year 1896. The first Modern typeface is a ttributed to Frenchman Firmin Didot, and was originally printed in 1784. The term modern is also known as Didone, t hese terms are used interchangeably. Monotype Modern is a typeface wit h long, fine hairlines and well rounded le tterfor ms, a v aria tion on t he Bodoni model.Typic al of t he modern typefaces t ha t were produced in t he United Kingdom during t his time period.

Condensed Condensed Italic Wide Wide Italic Bold Bold Italic Extended Extended Italic

A B C D E F G H IJKLM N O P Q R ST UV W XY Z 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 123456 7890!@ #$%^& * ( ) - _ = + [ ] { } ; â&#x20AC;&#x2122;: â&#x20AC;?, . / < > ?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnisula nobit molut queos eicimagnis nihilit, eos necta nate autqui audant lab illuptatecti conemolesci quodi duntia porest haritia nihilique sit ipsandi psamusumni dolupta imeicimagnis oli sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes voloreror

8/10 Ecustrum nobitas pietur aliciasul ipsa perfero doluptater omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia poresteo emil haritatia nihiliqueso sit ipsandi psamusus dolupta im bolupisim

9/11 Ecustr um unnilys nobitas pietu reri alicias perferoqu doluptat om nisses nobit molu tilallis que eicimag niser nihilit, eos nectahi nate aut audanter lab illuptat ect ierli conemolesci quodi duntia pore stermin

10/12 Ecustrum labber nobeitas pietusr alicias perferomi doluptat omnis nobit moul luter que eicim agnisse nihilit, eos netope nate aut audanta lab illupt atectin cone molesci alici

Small aperture

Abrupt serifs

High contrast between strokes

New Basker ville

Designed by: John Basker ville Baskerville is a serif typeface designed in 1757 by writing master John Baskerville (1706â&#x20AC;&#x201C;1775) in Birmingham, England and was cut by John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period. Baskervilleâ&#x20AC;&#x2122;s typeface was the culmination of a large series of experiments. Baskerville sought to develop new and higherquality methods of printing, developing also finely pressed, smooth paper and a high quality of ink. His background as a writing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in his italic.

Italic Roman Bold Bold Italic

ABCDE FGHIJK LMNOP QRSTU VWXYZ abcdef ghijklm nopqrs tuvwxyz 123456 7890!@ #$%^& * ( ) - _ = +[]{};’: ”,./<>?

7/9 Ecustrum nobitas pietureli alicias perf eromi doluptat omnis nobit molut que eicimagnis nihilit, eosoni necta nate aut audant lab illuptatecti cone molessci aue quodi duntia porestuli haritatia nihilique situnery ipsandi psamus dolupta imni hiqlid audant nobit eromin Sitatur, est, ut verum noserli et inulpa sitibus parum piet saesequi nes voloreror simpy

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos nectaun nate aut audant lab illuptatec conolesci quodi duntia porester haritatia nihilique siten ipsandi psamus dolupta imVolupis asperum apid quam aut omni nate au alicias perfero doluptat

G Curve at base

9/11 Ecustrum nobitas pietur alicisul perfero doluptat omnis lab coneg nobit molut que eicimagnis nihilit, eos necta nate autern audant lab illuptatecti conemolesci qui duntia poresul hari ta tiulini nihilique sit ipsandis psamus dolupta iernm

10/12 Ecustrum labemner nobitas pietur alicias perfero dol uptate omnis nobit moul lute que eicimagnis nihilit, eos netaener nate aut audant lab illup tatecti conepi molesci quodiopi duntia por esteser

Loop doesn’t connect

Swash tail

News Gothic

Designed by: Morris Fuller Benton News Gothic is a realist sans-serif typeface designed by Morris Fuller Benton, and was released by the American Type Founders in 1908. News Gothic follows the grotesque typeface style. The use of the term â&#x20AC;&#x153;Gothicâ&#x20AC;? is an early twentieth century name for sansserifs, found mostly in the United States and Canada. This typeface differs from other realist sans-serifs in its organic shapes and subtle transitions of stroke width. For much of the twentieth century News Gothic was used in newspaper and magazine publishing.

Medium Oblique Bold Bold Oblique

A B C D FGHIJ L M N O Q R S T V W X Y

E K P U Z

abcdef ghijklm nopqrst uvwxyz 123456 7890!@ # $ % ^ & *()-_=+ []{};â&#x20AC;&#x2122;:â&#x20AC;? , . / < > ?

7/9 Ecustrum nobitas pietur alicis perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porestaji haritia nihilique sit iandi psamusen dolupta imerso sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer simpor seque perfero que perfero doluptat omnis nobit molut eicimagnis nihmine nobities

8/10 Ecustrum nobitas pietur alicias perfero doluptat om nis nobit molut queeli eicimagnis nihilit, eosmi nectaarin nate aut audant lab illuptatecti cone muci quodi duntia por estuny haritatia nihilique situm ipsandi psamus dolupta imVolupis asperum apid quam aut omni nate auen nectaarin nate aut audant

t Blunt terminus

9/11 Ecustrum nobitas pietur alicias perfero doluptat omnisleui nobit molut quean eicimagnis nihilit, eos necta nate auter audant lab illuptatuti cone molesci quo dimi duntia por esto queali haritatia nihilique siter ipsandi psamus dolupa im perfero dolup tatep

g Two-story g

10/12 Ecustrum lab nobitas pietur alicias perfero doluptat omnis nobit moullute eicimagnis nihilit, eos neta perfer nate aut audant lab illuptatecti coneelimi molesci quodi duntia porest haritatia laber nihilique sit ipsandi

Q Stroke outside the bowl only

P Palatino

Designed in 1950, Palatino was first released in lead type form by the German type foundry D. Stempel AG in Frankfurt, and quickly became one of the world´s most popular typefaces. Hermann Zapf’s Palatino typeface was inspired after the Roman calligrapher master of the 16th century Giovanbattista Palatino. Many of the characteristics of the Palatino typefaces, such as its open counter forms and overall legibility, are certainly themes that had previously inspired Renaissance lettering. The Palatino typefaces’ classical proportions place it within the great heritage of Roman types, yet it has a specific old style serif design of its own.

Palatino Lt Std Light Palatino Lt Std Light Italic Palatino Lt Std Italic Palatino Lt Std Roman Palatino Lt Std Medium Palatino Lt Std Medium Italic Palatino Lt Std Bold Palatino Lt Std Bold Italic Palatino Lt Std Black Palatino Lt Std Black Italic

ABCDE FGHIJK LMNOP QRSTU VWXYZ abcdef ghijklm nopqrst uvwxyz 123456 7890!@ #$%^& *()-_=+ []{};â&#x20AC;&#x2122;:â&#x20AC;? , . / < > ?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritia nihilique sit ipsandi psamus dolta im pedis re dolutelle volessi quibea voluptae comnimagnat est, te niatia voloreh enihil et necta nate aut audant lab illuptatecti

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis trae nobit molut quane eicimagnis nihilit, eos necta nate aut audant lab illuptacti conemolesci quodi duntia porest haritia nihilique siteli ipsandi psamus dolupta im genis sus porest lab custrum nobitas pietur alicias perfero doluptat

9/11 Ecustrum nobitas pietur alicias perfero doluptat omnis emin nobit molut queni eicimagnis nihilit, eos necta nate auteli audant lab illup tatecti conemolesci qudi duntia porest haritatia nihilique sit ipsandi psamus dolupta im

10/12 Ecustrum labrami nobitas pieturelle alicias perf erosom doluptat omnis eos nobit molut quem eicimagnis nihilit, eos necta nate aut audant labestame illuptatecti coneli molesci quo dienni

Disconnected open bowl

Drooping serif on left arm

Decorative nearly floating away tail

R o t i s

Designed

by:

Otl

Aicher

Otl Aicher one of the leading German graphic designers developed the typeface Rotis in 1988. He named the typeface after the town he lived in, Rotis Ăźber Leutkirch, Germany. With Rotis, Otl Aicher strived to create maximum legibilty with a high x-height. Frustrated with many typographers who were determined to draw a clearly defined line between serif and sans serif typefaces Aicher designed different variations for Rotis, the four font families are serif, semi-serif, semi-sans, and sans. Rotis was the first typeface to have serif and sans serif versions.

Sans Serif 45 Light Sans Serif 46 Light Italic Sans Serif 55 Regular Sans Serif 56 Italic Sans Serif 65 Bold Sans Serif 75 Extra Bold Semi Sans 45 Light Semi Sans 46 Light Italic Semi Sans 55 Regular Semi Sans 56 Italic Semi Sans 65 Bold Semi Sans 75 Extra Bold Semi Serif 55 Regular Semi Serif 65 Bold Serif 55 Regular Serif 56 Italic Serif 65 Bold

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta imduan tia porest sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes voloreror simpor seque perfero queeli oluptat omnis nobit molut que eicimagnis nihilit pietur alicias

ABCDEFG HIJKLMN OPQRST UVWXYZ a b c d e f ghijklm nopqrst uvwxyz 123456 7890!@ #$%^&* ( ) - _ = + [ ] { } ; â&#x20AC;&#x2122; : â&#x20AC;?,./<>?

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eospli necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta imVolupis asperum apid quam aut omni nate au eicimagnis nihilit, eos necta nate aut audant labempit

9/11 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate autemer audant lab illup tatecti conemolesci quodi atia porest haritatia nihilique sit ipsandi psam musu dolupta im eos nectali nate aut audant lab illp

10/12 Ecustrum lab nobitas pietur alicias perfero doluptat omnis nate nobit moullute que eicimagnis nih ilitem eos neta nate autelie audant lab illuptatecti cone molesci quodi duntia porest haritatia nihilique sit ips andim

Rounded bowl

High x-height

Perpendicular tail

S a b o n

Designed

by:

Jan

Tschichold

Jan Tschicholdâ&#x20AC;&#x2122;s Sabon was originally released in three formats: in 1964 as foundry type by the Stempel and in 1966 as hot-metal type for both the Monotype and Linotype casting machines. It was inspired by an earlier Claude Garamond typeface Tschichold had seen on a 1592 specimen sheet printed by the Egenolff-Berner foundry. The Sabon design was initially created as the response to a request by a German type foundry for a face with equal spacing in the Roman and Italic versions, which would therefore create less of a workload when it came to typesetting.

Roman Italic Bold Bold Italic

ABCDE FGHIJK LMNOP QRSTU VWXYZ abcdef ghijklm nopqrst uvwxyz 123456 7890!@ #$%^& * ( ) - _ = +[]{};â&#x20AC;&#x2122;: â&#x20AC;?,./<>?

7/9 Ecustrum nobitas pietur alicias perfero doluptat om nis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer ugitat illa alicias perferoemi doluptat omnis nobit molut

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti coneme quodi duntia porest haritatia nihilique sit ipsandi vide psamus dolupta im ugitat vellab illa dis magnitatur aut audant lab illuptatecti conemesci pieture alic

9/11 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illup tatectiul conemolesci quodi duntia pores teni haritatia nihilique sit ipsandi psamus dolupta imalica nobit

10/12 Ecustrum lab nobitas pietur alicias perfero doluptat omnis nobit moullute que eicimagnis nihilit, eos neta nate aut audant lab illuptatecti cone molesci quodi duntia porest haritatia nihilique sit ipsandi

Unusually long bottom arm on italic E

Swoosh tail on italic Q

Cropped apex

Slimbach

Designed by: Robert Slimbach Robert Slimbach a principal type designer created the typeface Slimbach between 1985 and 1987. During these years Robert Slimbach was self-employed and designed two typefaces, ITC Slimbach and ITC Giovanni for the International Typeface Corporation in New York. In 1987 he joined the Adobe Systems team. Ever since then, he has been involved in developing new fonts for the Adobe Originals program. He has concentrated primarily on designing typefaces for digital technology, often drawing inspiration from classical sources.

Book Book Italic Medium Medium Italic Bold Bold Italic Black Black Italic

ABCDE FGHIJK LMNOP Q R S T U VWXYZ abcdef ghijklm nopqrst uvwxyz 1 2 3 4 5 67890! @#$%^ & * ( ) - _ =+[]{ };â&#x20AC;&#x2122;:â&#x20AC;?,. / < > ?

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illup tatectily conemolesci quodi duntia porestuli haritatia nihilique situn ipsandi psamus dolupta im sitatur, est, ut verum nos et inulpa sitibuseai parum, saesequi nesoi volorer ugitat illaanu custrum nobitasem pietur alicias perfero doluptat

8/10 Ecustrum nobitas pietur alicias perfero doluptat omnisuli nobit molut queno eicimagnis nihilit, eos necta nate aut audant lab illuptacti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta im ugitat vellab illa dis vid magnitatur necta nate aut audant pietur eimne

9/11 Ecustrum nob itaseler pietur alicia saicemer perfero dolu pettatem omnis nobit mol tule que eicim agn isae nihilit, eos nectanate aut aud antul lab illuptatectinu cone molesci quodi duntia poresteu haritatia nihilique sit ipsandi

10/12 Ecustrum labpie nob itas pietures alicias per feromni doluptat omnisoli nobit moul lute que eicimagnis nihilit, eos netasei nate aut aud antty autlab illuptatecti cone molesci quodi duntia poresteli omi

Sharp curve on descender

Curved tail

Open bowl

Univers

U U Designed by: Adrian Frutiger

Adrian Frutiger designed Univers, which was released in 1957 by the Deberny & Peignot foundry in Paris. Univers is a sans-serif neo-grotesque typeface based on the 1896 Swiss style typeface Akzidenz-Grotesk. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of 44 faces, with 16 uniquely numbered weight, width, and position combinations. Universâ&#x20AC;&#x2122; legibility lends itself to a large variety of applications, from text and headlines to packaging and signage.

39 Thin Ultra Condensed 45 Light 45 Light Obl. 47 Light Condensed 47 Light Condensed Obl. 49 Light Ultra Condensed 53 Ext. 53 Ext. Obl. 55 Oblique 55 Roman 57 Condensed 57 Condensed Obl. 59 Ultra Condensed 63 Bold Ext. 63 Bold Ext. Obl. 65 Bold 65 Bold Obl. 67 Bold Condensed 67 Bold Condensed Obl. 73 Black Ext. 73 Black Ext. Obl. 75 Black 75 Black Obl. 85 Extra Black 85 Extra Black Obl. 93 Extra Black Ext. 93 Extra Blk. Ext.Obl.

7/9 Ecustrum nobitas pietur alicias perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci quodi duntia porest haritatia nihilique sit ipsandi psamus dolupta sitatur, est, ut verum nos et inulpa sitibus parum, saesequi nes volorer molesci quodi duntia

ABCDE FGHIJK LMNOP Q R ST U V W XY Z 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 123456 7890!@ #$%^& * ( ) - _ = +[]{};â&#x20AC;&#x2122;: â&#x20AC;?,./<>?

8/10 Ecustrum nobitas pietur aliciasuis perfero doluptat omnis nobit molut que eicimagnis nihilit, eos necta nate aut audant lab illuptatecti conemolesci iodi duntia poresten haritatia nihilique sit ipsandi psamus dolupta im nate aut audant lab doluptat omnis nobit

9/11 Ecustrum nobitas pietur alicias iusen perfero dolup tatp omnis nobit molut que eici magniseli nihilit, eos necta nate aut audantaeu lab illuptatecti liaam conemolesci quodi duntia por estenner haritatia nihilique

10/12 Ecustrum labejer nobitas pieturej alicias perferoener doluptat omnisol nobit moullute que eicimagnis nihilit, eos neta nateener aut audant labaim illuptatecti conep molesci quodiaele

Lack of spur

Diagonal strokes meet at stem

Straight back, no baseline curl, perpendicular connection

NATALIE DIXON TYPOGRAPHY 299 SPRING 2016