Typeface flyers

A B C D FGHIJ L M N O Q R S T V W X Y À É Ç Ñ ÛÆÐČ HELVETICA The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

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ABCDE FGHIJK LMNOP QRSTU VWXYZ HELVETICA

The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

abcde fghijk lmnop q r s t u vwxyz HELVETICA

The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Helvetica The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Helvetica The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Helvetica

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas type foundry of MĂźnchenstein, Switzerland.

Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk.

The aim of the new design was to create a neutral typeface that had great clarity with no intrinsic meaning in its form.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Helvetica The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Helvetica

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas type foundry of MĂźnchenstein, Switzerland.

Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk.

The aim of the new design was to create a neutral typeface that had great clarity with no intrinsic meaning in its form.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Helvetica

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas type foundry of MĂźnchenstein, Switzerland.

Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk.

The aim of the new design was to create a neutral typeface that had great clarity with no intrinsic meaning in its form.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Helvetica

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas type foundry of MĂźnchenstein, Switzerland.

Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk.

The aim of the new design was to create a neutral typeface that had great clarity with no intrinsic meaning in its form.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Helvetica The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Gotham The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Gotham The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Gotham The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Gotham Gotham is a family of geometric sans-serif digital typefaces designed by American type designer Tobias Frere-Jones in 2000. Gotham’s letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century, especially popular throughout New York City. Frere-Jones’ inspiration for the typeface came from the streets of Manhattan. He based the font on the lettering seen on older buildings.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Gotham

Gotham is a family of geometric sans-serif digital typefaces designed by American type designer Tobias Frere-Jones in 2000. Gotham’s letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century, especially popular throughout New York City. Frere-Jones’ inspiration for the typeface came from the streets of Manhattan. He based the font on the lettering seen on older buildings.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Gotham

Gotham is a family of geometric sans-serif digital typefaces designed by American type designer Tobias Frere-Jones in 2000. Gotham’s letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century, especially popular throughout New York City. Frere-Jones’ inspiration for the typeface came from the streets of Manhattan. He based the font on the lettering seen on older buildings.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Gotham

Gotham is a family of geometric sans-serif digital typefaces designed by American type designer Tobias Frere-Jones in 2000. Gotham’s letterforms are inspired by a form of architectural signage that achieved popularity in the mid-twentieth century, especially popular throughout New York City. Frere-Jones’ inspiration for the typeface came from the streets of Manhattan. He based the font on the lettering seen on older buildings.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Din DIN 1451 is a realist sans-serif typeface that is widely used for traffic, administrative and technical applications. It has been defined by the German standards body DIN - Deutsches Institut f端r Normung (German Institute for Standardization) in the standard sheet DIN 1451-Schriften in 1931. DIN 1451 is very legible which leant it to be the typeface used on road signage in Germany and a number of other countries. It was also used on German car number plates as from 1956, until replaced there in November 2000

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Din DIN 1451 is a realist sans-serif typeface that is widely used for traffic, administrative and technical applications. It has been defined by the German standards body DIN - Deutsches Institut f端r Normung (German Institute for Standardization) in the standard sheet DIN 1451-Schriften in 1931. DIN 1451 is very legible which leant it to be the typeface used on road signage in Germany and a number of other countries. It was also used on German car number plates as from 1956, until replaced there in November 2000

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Din DIN 1451 is a realist sans-serif typeface that is widely used for traffic, administrative and technical applications. It has been defined by the German standards body DIN - Deutsches Institut f端r Normung (German Institute for Standardization) in the standard sheet DIN 1451-Schriften in 1931. DIN 1451 is very legible which leant it to be the typeface used on road signage in Germany and a number of other countries. It was also used on German car number plates as from 1956, until replaced there in November 2000

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Din DIN 1451 is a realist sans-serif typeface that is widely used for traffic, administrative and technical applications. It has been defined by the German standards body DIN - Deutsches Institut f端r Normung (German Institute for Standardization) in the standard sheet DIN 1451-Schriften in 1931. DIN 1451 is very legible which leant it to be the typeface used on road signage in Germany and a number of other countries. It was also used on German car number plates as from 1956, until replaced there in November 2000

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Din The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Din The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Din The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Din The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Avenir The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Avenir The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Avenir The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Avenir The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Avenir The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Avenir The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Avenir Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1988, and released by Linotype GmbH. The name Avenir is French for “future,” and takes inspiration from early geometric sans-serif typefaces Erbar (1922) designed by Jakob Erbar, and Futura (1927) designed by Paul Renner.

Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the lowercase a is more like Erbar, and also recalls Frutiger’s earlier namesake typeface Frutiger.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Avenir Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1988, and released by Linotype GmbH. The name Avenir is French for “future,” and takes inspiration from early geometric sans-serif typefaces Erbar (1922) designed by Jakob Erbar, and Futura (1927) designed by Paul Renner.

Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the lowercase a is more like Erbar, and also recalls Frutiger’s earlier namesake typeface Frutiger.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Avenir Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1988, and released by Linotype GmbH. The name Avenir is French for “future,” and takes inspiration from early geometric sans-serif typefaces Erbar (1922) designed by Jakob Erbar, and Futura (1927) designed by Paul Renner.

Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the lowercase a is more like Erbar, and also recalls Frutiger’s earlier namesake typeface Frutiger.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Avenir Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1988, and released by Linotype GmbH. The name Avenir is French for “future,” and takes inspiration from early geometric sans-serif typefaces Erbar (1922) designed by Jakob Erbar, and Futura (1927) designed by Paul Renner.

Frutiger intended Avenir to be a more organic, humanist interpretation of these highly geometric types. While similarities can be seen with Futura, the lowercase a is more like Erbar, and also recalls Frutiger’s earlier namesake typeface Frutiger.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Futura The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Futura The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Futura The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Futura Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922, Futura was commercially released in 1927. Futura has an appearance of efficiency and forwardness.

The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Futura Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922, Futura was commercially released in 1927. Futura has an appearance of efficiency and forwardness.

The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Futura Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922, Futura was commercially released in 1927. Futura has an appearance of efficiency and forwardness.

The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Futura Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayer’s seminal Erbar of 1922, Futura was commercially released in 1927. Futura has an appearance of efficiency and forwardness.

The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Perpetua The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Perpetua The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Perpetua The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Perpetua Perpetua is a typeface that was designed by English sculptor and typeface designer Eric Gill. Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville’s type designed in the last half of the 18th century), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs. Along with these characteristics, Perpetua bears the distinct personality of Eric Gill’s letterforms. Gill began work on Perpetua in 1925 at the request of Stanley Morison, typographical advisor to Monotype. Morison sought Gill’s talent to design a new typeface for the foundry. By 1929, Perpetua Roman was issued as Monotype Series 239.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Perpetua Perpetua is a typeface that was designed by English sculptor and typeface designer Eric Gill. Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville’s type designed in the last half of the 18th century), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs. Along with these characteristics, Perpetua bears the distinct personality of Eric Gill’s letterforms. Gill began work on Perpetua in 1925 at the request of Stanley Morison, typographical advisor to Monotype. Morison sought Gill’s talent to design a new typeface for the foundry. By 1929, Perpetua Roman was issued as Monotype Series 239.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Perpetua Perpetua is a typeface that was designed by English sculptor and typeface designer Eric Gill. Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville’s type designed in the last half of the 18th century), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs. Along with these characteristics, Perpetua bears the distinct personality of Eric Gill’s letterforms. Gill began work on Perpetua in 1925 at the request of Stanley Morison, typographical advisor to Monotype. Morison sought Gill’s talent to design a new typeface for the foundry. By 1929, Perpetua Roman was issued as Monotype Series 239.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Perpetua Perpetua is a typeface that was designed by English sculptor and typeface designer Eric Gill. Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville’s type designed in the last half of the 18th century), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs. Along with these characteristics, Perpetua bears the distinct personality of Eric Gill’s letterforms. Gill began work on Perpetua in 1925 at the request of Stanley Morison, typographical advisor to Monotype. Morison sought Gill’s talent to design a new typeface for the foundry. By 1929, Perpetua Roman was issued as Monotype Series 239.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Bodoni Bodoni is a series of serif typefaces designed by Giambattista Bodoni in 1798. 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 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, above all from Didot, Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Bodoni Bodoni is a series of serif typefaces designed by Giambattista Bodoni in 1798. 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 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, above all from Didot, Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Bodoni Bodoni is a series of serif typefaces designed by Giambattista Bodoni in 1798. 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 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, above all from Didot, Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Bodoni Bodoni is a series of serif typefaces designed by Giambattista Bodoni in 1798. 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 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, above all from Didot, Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Bodoni The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Bodoni The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Bodoni The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Bodoni The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Times New Roman The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Times New Roman The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Times New Roman The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created

by Victor Lardent at the English branch of Monotype.

It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated. The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. Morison’s revision became known as Times New Roman and made its debut in the 3 October 1932 issue of The Times.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created

by Victor Lardent at the English branch of Monotype.

It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated. The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. Morison’s revision became known as Times New Roman and made its debut in the 3 October 1932 issue of The Times.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created

by Victor Lardent at the English branch of Monotype.

It was commissioned after Stanley Morison had written an article criticizing The Times for being badly printed and typographically antiquated. The font was supervised by Morison and drawn by Victor Lardent, an artist from the advertising department of The Times. Morison used an older font named Plantin as the basis for his design, but made revisions for legibility and economy of space. Morison’s revision became known as Times New Roman and made its debut in the 3 October 1932 issue of The Times.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Baskerville Baskerville is a transitional serif typeface designed in 1757 by John Baskerville. It’s classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.

Baskerville is the result of John Baskerville’s intent to improve upon the types of Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position.

The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Baskerville Baskerville is a transitional serif typeface designed in 1757 by John Baskerville. It’s classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.

Baskerville is the result of John Baskerville’s intent to improve upon the types of Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position.

The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Baskerville Baskerville is a transitional serif typeface designed in 1757 by John Baskerville. It’s classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.

Baskerville is the result of John Baskerville’s intent to improve upon the types of Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position.

The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Baskerville Baskerville is a transitional serif typeface designed in 1757 by John Baskerville. It’s classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.

Baskerville is the result of John Baskerville’s intent to improve upon the types of Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position.

The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Baskerville The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Baskerville The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Baskerville The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Baskerville The Typographic Circle - www.typocircle.com London Design Museum - designmuseum.org Pentagram - www.pentagram.com

Clarendon Clarendon is an English slab-serif typeface that was created by Robert Besley for Thorowgood and Co., a type company formerly known as the Fann Street Foundry until approximately 1838. The font was published in 1845 by Besley, after being made a partner in the Thorowgood foundry. It was named after the Clarendon Press in Oxford. The typeface was reworked by the Monotype foundry in 1935 and by Hermann Eidenbenz and Edouard Hoffmann in 1953. Clarendon is considered the first registered typeface.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Clarendon Clarendon is an English slab-serif typeface that was created by Robert Besley for Thorowgood and Co., a type company formerly known as the Fann Street Foundry until approximately 1838. The font was published in 1845 by Besley, after being made a partner in the Thorowgood foundry. It was named after the Clarendon Press in Oxford. The typeface was reworked by the Monotype foundry in 1935 and by Hermann Eidenbenz and Edouard Hoffmann in 1953. Clarendon is considered the first registered typeface.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

Clarendon Clarendon is an English slab-serif typeface that was created by Robert Besley for Thorowgood and Co., a type company formerly known as the Fann Street Foundry until approximately 1838. The font was published in 1845 by Besley, after being made a partner in the Thorowgood foundry. It was named after the Clarendon Press in Oxford. The typeface was reworked by the Monotype foundry in 1935 and by Hermann Eidenbenz and Edouard Hoffmann in 1953. Clarendon is considered the first registered typeface.

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com

The Typographic Circle www.typocircle.com London Design Museum designmuseum.org Pentagram www.pentagram.com