T H R E E Type Specimens
Baskerville
Bodoni Futura by Prateeba Perumal
T H R E E Type Specimens
Baskerville
Bodoni
Futura
by Prateeba Perumal
NEO CLASSICAL PERIOD
B A S K E RV I L L E J O H N B A S K E RV I L L E
E S TA B L I S H E D 1 7 57
B I R M I N G H A M :
printer to the university. m dcclxiii.
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B
askerville, is classified as a transitional
typeface positioned between the old style
typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin
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Didot. The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making
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the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes in the typeface are more circular in shape, and the characters
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became more regular. Baskerville’s typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result reflected Baskerville’s ideals of perfection,
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R O M A N T I C
P E R I O D
BODONI G I A M B AT T I S TA BODONI
B odoni
is classified as a modern typeface at the close of late eighteenth and early nineteenth centuries are radically abstract. At the turn of the nineteeth century, Giambattista Bodoni in Italy and Firmin Didot in France carried Baskerville’s severe vocabulary to new the extremes. Giambattista Bodoni developed the Bodoni type design sole on the criteria of symmetry and proportionality. This feature was exaggerated to an extreme degree—which have a wholly vertical axis, sharp contrast between thin and thick, and crisp, waferlike serifs were the gateway to an explosive vision of typography unhinged from calligraphy. It is also characterized by it’s narrow underlying structure with flat and unbracketed serifs. Overall, Bauer Bodoni is closest to the original Bodoni typeface in terms of proportions, characteristic refinement and delicacy.
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The letters don’t get get their true delight, when done in haste and discomfort, nor merely done with diligence and pain, but first when they are created with love and passion.
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 a b c d e f g h i j k l m n n o q r s t u v w x y z o 1 2 3 4 5 6 7 8 9
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SANS SERIF
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GEOMETRIC PERIOD
BAUHAUS DESIGN FOUNDRY LINOTYPE
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PAUL
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REN NER
utura typeface is a geometric sans serif designed in 1927 by Paul Renner. It is based on the geometric shapes that became representative of the visual elements of Bauhaus design style of 1919–1933. Renner was not a member of the Bauhaus, but he shared many of its views, believing that modern typeface should express modern models rather than be a rivial of previous design. Futura was commercially
1927
released in 1927, commissioned by the Bauer type foundry. Renner avoided creating any non-essential elements, making use of basic geometric proportions with no serifs or frills. Although Renner avoids overly decorative styles, Futura typeface does hold a number of visual elements that makes it very unique. Futura represents crisp, clean forms that reflects the appearance of efficiency and forwardness even today.
H
aving ‌ been an admirer of the beauty of letters, I became insensibly desirous of contributing to the perfection of them.
I formed myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true proportion.
John Baskerville 1706–1775