c
z
v
u
z u r
g u
a
g
r
r
z u r
c
n p
n p
v
v
a z u
r
v
a
g
n p c
n p
a z u
r
g
c
v
a z u
g
g
p
p
g
v
p
n
c v
n
c
a z u
a z u
g n
g n
r
p
r
p
c
v c v
a
z a
r n
a
p c v
a
z u r g
n p c
v a z
u
r
g
c
n
z
v a z
v
a
p
c
u
r
g n
z u c v
a
c v
a
z u r g
z u r
n p
n p
v
g
c
v
a z u
r
g
n p
c v
a z u
c
a z u
r
g
n p
c v
a z u
r
g n
p
c
v
p
c
v
Lines of Type
Lines of Type
Avenir
Q
Museo
G
O D
S
Futura R
Z
Table of Contents Futura -
Typeface History ............1 Founded date .................1 Designer name ...............1 Wieghts ..........................1 Classification ..................1 Characters ......................2 Numbers and Glyphs ....2
Avenir -
Museo -
Typeface History ............3 Founded date .................3 Designer name ...............3 Wieghts ..........................3 Classification ..................3 Characters ......................4 Numbers and Glyphs ....4
Typeface History ............5 Founded date .................5 Designer name ...............5 Wieghts ..........................5 Classification ..................5 Characters ......................6 Numbers and Glyphs ....6
1 :First presented by the Bauer Type Foundry in 1928, Futura is commonly considered the major typeface development to come out of theConstructivist orientation of the Bauhaus. Paul Renner sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible. Futura is timelessly modern. Museo is available in six different weights that are designated as Light, Medium, Medium Italic, condensed Medium,
Condensed ExtraBold, Heavy Oblique.
Sans Serif 1928
Futura
Designed by Paul Renner
Bb Dd Ff Hh Jj Ll Nn Pp Rr Tt Vv Xx Zz
Aa Cc Ee Gg Ii Kk Mm Oo Qq Ss Uu Ww Yy
!
? @ # $ % ^ & + = ~ § ± ) ( } { ] [ : ; ' " \ / <>
0
1 2 3 4 5 6 7 8 9
3 The Story of Museo Sans in Jos Buivenga's words : (When Museo became a succes I researched some possibilities of other versions. Museo Sans was not that difficult because making a sans out of a (semi) serif is —more or less— cutting off the serifs and adjusting weight, width and contrast. So... I made Museo Sans and while doodling around and fiddling with slab serifs to make Museo Slab I discovered something nice I used to design Calluna1 first. Of course that escapade had a reason. I couldn’t find the right solutions to all Museo Slab’s design hurdles). Museo is available in six different
weights that are designated as 100, 300, 500, 700, 900 and Italic .
Slab Serif 1969
Museo
Designed by Jos Buivenga
Bb Dd Ff Hh Jj Ll Nn Pp Rr Tt Vv Xx Zz
Aa Cc Ee Gg Ii Kk Mm Oo Qq Ss Uu Ww Yy
!
? @ # $ % ^ & + = ~ § ± ) ( } { ] [ : ; ' " \ / <>
0
1 2 3 4 5 6 7 8 9
5
The word Avenir means 'future' in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an "o" that is not a perfect circle, and shortened ascenders. These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines. Avenir is available in 12 different weights that are designated
Light, Light Oblique ,Book, Book Oblique, Roman, Oblique, Meduim, Meduim Oblique, Black, Black Oblique, Heavy, Heavy Oblique. as
Sans Serif 1988
Avenir Designed by Adrian Frutiger
Bb Dd Ff Hh Jj Ll Nn Pp Rr Tt Vv Xx Zz
Aa Cc Ee Gg Ii Kk Mm Oo Qq Ss Uu Ww Yy
!
? @ # $ % ^ & + = ~ § ± ) ( } { ] [ : ; ' " \ / <>
0
1 2 3 4 5 6 7 8 9
c
n p
v
a
v
z u r
u
n p
g u
v
g
g
c
a z
u
r
g
n p
c v
a z u
r
g n p
a
z
a
r
z u r
r
n p
z
n p c
v
v
a z u
r
g n p
c
v
c v
a
z a
v
z u r g
p
z u r
a
a z u
p
n p
z u r
v
n
g
v
v
c
c
v
a z u
r
c
c
z u r g z
n p
g p
a
v c v
g
n
c
a
v
g
a z u
r
u c
n
a z
n p v
a
z u r
a
g
c
a z
u
r
g
n p
c v
g
a z u
c
g n
n p v
r
p
c
v
Designed by: Sara Alhajji, 2015
v
g
c
r
p
n
v
c
a z u
r
g
n p
c v
a z u
p
v
a z u
r
g n p
c
v