a a a
a
a
a
a
a
a
a
a
a
a
a
a
a
a
b b b
b
b
b
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b
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b
c c c
c
c
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c
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c
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c
c
c
c
d d d
d
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d
e e e
e
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f
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g g g
g
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g
h h h
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f
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i
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j
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k
k k
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l
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m m m m
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m m m
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m
m
m
m
m m
n n n
n
n
n
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n
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n
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n
n
n
n
n
n
o o o
o
o
o
o
o
o
o
o
o
o
o
o
o
o
p p p
p
p
p
p
p
p
p
p
p
p
p
p
p
p
r
r
r
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s
s s
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t
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u u u
u
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u
v v
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v
v
v
w w w
w
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w w
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w w
x
x x
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y
y y
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v
type
type A type notebook to show type specimens of gill sans, futura, helvetica, frutiger, univers, trebuchet, georgia, bodoni, baskerville and garamond.
g
ill sans
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a a a b b b c c c d d d e e e f f f g g g h h h i i i j j j k k k l l l m m m n n n o o o p p p r r r s s s t t t u u u v v v w w w x x x y y y z z z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
Q
While many consider it to be the quintessential British type style, the Gill Sans typeface family has been used in virtually every country – and for every application imaginable. The reason for Gill Sans’ near ubiquity is because it is an exceptionally distinctive design with a potential range of use that is almost limitless. When Futura became a bestseller in Germany in the late1920s, Stanley Morison began looking for a British equivalent for his employer Monotype. Sometime towards the end of 1928, he thought of the sculptor and graphic artist Eric Gill, and the impressive sans-serif for the London Underground on which Gill had worked with Edward Johnston seven years earlier.
0
1
2
3
Gill was a well established sculptor, graphic artist and type designer, and the Gill Sans typeface takes inspiration from Edward Johnston’s Johnston typeface for London Underground, which Gill had worked on while apprenticed to Johnston. Eric Gill attempted to make the ultimate legible sans-serif text face. Gill Sans was designed to function equally well as a text face and for display. Gill Sans became popular when in 1929 Cecil Dandridge commissioned Eric Gill to produce Gill Sans to be used on the London and North Eastern Railway for a unique typeface for all the LNER’s posters and publicity material. Gill was named Royal Designer for Industry, the highest British award for designers, by the Royal Society of Arts. He also became a founder-member of the newly established Faculty of Royal Designers for Industry.
ABCDEFG HI JKLMN O P Q R ST U V W XY Z
5
ABCDEFG HI JKLMN O P Q R ST U VW X Y Z
at 6
7
8
9
gy 6 pt
8 pt
10 pt
12 pt 14 pt
16 pt 18 pt
ABCDEFG HI JKLMN OPQRST UVWXYZ
Eric Gill / humanist
4
ABCDEFG HI JKLMN O P Q R ST U VW XY Z
20 pt 22 pt
utura
a b c d e f g h i j k l m n o p r s t u v w x y z
a a a a a a a b b b b b b b c c c c c c c d d d d d d d e e e e e e e f f f f f f f g g g g g g g h h h h h h h i i i i i i i j j j j j j j k k k k k k k l l l l l l l m m m m m m m n n n n n n n o o o o o o o p p p p p p p r r r r r r r s s s s s s s t t t t t t t u u u u u u u v v v v v v v w w w w w w w x x x x x x x y y y y y y y z z z z z z z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
O
In typography, Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner. It was designed as a contribution on the New Frankfurt-project. 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 1936. Futura has an appearance of efciency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of neareven weight, which are low in contrast.
0
1
2
3
This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals. Futura’s success spawned a range of new geometric sans-serif typefaces from competing foundries, and remains one of the most used sans-serif types into the twenty-rst century. Particularly during the 1950s, it was used extensively by the publishing and print industry as a font for general purposes.
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
4
5
6
7
8
9
ae 6 pt
8 pt
10 pt
12 pt 14 pt
16 pt 18 pt
Paul Renner / geometric
M Q
ABCDEFG H I JKLMN O PQRSTUVW XYZ
20 pt 22 pt
helvetica
a b c d e f g h i j k l m n o p r s t u v w x y z
a a a a a b b b b b c c c c c d d d d d e e e e e f f f f f g g g g g h h h h h i i i i i j j j j j k k k k k l l l l l m m m m m n n n n n o o o o o p p p p p r r r r r s s s s s t t t t t u u u u u v v v v v w w w w w x x x x x y y y y y z z z z z
S
Helvetica was developed in 1957 by Max Miedinger with Eduard Homann at the Haas’sche Schriftgiesserei (Haas Type Foundry) of Münchenstein,Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked.
0
1
2
3
In 2007, director Gary Hustwit released a documentary lm,Helvetica (Plexilm, DVD), to coincide with the ftieth anniversary of the typeface. In the lm, graphic designer Wim Crouwel said, “Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn’t have a meaning in itself. The meaning is in the content of the text and not in the typeface.” From April 2007 to March 2008, the Museum of Modern Art in New York City displayed an exhibit called “50 Years of Helvetica”, which celebrated the many uses of the typeface.
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
4
5
6
7
8
9
f k 6 pt
8 pt
10 pt
12 pt 14 pt
16 pt 18 pt
Max Miedinger & Rduard Homann / transitional
ae
ABCDEFG HI JKLMN OPQRSTU VWXYZ
20 pt 22 pt
F frutiger
a b c d e f g h i j k l m n o p r s t u v w x y z
a a a a a a a b b b b b b b c c c c c c c d d d d d d d e e e e e e e f f f f f f f g g g g g g g h h h h h h h i i i i i i i j j j j j j j k k k k k k k l l l l l l l m m m m m m m n n n n n n n o o o o o o o p p p p p p p r r r r r r r s s s s s s s t t t t t t t u u u u u u u v v v v v v v w w w w w w w x x x x x x x y y y y y y y z z z z z z z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
C
Frutiger is a sans-serif typeface by the Swiss type designer Adrian Frutiger. It was commissioned in 1968 by the newly built Charles de Gaulle International Airport at Roissy, France, which needed a new directional sign system. Instead of using one of his previously designed typefaces like Univers, Frutiger chose to design a new one. Frutiger’s goal was to create a sans-serif typeface with the rationality and cleanliness of Univers but the organic and proportional aspects of Gill Sans. The result is that Frutiger is a distinctive and legible typeface. The letter properties were suited to the needs of Charles de Gaulle: a modern appearance and legibility at various angles, sizes, and distances. Ascenders and descenders are very prominent, and apertures are wide to easily distinguish letters from one another
0
1
2
3
The Frutiger family was released publicly in 1976 by the Stempel type foundry in conjunction with Linotype. Frutiger’s simple and legible yet warm and casual character has made it popular today in advertising and small print. Some major uses of Frutiger are in the corporate identity of Raytheon,O2, the British Royal Navy, the London School of Economics and Political Science, the Canadian Broadcasting Corporation, the Conservative Party of Canada, the Banco Bradesco in Brazil, and the Finnish Defence Forces, and on road signs in Switzerland. The typeface has also been used across the public transport network in Oslo, Norway, since the 1980s. In 2008 it was the fifth best-selling typeface of the Linotype foundry.
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
4
5
6
7
8
9
sm 6 pt
8 pt
10 pt
12 pt 14 pt
16 pt 18 pt
Adrian Frutiger / humanist
h t
ABCDEFG HI JKLMN OPQRSTU VWXYZ
20 pt 22 pt
univer s
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a a b b c c d d e e f f g g h h i i j j k k l l mm n n o o p p r r s s t t u u v v ww x x y y z z
k
The typeface Univers is one of the greatest typographic achievements of the second half of the 20th century The typeface has the advantage of having a variety of weights which even combined give an impression of steadiness and homogeneity. The clear, objective forms of Univers make this a legible font suitable for almost any typographic need. Univers expresses a factual and cool elegance, a rational competence.
0
1
2
3
In 1954 the type foundry Deberny & Peignot wanted to add a linear sans serif antiqua in serveral weights to the range of the Lumitype-fonts. Adrian Frutiger suggested refraining from adapting an existing alphabet and instead to develop a new font that would, above all, be suitable for the typesetting of longer texts. Using his old sketches from the School for the Applied Arts, he creates Univers font, which was published with Deberny & Peignot in 1957 and, afterwards, was produced by Linotype.
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
4
5
6
7
8
u u 6 pt
8 pt
10 pt
12 pt 14 pt
16 pt 18 pt
9
Adrian Frutiger / humanist
u u
ABCDEFG HI JKLMN OPQRSTU VWXYZ
20 pt 22 pt
T trebuchet
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
g
Trebuchet MS is a humanist sans-serif typeface designed by Vincent Connare for the Microsoft Corporation in 1996. It is named after the trebuchet, a medieval siege engine. The name was inspired by a puzzle question that Connare heard at Microsoft headquarters: “Can you make a trebuchet that could launch a person from main campus to the new consumer campus about a mile away? Mathematically, is it possible and how?” Connare “thought that would be a great name for a font that launches words across the Internet”. The Trebuchet typeface family, like Verdana and Georgia, was created for use on the screen. Designed and engineered in 1996 by Microsoft’s Vincent Connare, it has a strong and unmistakable appearance.
0
1
2
3
Its letterforms, loosely based on sans serif typeface designs of the 1920s and 1930s, carry a large x-height and clean lines designed to promote legibility, even at small sizes. Perhaps Connare’s greatest achievement with the Trebuchet family is to have created a font that works at heading and display sizes as well as small sizes and low resolutions; no mean task given the low resolution of the computer screen, which tends to dilute the characteristics of letterforms, rendering them dull and boring. After all, a lower case e, which at 8pt on the screen can be at most four or ve pixels high, can only be drawn in a limited number of ways.
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
4
5
6
7
8
9
j g 6 pt
8 pt
10 pt
12 pt 14 pt
16 pt 18 pt
Vincent Connare / humanist
QW
ABCDEFG H I JKLMN OP QRSTUVW XYZ
20 pt 22 pt
g eorgia
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
G
Although inspired by the need for—and providing—clarity at low resolutions on the screen, Georgia is a typeface resonant with typographic personality. Even at small sizes the face exudes a sense of friendliness. In Georgia, Carter has successfully managed to create a typeface family which combines high legibility with character and charm. To create a font tailored for on-screen display, Carter had to make several departures from the Scotch mold. In georgia, the uppercase characters are lightened. The x-height is increased, the ascenders rise above the cap height, and the numerals, often cut with a high degree of stress, have been evened out and made slightly non-aligning.
0
1
2
3
This a characteristic that imparts a flavor of individuality to any page set in GeorgiaGeorgia’s accompanying italic is a graceful, flowing font, the design of which entirely masks the difficulty of creating an italic for the screen. Unlike many contemporary fonts, it is a true italic, containing such characters as the single-storeyed lowercase a and g. The bold weight of the typeface has been similarly carefully designed, to ensure that it is always heavier than the regular weight; an important consideration at small sizes on the screen, where it is often necessary to distinguish between the two.
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
4
5
6
7
8
9
h k 6 pt
8 pt
10 pt
12 pt 14 pt
16 pt 18 pt
Matthew Carter / transitional
b a
ABCDEFG HI JKLMN OPQRSTU VWXYZ
20 pt 22 pt
B BASKERVILLE
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
Trebuchet MS is a humanist sans-serif typeface designed by Vincent Connare for the Microsoft Corporation in 1996. It is named after the trebuchet, a medieval siege engine. The name was inspired by a puzzle question that Connare heard at Microsoft headquarters: “Can you make a trebuchet that could launch a person from main campus to the new consumer campus about a mile away? Mathematically, is it possible and how?” Connare “thought that would be a great name for a font that launches words across the Internet”. The Trebuchet typeface family, like Verdana and Georgia, was created for use on the screen. Designed and engineered in 1996 by Microsoft’s Vincent Connare, it has a strong and unmistakable appearance.
w
0
1
2
3
Its letterforms, loosely based on sans serif typeface designs of the 1920s and 1930s, carry a large x-height and clean lines designed to promote legibility, even at small sizes. Perhaps Connare’s greatest achievement with the Trebuchet family is to have created a font that works at heading and display sizes as well as small sizes and low resolutions; no mean task given the low resolution of the computer screen, which tends to dilute the characteristics of letterforms, rendering them dull and boring. After all, a lower case e, which at 8pt on the screen can be at most four or ve pixels high, can only be drawn in a limited number of ways.
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
4
6 pt
8 pt
5
10 pt
g t 6
12 pt 14 pt
7
8
9
16 pt 18 pt
John Baskerville / transitional
QW
ABCDEFG H I JKLMN O PQRSTUVW XYZ
20 pt 22 pt 24
pt
g
garamond
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
a b c d e f g h i j k l m n o p r s t u v w x y z
R
Some of the most widely used and infl uential typefaces in history are those created by the th century type designer Claude Garamond. His roman types are arguably the best conceived typefaces ever designed, displaying a superb balance of elegance and practicality. In spite of their historical signifi cance, the genuine Garamond faces have only been properly identifi ed in the last years. Until that point, a set of typefaces created in the century after Claude Garamond lived were erroneously thought to be “Garamond”. These th century copies served as the model for many of the modern Garamonds. And while many versions of Garamond exist today, most are generations removed from the original designs.
0
1
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3
As Adobe’s fi rst historical revival, Adobe Garamond is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Granjon. Since its release in , Adobe Garamond has become a typographic staple throughout the world of desktop typography and design. Adobe type designer Robert Slimbach has captured the beauty and balance of the original Garamond typefaces while creating a typeface family that off ers all the advantages of a contemporary digital type family.
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
ABCDEFG HI JKLMN OPQRSTU VWXYZ
4
6 pt
8 pt
5
10 pt
6
7
8
9
ua
12 pt 14 pt
16 pt 18 pt
Claude Garamond / old style
QW
ABCDEFG H I JKLMN OP QRSTUVWX YZ
20 pt 22 pt 24
pt
SHRUTI BHATNAGAR MFA graphic design College of Fine Arts Boston University Graduate Graphic Design 1 Semester 1
a a
a
a
a
a
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a
a
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a
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b b
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c c
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d d
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e e
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g g
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h h
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i
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j
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k k
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l
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m m
m m
m
m m m
m
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m
m
m
m m
n n
n
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n
o o
o
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o
o
o
o
o
o
o
o
p p
p
p
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p
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p
p
p
p
p
p
p
p
r
r
r
r
r
r
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r
r
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r
s s
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t
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u u
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v v
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w w
w
w
w
w w
w
w
w
w
w
w
w
w
w w
x x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
y y
y
y
y
y
y
y
y
y
y
y
y
y
y
y
y
z z
z
z
z
z
z
z
z
z
z
z
z
z
z
z
z