The evidently smaller upper bowl and its larger counterpart create the outer curviness of the B that’s lovely to look at.
T
Bauer Bodoni The Bauer Bodoni ‘c’ is a seemingly rational form– with one sinuous terminal and other bulbous terminal waiting to be caught in the curve of the counter form.
Mrs Eaves The slanted serifs seen in the ‘d’ of Mrs Eaves are here to de-couple your text from the otherwise formal demeanour of the family of serifs.
Neutra Display As a result of its architecutural influences, the Neutra display E shows a geometric frame, with a heavier counter form on top which appears to push the lower counter form towards the gravitational force thus resulting in a lower cross bar.
Triplex Light
Humanism in the digital realm showcases itself at one of its best in the letter form of the Triplex ‘f’–with suggestions of curves at the terminals.
Neutra Text Neutra returns with the ‘g’– as it take your gaze on a route through its rhythmic curves before we encounter the subtle horizontal ear perched on top.
Cloister Black
In the world of well disciplined sans serifs we encounter the original hipster–the rebellious Cloister Black ‘h’ with its diverging terminals and intuitive curves.
Optima Clearly the easiest way to write the ‘I’ is with the use of Optima. The humanist calligraphic form is an understated representation of the alphabet with no additional elements to the letterform to maintain its artistic flair.
Bauer Bodoni
Bauer Bodoni comes back with the ‘j’. A very precisely designed letter form with a finely curved terminal opening up into the vertical stroke of the letter form.
Titilium Like pieces of a Tangram plced together, the Titilium ‘k’ has been constructed to give the look of a geometric form along with a sense of stability.
Meta Book It is the brave who deviate. The Meta ‘l’, for the humanist sans serif that it is; gives out the air of being different with its humanist suggestive terminals.
Triplex Bold With the two terminal strokes raised at an angle above the base line the Triplex Bold ‘M’ renders the form dynamic but still maintains its stability and balance .
Caslon 540 Once again the stark contrast of the Caslon attracts us towards the ‘N’ letterform. This time along with the unsymmetrical counter forms being formed at the foot of N.
Gotham One letterform that does not require too much effort to be made to look beautiful. The Gotham ‘O’ impresses us by its modesty and being so perfectly round.
Stradivarius The artistic tendencies of the designer reflect themselves in the ‘p’ of Stradivarius with its seemingly spontaneous strokes and abstract counter form.
Baskerville The Baskerville ‘Q’– an implication of sophistication and style with the distinct tail becoming a synonym for the same.
Bodoni With a very organic form, the Bodoni ‘r’ has its upper terminal stemming out of the vertical stroke of the letter form ending in a distinctive Bodoni ear.
s
Helvetica Neue I dont think we are going out on a limb by saying that Helvetica got their ‘s’ right. With an form that is so perfectly complete in itself we just could’nt help saying it again .
Times A timeless classic from Times is their ‘T’. Structured and geometric, formed only out of three isoceles triangles to bring out a classic serif.
u
Filosofia With a gentle palm like curve of the serif the Filosofia ‘u’ is here to uplift the feel of your text from rationally geometric to intuitive.
Futura Standard
Vengeance made more meaningful with a Futura ‘v’ with its clean lines and a distinct sharp pointed tip.
Baskerville Cyrillic
We love the Baskerville ‘w’ which comes with a sinuous form coupled with the trademark Baskerville trait - The Baskerville swash.
xxxx
Meta Normal Modest yet bold-the Meta ‘x’ says it is here to stay through it’s augmented base which opens while moving down, thus giving the ‘x’ it’s stability.
Y
Titilium An unobstrusive and clean form- the Titilium ‘Y’ believes in modest representation. You could place it with any other letterform and it would still remain there with a silent presence.
Caslon William Caslon 1722
Adobe Jenson Pro Robert Slimbach 1996
Bauer Bodoni Heinrich Jost 1926
Mrs Eaves Zuzana Licko 2002
Neutra Display Richard Neutra and Christian Schwartz 2002
Triplex Zuzana Licko 1989
Cloister Black Dieter Steffmann 2001
Optima Hermann Zapf 1952
Tititlium
Campi Visvi
Meta
Erik Spiekermann 1991
Tobias Frere–Jones 2000
Stradivarius Imre Reiner 1938 Baskerville
John Baskerville 1757
Bodoni Giambattista Bodoni 1798
Helvetica
Max Miendinger and Eduard Hoffmann 1957
Times
Stanley Morison 1931
Filosofia Zuzana Licko 1996
Futura
Paul Renner 1927
Baskerville Cyrillic Jovica Veljovic 1992 Zapfino
Typeface Index Type face Inde x
Gotham
Hermann Zapf 1998
The text of the book has been set in Didot regular 12 point size