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oX k 3 a A font specimen book by: Julia Brooke Rothstein
4 Contents:
Serif:
4 Old Stylt: Garamond 10 Traditional: Mrs. Eaves 14 Modern: Bodoni 18 Slab Face: Clarendon
San Seris:
21 Humanist: Gill Sans 25 Grotesque: Helvetica Neue 29 Geometric: Futura 33 Script: Bicham Script 37 Decorative: Phosphate
Screen Fonts:
40 Serif: Ultra 42 San Serif: Montserrat 44 Display: Monoton 46 Handwriting: Patrick Hand 48 Monospace: Nova Mono
5 OldOld Style Style Garamond Regular 72pt fontsOld Style fall Caslon Roman 72pt underOld Style the serif tyPalentino Roman- 72pt
Old StyleMinion Pro Regular 72 pograph- ic classifica6 - Old Style Garamond.
ABCDEFGHIJKLMNOPQRSTUVWXYZ fonts fall abcdefghijklmnopqrstuvwxyz Garamond Pro Regular 24pt v 1 2 3 4 5 6 7 8 9 0 Garamond Pro Italic 36pt
Claude Garamond, 1989 under the Garamond was first created by a French printer Robert Slimbach re-created the serif face and Named Claude Garamond in the sixteenth century. released it through Adobe in 1989. Many of More specifically, he engraved the molds that would the styles we see today are directly based off of then be used to create the metal type, and his goal Claude Garamonds work. with this one was to somewhat reselmble writing with a pen. Since it’s creation, Garamond has in- spired many other serif typefaces. serif ty- QQ QQ QQ
Garamond Garamond Garamond Garamond Garamond Garamond Pro Regualr Pro Pro Pro Bold Pro Semib- Pro Semib- pograph- Italic Bold Italic old old Italic ic classifica- 7 HowRegular vexingly v Italic
quick DSemiold m Daft Semibold Italic t Zebras Bold
jump! Bold Italic C 8 J v
Never Odd Or Even 12pt Never Odd Or Even 24pt Never Odd Or Even 36pt Never Odd Or Even 60pt Never Odd Or Even 72pt t Never Odd Or Even 48pt Never Odd Or Even 30pt Never Odd Or Even 60pt 18pt
Never Odd Or Even 14pt J 9 Bean 12pt Bean 14pt
Bean` 18pt
Bean 24pt
Bean 30pt
Bean 36pt j CSerifs on top and bottom. Bean 48pt Far below baseline.
Bean 60pt
Bean 72pt ss10 puff the magic dragon Mrs. Eaves OT Roman puff the magic dragon Mrs. Eaves OT Italic puff the magic dragon 1 Mrs. Eaves OT Bold 2 puff the magic dragon Mrs. Eaves XL Serif Nar OT Regular 3 puff the magic dragon 4 Mrs. Eaves XL Serif Nar OT Italic puff the magic dragon 5 Mrs. Eaves XL Serif Nar OT Bold 6 puff the magic dragon Mrs. Eaves XL Serif Nar OT Bold Italic 7 puff the magic dragon 8 Mrs. Eaves XL Serif Nar OT Heavy 9 puff the magic dragon
Mrs. Eaves XL Serif Nar OT Heavy Italic 0 Mrs. Eaves Mrs.
11 A a B b C c D d E e F f G g H h I i J j K k L l M m N n O o P p Q q R r S s T t U u V v W w X x Y y Z z
‘Mrs. Eaves’ was dirived from another typeface called ‘Baskerville’ which was originaly designed by John Baskerville in the 1750s. Origionally, Mrs Eaves OT was the only Verstion of the typeface. It stood out because of it’s low x-height, but there was some issues with the low x-height in terms of legibity so Mrs. Eaves XL was created to compensate and open up the options for the typeface’s usage. Mrs. Eaves XL has a higher x-height but is other wise very closely related.
Zuana Licko1996 Mrs.Mrs. EavesEaves
12 Mrs. Eaves XL Regular
Baskerville Upright TR ADI Times New Roman TIORegular Mr.s Eaves OT Roman Mrs.Mrs. EavesEaves NAL
13 MODBodoni Bold
Didot Bold E R N k
14 Regular Aa Bb f Italic Cc Dd f
Ee Ff Bold Gg Hh f Ii Jj Poster Kk Ll f Book Italic Mm Nn f Bold Oo Pp Condensed f Qq Rr Bold Ss Tt f Compressed Uu Vv Poster Italic Ww Xx f Yy Zz f Bold Italic k Book Italic f Bodoni 15 1 10pt Regular Blackjack Cutlet Club Italic Blackjack Cutlet Club Bold Blackjack Cutlet Club 12pt 2 Poster Blackjack Cutlet Club Poster Italic Blackjack Cutlet Club Poster Condenssed Blackjack Cutlet Club 14pt 3 Bold Condensed Blackjack Cutlet Club Book Italic Blackjack Cutlet Club Book Blackjack Cutlet Club Bold Italic Poster Posterf Blackjack Cutlet Club x18pt 4 24pt 5 BODONI.
30pt 6 36ptQ7 v
48pt Thin Serrifs (horizontals) 8 and Thick Verticals 3 60pt 9
72pt 0 i
16 Bodoni is a serif tyypeface origion- ally designed by Giambattista Bodoni in the late eighteenth cenutry (1909). Giam- battista Bodoni was greatly inspired by John Baskerville and took the serif font a step further. The contrast in stroke is far more dramatic than many of the typefac- es that preceded it. This thickness veriety made some styles somewhat hard to read at a small scale so Bodoni is often used as a display font at larger sizes.
17 I solemnly swear that I am up to no good...
Clarendon Light 14pt
I solemnly swear that I am up to no good... Clarendon Roman 14pt
I solemnly swear that I am up to no good... Clarendon Bold 14pt
Clarendon
v
Robert Besley, 1845
Clarendon is a slab serif type face created in 1845 by Robert Besley, who was a part of Thorwogood and co. Since then, many styles of Claendon have been created. They are similar to modern typefaces in some ways, but more solid and bold. Another difference between the slab serif and the modern typefaces is that in the slab serifs, there is less contrast between the strokes which makes it easier to read.
18 A B C D E F G H Light I J K L a M N O P Q R S T U V W X Y Z Roman a a b c d e f g h i j k l m n o p q r s Bold t u v a w x y z
1 2 3 4 5 6 7 8 9 0
JLight JRoman JBold
SlabfaceSlabface r19 Boston 12pt Boston 14pt
Boston 18pt
Boston 24pt
Boston 30pt
Boston 36pt
Boston 48pt
Boston 60pt
Boston 72pt Clarendon
20 HU MA Gil Sans NI Optima Trajan Mr. Eaves
ST21 ABCDEFGHIJKLMNOPQRSTUVWXYZ Gill Sans STD Regular 24pt abcdefghijklmnopqrstuvwxyz Gill Sans STD Light 24pt 1234567890
Gill Sans Gill Sans aRegular aItalic
The italic style varries in form with some letters like the lowercase a.
In 1926, Gill Sans was created by Eric Gill and re- leased by the British branch of monotype. This typeface is unique for a sans-serif typeface because it has some similar characteristics of old style typefaces. Many other san-serifs are built based on simple shapes and not as complex in contrast as Gill Sans. Another characteris- tic that is similar to a serift typeface is that rather that simply slanting the letters for italilcs, the letter forms are entirely different.
22 Art is Neat Regular Art is Neat Italic Art is Neat Bold Art is Neat Condensed Art is Neat Light Art is Neat Shadowed Art is Neat Bold Italic Art is Neat Extra Bold Display Art is Neat Extra Bold Art is Neat Light Italic Art is Neat Light Shadowed Art is Neat Ultra Bold Condensed Art is Neat Bold Condensed Art is Neat Ultra Bold Art is Neat Extra Bold Condensed
23 O O O O O O O O O O O O O O O 24 Grotesque.otesesqe ue Helvetica Neue LT Std Regular
Grotesque.essque.s DINOT Regular
Grotesque.GrotG otttesque.testesqquUnivers LT eStd 55 Roman Grootesque.tesqu Franklin Gothic Std No. 2 Roman
25 Helvetica Neue ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz
1 2 3 4 5 6 7 8 9 0
Helvetica Neue was originally created by Max Miedinger in the year 1983. Hel- vetica had been around for many years before that, and it was extremely popular. It is one of the most well known and most commonly used typefaces in existence. It was created to satisfy the trend of the 20th century that people were drawn to the moder- nity of the san serif style typeface. It is build around simple shapes like circles and squares with a high x-height and tight apertures that make it a good typeface in larger sizes but less legible in smaller sizes, like body text. c26 37 Thin Condensed 37 Thin Condensed Oblique 27 Ultra Light Condensed 27 ultra Light Condensed Oblique 47 Light Condensed 47 Light Condensed Oblique a 57 Condensed 57 Condensed Oblique 67 Medium Condensed 67 Medium Condensed Oblique 77 Bold Condensed 77 Bold Condensed Oblique 87 Heavy Condensed 87 Heavy Condensed Oblique 97 Black Condensed c 97 Black Condensed Oblique 107 Extra Black Condensed 107 Extra Black Condensed Oblique 35 Thin 36 Thin Italic Tight Apertures 25 Ultra Light 26 Ultra Light italic 45 Light 46 Light Italic 55 Roman 56 Italic 65 Medium 66 Medium Italic 75 Bold e 75 Bold Outline 76 Bold Italic 1 2 3 85 Heavy 86 Heavy Italic 95 Black 4 5 6 7 96 Black Italic 33 thin Extended 33 Thin Extended Oblique 8 9 0 23 Ultra Light Extended 23 Ultra Light Extended 43 Light Extended 43 Light Extended Oblique 53 Extended 53 Extended Oblique 63 Medium Extended 63 Medium Extended Oblique 73 Bold Extended 73 Bold Extended Oblique 83 Heavy Extended g 83 Heavy Extended Oblique 93 Black Extended 93 Black Extended Oblique 27 10pt Sixty The smaller sizes are somewhat harder to read 12 pt zippers 14 pt were 18pt quickly 24pt picked
30 pt from
36pt the
48pt woven The larger sizes are very geo- metric and legible.
60pt jute 72pt bag.
28 R
29 Futura 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 1 2 3 4 5 6 7 8 9 0 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
30 Light Condensed There's laughter and smiles galore
Light Condensed Oblique There's laughter and smiles galore
Medium Condensed There's laughter and smiles galore
Medium Condensed Oblique There's laughter and smiles galore
Bold Condensed There's laughter and smiles galore
Bold Condensed Oblique There's laughter and smiles galore
Extra Bold Condensed There's laughter and smiles galore
Extra Bold Condensed Oblique There's laughter and smiles galore
Light There's laughter and smiles galore
Light Oblique There's laughter and smiles galore
Book There's laughter and smiles galore
Book Oblique There's laughter and smiles galore
Medium There's laughter and smiles galore
Medium Oblique There's laughter and smiles galore
Heavy There's laughter and smiles galore
Heavy Oblique There's laughter and smiles galore
Bold There's laughter and smiles galore
Bold Oblique There's laughter and smiles galore
Extra Bold There's laughter and smiles galore
Extra Bold Oblique There's laughter and smiles galore
31 The geometric sans serif type- N face futura was designed in 1927 by Paul Renner. Renner's goal was to create a typeface without any non-es- sentials by using only pure, geometric forms to create the glyphs. Unlike many S san serif type faces, Futura has a low x-height which makes it more suitable for body text as apposed to headline B text. FUTURA Script HERE32 Script
Bickham Script Std Regular
Snell Roundhand LT Script. Script
33 Bickham Script A B C D E F G H I J K L M N O P Q S T U V W X Y Z 1 2 3 4 5 6 7 8 9 0 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 34 Bickham Script
35 F Richard 1997 12 pt Dream 14 pt Dream Lipton Dream 18pt 24pt Dream Regular 30 pt Dream 36pt Dream MadelynSemibold 48pt Dream
Bold Madelyn 60pt Dream Madelyn 72pt Dream jM36 F Many letter's have alternate versions, especially capital letters. They add drama, beauty, and grance to the words.
Mattf Matty Harry Jessie Jessie Harry Abstract Abstract M 37 A b c d e f g h i P j k l m n o p q h r s t u v w x y z o 1 2 3 4 5 6 7 8 9 0 s p
EVEN h
Inline ate solid
38 2010
39 ULTRA
ABCDEF abcdefg GHIJKL hijklmn MNOPQ c opqrstu RSTUV vwxyz WXYZ f ` Serif
40 Designed by: The Astigmatic One Eye Typographic Institute
"Ultra is an ultra bold slab atypeface with nods to wood type styles like Clarendon and Egyptian. Strong and dramatic letter forms for ti- tling, a serious, yet friendly, and easily legible type style. Perfect for power headlines and titling for impact." f -Google fonts ` y
41 wire Thin
wire Thin Italic ABCDEF wire ExtraLight GHIJKLM wire ExtraLight Italic wire Light NOPQRS wire Light Italic TUVWXYZ wire Regular wire Italic abcdef wire Medium wire Medium Italic ghijklm SANS SERIF wire SemiBold nopqrs wire SemiBold Italic tuvwxyz wire Bold wire Bold Italic 1234567890 wire ExtraBold wire ExtraBold Italic wire Black
wire Black Italic 42 Ee ooo
o1989 o Designed by Julieta Ulanovsky, Mont- serrat was meant to capture the beauty of urban culture in the early twentieth century. The Typeface remains so unique because Urban culture has changed drastically over the years and probably will never be the same. Montserrat cap- tures a time lost period
AT43 Decorative:
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww XxYy Zz
Veron Adams 2013
44 Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp M Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
N .
o g
n s i
t Handwriting h i
r a r w p e l e Patrick Hand was inspired by the designers d b g m e e actual handwriting. Patrick Wagesreiter, s s : re s the designer, finalized the typeface in 2013 o to f t, es along with a similar face that included ro urv unded c small caps. His goal was to create a face that would allow for a neat looking version f of handwritten type.
45
r t M
12 pt 14 pt 18pt Y 24pt
30 pt
36pt
48pt
60pt
72pt
46 47 © Juila Rothstein: editor/designer Com D 250, Typography and Information Design Professor Cindiana Koren PrattMWP College of Art and Design Utica, NY│2018
48 49