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Typeface Book Final TYPO GRA PHY Page 15-16 Bodoni Page 13-14 Baskervile Page 11-12 Palatino Page 9-10 Times New Roman Page 7-8 Gill Sans Page 5-6 Minion Page 3-4 Palatino Page 1-2 Content Helevetica Neue Page 25-26 Futura & Optima Page 25-26 Trajan Page 23-24 Rockwell “Have no fear of perfection—you’ll never reach it.” Page 21-22 Snell Roundhand Page 19-20 Didot Page 17-18 Caslon Page 15-16 Bodoni Helvetica's tight apertures contribute to aea regular, dense design. Helvetica Neue UltraLight Helvetica Neue UltraLight Italic Helvetica Neue Thin Helvetica Neue Thin Italic Helvetica Neue Light Helvetica Neue Light Italic Helvetica Neue Regular Helvetica Neue Italic Helvetica Neue Medium Helvetica Neue Medium Italic Helvetica Neue Bold Helvetica neue Bold Italic Helvetica Neue Condensed Blod Helvetica Neue Condensed Black Helvetica Neue ae Helvetica or Neue Haas Grotesk is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with input from Eduard Hoffmann. Palatino AboutThe Great Classic Since 1949 Palatino is one of several became popular for related typefaces by Zapf, book body text use, which Stempel marketed as overshadowing the an "extended family". The narrower and lighter group includes Palatino, Aldus, which Zapf had Sistina, Michaelangelo designed for this role. It Titling, and Aldus; Zapf's has been described as one biographer Jerry Kelly of the ten most used serif describes them as forming typefaces. Since Palatino "the largest type family was not originally designed based on classic renaissance for body text, some of its forms at the time." These characters were intended designs were strongly to stand out with quirky, influenced by Italian calligraphic design features, Renaissance letter forms and Zapf later redesigned and Roman square capitals, them with more sober although Zapf was unable alternates, which have to visit Italy until after he become the norm on most had finished the Palatino digital versions. roman. Palatino rapidly Minion Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Minion Pro Regular Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Minion Pro Italic Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Minion Pro Medium Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Minion Pro Medium Italic Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Minion Pro Semibold Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Minion Pro Semibold Italic Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Minion Pro Bold Aa Aa Aa Aa Aa Aa Aa Aa Aa Aa Minion Pro Bold Italic Minion is a serif typeface released in 1990 by Adobe Systems. Designed by Robert Slimbach, it is inspired by late Renaissance-era type and intended for body text and extended reading. Minion's name comes from the traditional naming system for type sizes, in which minion is between nonpareil and brevier, with the type body 7pt in height. About A BEAUTIFUL TYPEFACE Gill Sans is a sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards. Gill Sans is based on Edward Johnston's 1916 "Underground Alphabet", the corporate font of London Underground. Gill as a young artist had assisted Johnston in its early development stages. In 1926, Douglas Cleverdon, a young printer- sans-serif typeface Since 1928 publisher, opened a bookshop in Bristol, and Gill painted a fascia for the shop for him in sans-serif capitals.[a] In addition, Gill sketched an alphabet for Cleverdon as a guide for him to use for future notices and announcements. By this time Gill had become a prominent stonemason, artist and creator of lettering in his own right and had begun to work on creating typeface designs. GILL SANS a New Roman Times Letter Perfect Times New Roman Serif Old-style 1932 Times New Roman Times New Roman is a serif typeface designed for legibility in body text. It was commissioned by the British newspaper The Times in 1931 and conceived by Stanley a Morison, the artistic advisor to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, a lettering artist in the Times' advertising department. Although no longer used by The Times, Times New Roman is still very common in book and general printing. It has become one of the most popular and influential typefaces in history and a standard typeface on most desktop computers. Times New Roman's creation took place through the influence of Stanley Morison of Monotype. Morison was an artistic director at Monotype, historian of printing and informal a adviser to The Times. Asked to advise on a redesign, he recommended that they change their text typeface from a spindly and somewhat dated nineteenth-century face to a more robust, solid design, returning to traditions of printing from the eighteenth century and before. This matched a common trend in printing tastes of the period. The new face was drawn by Victor Lardent, an artist from the advertising department of The Times, with Morison consulting, before refinement by the Monotype drawing office. Morison proposed an older Monotype typeface named Plantin as a basis for the design, and Times New Roman mostly matches Plantin's dimensions. The main change was that the contrast between strokes was enhanced to give a crisper image. As a typeface designed for newspaper printing, Times New Roman has a high x-height, short descenders to allow tight Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx YyBaskerville Zz 1 2 3 4 5 6 7 8 9 0 # ( ) { } [ ] % & ! ? . , “ ” ‘ ’ Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. Aa English Classic Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 # ( ) { } [ ] % & ! ? . , “ ” ‘ ’ As Baskerville's typefaces were proprietary to him and sold to a French publisher after his death, some designs influenced by him were made by British punchcutters. The Fry Foundry of Bristol created a version, probably cut by their punchcutter Isaac Moore. Known in the twentieth century as "Fry's Baskerville" or "Baskerville Old Face", a digitisation is Aaincluded with some Microsoft software. BODONI -BRIEF INTRODUCTION Bodoni is the name given to the serif but the earlier designs are now called typefaces first designed by Giambattista “transitional". Bodoni (1740–1813) in the late Some digital versions of Bodoni are eighteenth century and frequently said to be hard to read due to "dazzle" revived since. Bodoni's typefaces caused by the alternating thick and thin are classified as Didone or modern. strokes, particularly as the thin strokes Bodoni followed the ideas of John are very thin at small point sizes. This Baskerville, as found in the printing is very common when optical sizes of type Baskerville—increased stroke font intended for use at display sizes contrast reflecting developing printing are printed at text size, at which point technology and a more vertical axis— the hairline strokes can recede to being but he took them to a more extreme hard to see. Versions of Bodoni that conclusion. Bodoni had a long career are intended to be used at text size are and his designs changed and varied, "Bodoni Old Face", optimized for 9 ending with a typeface of a slightly points; ITC Bodoni 12 (for 12 points); condensed underlying structure with and ITC Bodoni 6 (for 6 points). flat, unbracketed serifs, extreme contrast Massimo Vignelli stated that "Bodoni between thick and thin strokes, and an is one of the most elegant typefaces overall geometric construction. ever designed."In the English-speaking When first released, Bodoni and other world, "modern" serif designs like didone fonts were called classical Bodoni are most commonly used in designs because of their rational headings and display uses and in structure. However, these fonts were upmarket magazine printing, which not updated versions of Roman or is often done on high-gloss paper that Renaissance letter styles, but new retains and sets off the crisp detail of the designs. They came to be called 'modern' fine strokes. In Europe, they are more serif fonts and then, until the mid-20th often used in body text. century, they were known as Didone designs. Bodoni's later designs are rightfully called "modern", -173- g -Bodoni Book- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 # ( ) { } [ ] % & ! ? . , “ ” ‘ ’ g CASLON CASLON HISTORYdesigned by William Caslon I Caslon began his career in London as Netherlands, or France, and Caslon's an apprentice engraver of ornamental types are therefore clearly influenced designs on firearms and other metalwork. by the popular Dutch typefaces of his According to printer and historian John period. James Mosley summarises his Nichols, the main source on Caslon's early work: "Caslon's pica...was based life, the accuracy of his work came to the very closely indeed on a pica roman attention of prominent London printers, and italic that appears on the specimen who advanced him money to carve steel sheet of the widow of the Amsterdam punches for printing, first for exotic printer Dirck Voskens, c.1695, and languages and then as his reputation which Bowyer had used for some years.
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