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Home , Bauer Type Foundry, Bodoni, Didone (typography), Diotima (typeface), Edward Johnston, Erbar

TYPO GRA PHY Content Helevetica Neue 1-2 Page 3-4 Page 5-6 Page 7-8 Page 9-10 Palatino Page 11-12 Baskervile Page 13-14 Page 15-16 “Have no fear of perfection—you’ll never reach it.” Bodoni Page 15-16 Page 17-18 Page 19-20 Snell Roundhand Page 21-22 Page 23-24 Page 25-26 & Page 25-26 '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 Grotesk is a widely used Grotesk typeface sans- developed in 1957 by Swiss typeface designer input with Miedinger Max Hoffmann. Eduard from Helvetica or Neue Haas Helvetica or Neue Haas ae digital versions. book body text use, use, text body book overshadowing the lighter and narrower had Zapf which Aldus, It designed for this role. one as described been has ten most used serif of the . Since Palatino was not originally designed for body of its text, some intended characters were to stand out with quirky, features, design calligraphic Zapf later redesigned and sober them with more alternates, which have become the norm on most became popular for for popular became The Great Classic Since 1949 The Great Renaissance letter forms Renaissance letter forms capitals, and Roman square although Zapf was unable to visit Italy until after he the Palatino finished had Palatino rapidly roman. Titling, and Aldus; Zapf's Zapf's Aldus; and Titling, biographer Jerry Kelly describes them as forming type family "the largest based on classic renaissance forms at the time." These strongly were designs influenced by Italian Palatino is one of several Palatino is one of several typefaces by Zapf, related which Stempel marketed as an "extended family". The includes Palatino, group Michaelangelo Sistina, About Palatino

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 , it is inspired by late Renaissance-era type and intended for body text and extended reading. Minion's name comes from the traditional naming for type sizes, in which minion is between nonpareil and brevier, with the type body 7pt in height. sans-serif typeface Since 1928

GILL SANS Gill Sans is a sans-serif typeface designed by Gill Sansisasans-serif A BEAUTIFUL TYPEFACE designs. on creating typefacehad begun to work and inhisown right and creator of stonemason,become aprominent artist and announcements. timeGill had Bythis a guidefor himtousefor futurenotices sketched for analphabet Cleverdon as capitals.[a] In addition,him insans-serif Gill and Gillpaintedafasciafor theshopfor publisher, opened a bookshop in Bristol, Douglas Cleverdon, a young printer- development stages.in itsearly In 1926, hadassisted Gill asayoung artist ofLondonUnderground.corporate 1916 "Underground Alphabet", the Gill SansisbasedonEdwardJohnston's of Monotypefrom1928onwards. branch Gillandreleasedby theBritish Eric About 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 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 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 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 (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, . 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 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 or modern. strokes, particularly as the thin strokes Bodoni followed the ideas of John are very thin at small 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 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. summarises his Nichols, the main source on Caslon's early work: "Caslon's ...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. developed for the . Caslon's pica replaces it in his printing was a difficult technique from 1725…Caslon's Great Primer and many of the techniques used were roman, first used in 1728, a type that was kept secret by punchcutters or passed on much admired in the twentieth century, from father to son. Caslon would later is clearly related to the Text Romeyn of follow this practice himself, according Voskens, a type of the early seventeenth to Nichols teaching his son his methods century used by several London printers privately while locked in a room where and now attributed to the punch-cutter nobody could watch them. As British Nicolas Briot of Gouda."[4] Mosley also printers had little success or experience describes several other Caslon faces as of making their own types,they were "intelligent adaptations" of the Voskens forced to use equipment bought from the Pica. When In Doubt, Use Caslon.& Caslon is the name given to serif typefaces The sides of the 'M' are straight. The 'W' designed by William Caslon I (c. 1692– has three terminals at the top and the 1766) in London, or inspired by his work. 'b' has a small tapered stroke ending at Caslon worked as an engraver of punches, bottom left. Ascenders and descenders the masters used to stamp the moulds or are relatively short and the level of stroke matrices used to cast metal type. He worked contrast is modest in body text sizes. in the tradition of what is now called old- However, Caslon created subtly different style serif letter design, that produced designs of letter at different sizes, with letters with a relatively organic structure increasing levels of fine detail and sharp resembling handwriting with a pen. Caslon contrast in stroke weight at larger sizes. established a tradition of engraving type Caslon's larger-size roman fonts have two in London, which previously had not serifs on the 'C', while his smaller-size been common, and was influenced by the versions have one half-arrow serif only at imported Dutch Baroque typefaces that top right. In italic, Caslon's h folds inwards were popular in England at the time. His and the A is sharply slanted. The Q, T typefaces established a strong reputation for v, w, and z all have flourishes or swashes their quality and their attractive appearance, in the original design, something not all suitable for extended passages of text. revivals follow. The italic 'J' has a crossbar The letterforms of Caslon's roman, or and a rotated casting was used by Caslon upright type include an 'A' with a concave in many sizes on his specimens to form the hollow at top left and a 'G' without a pound sign. downwards-pointing spur at bottom right. Age of Enlightenment

ii

I ii i ii I i I ii I i I I i i DESIGNED BY I i i I I i I ii Firmin Didot i Ii I I i I I i I ii I i I I I ii i i ii I I I i I ii I I i I I I i i I i i I I I i I ii i Ii I I i I I i I ii I i I I I ii i i ii I I I i I ii I I i I I I i i DidotI i i I I I i I ii i Ii I I i I I i The most famous Didot typefaces were I ii I i I I ii developed in the period 1784–1811. Firmin I i i ii I I I Didot (1764–1836) cut the letters, and cast i I ii I I them as type in Paris. His brother, Pierre i I I I Didot (1760–1853) used the types in printing. i i I i i I His edition of La Henriade by Voltaire in 1818 I I i I ii is considered his masterwork. The typeface i Ii I takes inspiration from 's I i I I i I ii I experimentation with increasing stroke i I I I ii contrast and a more condensed armature. i i ii I I I The Didot family's development of a high i I ii I I contrast typeface with an increased stress is i I I I i i contemporary to similar faces developed by I i i I in Italy. I I i I ii i Ii I I i I I i I I i I I I I i CATEGORY I I ANATOMY Didot is described as Serif I a Throught Thick and Thin Didot Bold "I" & "i"

ii

ii I i i I ii i i I ii I i ii i ii I ii

I i ii i I I ii I I i I i i i i ii i I I

i I I i i i I I i I I I i I i i i II i i II i I i i

i i I I i I ii I i

i I I i I i i I I I

I I I i i i i I i I i I I i I i i i I I I ii I I

I i I I ii i ii i I I I ii I I i i ii i I I ii I I I I i I I i i i i ii I i I I I i I I i i i I I i I I I I i I i i i II i i I II i I i i

i i I I i I ii I i

i I I i I i i I I I

I I I i

i i i i I i I i I I i I i ii i I I I ii I I I

I i I I ii i ii i I I I I ii I

I i i i i i i I I ii I I I I i I I i i i i I ii I i I I I i i I I i i i I I i I I I I i I i i i I II i i I II i I i i i I I I i I ii I i i

i I I i I i Ii I I I I I i

i i i i I I i I i I I i I i ii i I I I ii I I I

I I i I ii i ii i I I I I ii I

I i i i i i i I I ii I I I I i I I i i i i I ii I i I I I i i I I i i i I I i I I I I i I i i i I II i i I II i I i i

i i I I I i I ii I i

i I I i I i i I I I

I I I i

i i i i I I i I i I I i I i ii i I I I ii I I I i I I I ii i ii i I I I I ii I

I i i i i i i I I ii I I I I i I I i i i i I ii I i I I I i i I I i i i I I i I I I I i I i i i I i II i i I II i I i I I I I i I ii I i

i I I I CLASSIFICATIONI i I ITIME i I I I i I I i I is known as modern, or Didone developed in the period 1784–1811I I I I i I I i I I I I i I I I II I It’s a long and silent street. I walk in the dark and trip and fall and get up and step blindly on the mute stones and dry leaves and someone behind me is also walking: if I stop, he stops; if I run, he runs. I turn around: no one. Everything is black, there is no exit, and I turn and turn corners that always lead to the street where no one waits for me, no one follows, where I follow a man who trips and gets up and says when he sees me: no one.I went down to the , I set down on the bank. I tried to think but couldn’ t, So I jumped in and Snell Roundhand sank. Designed by in . Published by Adobe.

Snell Roundhand Regular 24/18 pt.

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 6 # ( ) { } [ ] % & ! ? . , “ ” ‘ ’ The Small Claim of Bones Cindy Williams Gutiérrez

what my body knows is not a lie it’s not a lie i tell you it is not it’s nothing short of truth and nothing larger my past lodges in my marrow and if i wanted a transplant there’d be no match others’ sorrows dwarf my petty traumas still these bones are mine when they creak when they moan when they whine there’s only one thing i can claim these bones are mine i tell you they are mine and kind 6 to abandon no thing ROCKROCK WELLWELL

The Guinness World Records used Rockwell in some of their early- 1990s editions. Informational signage at Expo 86 made extensive use of the Rockwell typeface. Docklands Light Railway also used a bold weight of this typeface in the late 1980s and early '90s. It is also used by the poetry publisher Tall Lighthouse for all their books, as well as on their website. Rockwell

CATEGORY SERIF

CLASSIFICATION

POWERFUL Rockwell is a slab serif typeface designed by the Monotype Corporation AND and released in 1934. The project was supervised by Monotype's engineering CONFIDENT manager . A serif at the apex of uppercase A is ROCKWELL distinct. The lowercase a is two-storey. Because of its monoweighted stroke, Rockwell is used primarily for display or small-size use rather than lengthy bodies of body text.

Rockwell is based on an earlier, more condensed slab serif design cast by the Inland called Litho Antique.

Rockwell is a "geometric" slab-serif, with a monoline construction with all strokes appearing to be roughly the same width and its capital 'O' roughly circular.

Rockwell has remained popular and been digitised, although a shadowed weight has not been.

RRRRRRRRRRRRR RRRRRRRRRRRRR 1989

as the Romans did not use lower- case letters. Twombly created the design taking inspiration from a full-size picture of a rubbing of the inscription. It is well known for appearing on many movie posters. The design is based on the TRAJANletterforms of capitalis monumentalis or , as used for the inscription at the base of Trajan's from which the typeface takes its name. Trajan is an all-capitals typeface, Incised HUMANIST DESIGNER CAROL TWOMBLY

CATEGORY SERIF TRAJAN The capitals on the Column of Trajan have long been an inspiration to many artists and students of lettering. The calligrapher and type designer in his book Writing & Illuminating & Lettering (1906) wrote that "the Roman capitals have held the supreme place among letters for readableness and beauty. They are the best forms for the grandest and most important inscriptions." Trajan letterforms were used for many years for signs in British public buildings, including government offices. Twombly's translation of the Trajan inscription into type is quite crisp and faithful. Many looser interpretations (often with an invented lowercase) predate Twombly's, particularly Emil Rudolf Weiss' "Weiss" of 1926, 's Forum Title, Hadriano and "Goudy Trajan", and by Gudrun Zapf-von Hesse, while Warren Chappell's "Trajanus" of 1939, while having similar forms for capitals has a markedly medieval lowercase. Many other examples of lettering and typefaces are based on Roman capitals, for instance lettering made under the influence of the Arts and Crafts movement in the nineteenth and twentieth centuries. Alastair Johnston's 1990 review of Trajan noted this heritage, saying that it "outdoes anything old Fred Goudy ever produced."

Twombly's digitisation of Trajan has become very popular, as seen in its widespread TRAJAN presence on movie posters, television shows and book covers.

Twombly retired from Adobe and in 1999, but Adobe has continued to release versions in consultation with her. The 2012 OpenType release of Trajan is "Trajan Pro 3" and features a lower-case of . Adobe has also released a Incised "Trajan Sans" companion face, forming a font superfamily. TRAJAN

TRAJAN Futura is a geometric sans-serif typeface. It designed by Paul Renner and released in 1927. It was designed as a contribution on the New Frankfurt-project.

TIHS It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period.

It was developed as a typeface by the , in competition with Ludwig & Mayer's seminal IS typeface of 1926. FUTURA GEOMETRIC

Futura was extensively marketed by Bauer and its American distribution arm by brochure as capturing the spirit of modernity, using the German slogan "die Schrift unserer Zeit" SANS ("the typeface of our time") and in English "the typeface of today and tomorrow". It has remained popular since. SERIF Q Optima

Optima Regular 24/14 pt. 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 # ( ) { } [ ] % & ! ? . , “ ” ‘ ’

Optima is a humanist sans-serif typeface designed by and released by the D. Stempel AG foundry, Frankfurt, Germany.

Though classified as a sans-serif, Zapf intended Optima to be a typeface Optima has a subtle swelling at the that could serve for both body text and terminals suggesting a glyphic serif. titling. To prove its versatility, Zapf Optima was inspired by classical set his entire book About Alphabets in Roman capitals and the stonecarving the regular weight. Zapf retained an on Renaissance-period tombstones interest in the design, collaborating Zapf saw in Florence on a 1950 on variants and expansions into his QOholiday to Italy. eighties.