24 Logotypes & Typefaces A Type Reference Book | Justin Ander Contents 1 Univers Condensed 11 Garamond 20 Franklin Gothic Adrian Frutiger . 1957 Claude Garamond Morris-Fuller Benton 1989 1902 2 Gill Sans Eric Gill . 1928 12 Minion 21 Meta Robert Slimbach . 1990 Eric Spiekermann . 1991 3 Times New Roman Stanley Morison & 13 Janson 22 Gotham Medium Victor Lardent . 1932 Miklós Kis . 1685 Jonathan Hoefler & Tobias Frere-Jones 4 Frutiger 14 Caslon 2000 Adrian Frutiger . 1976 William Caslon . 1692 23 DIN 1451 5 Baskerville 15 Serifa Deutsches Institut für John Baskerville . 1754 Adrian Frutiger . 1976 Normung . 1931 6 Univers Roman 16 Optima 24 Didot Günter Gerhard Lange Hermann Zapf . 1955 Firman Didot . 1784 1958 17 Akzidenz Grotesk 7 Product Sans H Berthold AG . 1898 Google Design . 2015 18 Adelle 8 Helvetica Neue José Scaglione & Max Miedinger . 1983 Veronika Burian . 2009 9 Palatino 19 Sentinel Herman Zapf . 1948 Jonathan Hoefler & Tobias Frere-Jones 10 Futura Book 2002 Paul Renner . 1928 Univers Condensed Light classification Adrian Frutiger designer Univers was designed by Adrian Frutiger, a swiss type Univers Condensed Light designer, in 1957. While in school in Zurich, Adrian Frutiger began to draft the foundation for Univers it would take 3 years before Univers would be released by the Deberny & Peignot foundry in Paris. The design is described as being neo-grotesque, similar to another famous swiss typeface, Helvetica. Originally when Univers was released, Frutiger used numbers rather than names to designate variations of weight, width, and slope. The Univers typeface is consisted of twenty-one typefaces, interestingly Frutiger has 1 given numbers to other type-face families as well 1 including Serifa,Frutiger, and later Linotype also adopted Frutiger’s numerical system for its type family as well. Frutiger originally imagined that all twenty-one Univers faces could be designed in such a way so that all of them would work together, because of this, they 11/13.5 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:”?>< ABCDEGHIJKLMNOPQRSTVWXYZ Univers was designed by Univers was designed by Adrian Frutiger, Univers was designed by Adrian Frutiger, a swiss type designer, in Univers Condensed Light Adrian Frutiger, a swiss a swiss type designer, in 1957. While in type designer, in 1957. 1957. While in school in Zurich, Adrian Frutiger began to draft the school in Zurich, Adrian Frutiger began to While in school in Zurich, Adrian Frutiger began draft the foundation for Univers it would foundation for Univers it would take 3 years before Univers would to draft the foundation take 3 years before Univers would be be released by the Deberny & Peignot foundry in Paris. The design is for Univers it would take released by the Deberny & Peignot foundry described as being neo-grotesque, similar to another famous swiss 3 years before Univers in Paris. The design is described as being would be released by typeface, Helvetica. Originally when Univers was released, Frutiger the Deberny & Peignot neo-grotesque, similar to another famous foundry in Paris. The swiss typeface, Helvetica. Originally used numbers rather than names to designate variations of weight, design is described as when Univers was released, Frutiger used width, and slope. The Univers typeface is consisted of twenty-one being neo-grotesque, numbers rather than names to designate similar to another famous variations of weight, width, and slope. The typefaces, interestingly Frutiger has given numbers to other type- swiss typeface, Helvetica. 1 Univers typeface is consisted of twenty-one face families as well including Serifa,Frutiger, and later Linotype Originally when 2 Univers was released, typefaces, interestingly Frutiger has given also adopted Frutiger’s numerical system for its type family as well. Frutiger used numbers numbers to other type-face families as well Frutiger originally imagined that all twenty-one Univers faces could rather than names to including Serifa,Frutiger, and later Linotype designate variations also adopted Frutiger’s numerical system be designed in such a way so that all of them would work together, of weight, width, and slope. The Univers for its type family as well. Frutiger originally because of this, they can be paired in a variety of ways leading to typeface is consisted of imagined that all twenty-one Univers faces endless combinations. Frutiger, like his swiss compatriots, agreed twenty-one typefaces, 7/9.5 9/11.5 12/9 Gill Sans classification Eric Gill designer Gill Sans has often been called “the most civilized Gill Sans of sans serif typefaces,” because its design founda- tion is in roman letter forms and proportions. There is no T-square precision, nor are there geometric shapes in Gill Sans. This typeface is clearly the result of a calligrapher’s hand, Eric Gill. Eric Gill(1882- 1940) was born in Brighton, the son of non-con- formist minister. He studied at Chichester Technical and Art School, and in 1900 moved to London to train as an architect. He took evening classes in stonemasonry at Westminster Technical Institute and in calligraphy at the Central School of Arts 2 and Crafts, where Edward Johnston, creator of the 2 London Underground typeface, became a strong in- fluence. In 1903 he gave up his architectural training to become a calligrapher, letter-cutter and monu- mental mason. Stanley Morison, the typographical advisor to Monotype believed his task as advisor 10.5/12.5 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:”?>< ABCDEGHIJKLMNOPQRSTVWXYZ Gill Sans has often been Gill Sans has often been called “the Gill Sans has often been called “the most civilized of sans serif Gill Sans called “the most civilized most civilized of sans serif typefaces,” of sans serif typefaces,” typefaces,” because its design foundation is in roman letter because its design foundation is in because its design foun- forms and proportions. There is no T-square precision, nor dation is in roman letter roman letter forms and propor- forms and proportions. tions. There is no T-square precision, are there geometric shapes in Gill Sans. This typeface is clear- There is no T-square precision, nor are there nor are there geometric shapes in ly the result of a calligrapher’s hand, Eric Gill. Eric Gill(1882- geometric shapes in Gill Sans. This typeface is clearly the 1940) was born in Brighton, the son of non-conformist Gill Sans. This typeface result of a calligrapher’s hand, Eric minister. He studied at Chichester Technical and Art School, is clearly the result of a Gill. Eric Gill(1882-1940) was born in calligrapher’s hand, Eric and in 1900 moved to London to train as an architect. He Gill. Eric Gill(1882-1940) Brighton, the son of non-conformist was born in Brighton, minister. He studied at Chichester took evening classes in stonemasonry at Westminster Techni- the son of non-conform- Technical and Art School, and in cal Institute and in calligraphy at the Central School of Arts 2 ist minister. He studied 1900 moved to London to train as at Chichester Technical and Crafts, where Edward Johnston, creator of the London 2 and Art School, and in an architect. He took evening classes Underground typeface, became a strong influence. In 1903 1900 moved to London in stonemasonry at Westminster to train as an architect. Technical Institute and in calligraphy he gave up his architectural training to become a calligrapher, He took evening classes in stonemasonry at at the Central School of Arts and letter-cutter and monumental mason. Stanley Morison, the ty- Westminster Technical Crafts, where Edward Johnston, pographical advisor to Monotype believed his task as advisor Institute and in cal- creator of the London Underground ligraphy at the Central was to change the stiff, thin, regimental and savorless type- 6/8.5 9.5/11.5 12/14 Times New Roman classification Günter Gerhard Lange designer Times New Roman Times Steeped in tradition, the Times New Roman® family has been described as one of the most familiar and successful typefaces in the world – and has been used for just about every typographic application imaginable. Times New Roman is considered an exceptionally legible design that translates well to hard copy and on-screen environments. Stanley Morison, typographic advisor to Monotype, was also made typographic advisor to The Times of London newspaper in 1929. One of his first responsibilities in the latter position was to redesign the newspaper. Several existing typestyles were tried as replacements for the typeface the newspaper had been using for years; but Morison and The Times executive staff found them 3 unsuitable for one reason or another. The decision was 3 then made to create a new, custom, design. The criteria was simple: the new design would have to appear larger than its predecessor, could take up no more space, should be slightly heavier and, ultimately, must be highly legible. Morison felt that basing the new design on the Plantin® design would begin to satisfy much of the criteria. He 9/11.5 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:”?>< ABCDEGHIJKLMNOPQRSTVWXYZ G G Times New Roman Times Steeped in tradition, the Steeped in tradition, the Times Steeped in tradition, the Times New Roman® family has been described Times New Roman® family has been described New Roman® family has been as one of the most familiar and successful typefaces in the world – and as one of the most familiar described as one of the most has been used for just about every typographic application imaginable. and successful typefaces in the world – and has been familiar and successful typefaces Times New Roman is considered an exceptionally legible design that used for just about every in the world – and has been used translates well to hard copy and on-screen environments. Stanley Morison, typographic application imaginable. Times New for just about every typographic typographic advisor to Monotype, was also made typographic advisor to Roman is considered application imaginable.