t y p e f a c e s : VENETIAN, GARALDE, TRANSITIONAL, (MODERN) SLAB SERIF SANS SERIF: GROTESQUE, NEO-GROTESQUE, GEOMETRIC, HUMANIST SCRIPT AND HAND-LETTERED GLYPHIC BLACKLETTER HAND-TOOLED, INLINE, OUTLINE, STENCIL DECORATIVE, DISPLAY MONOSPACED CYRILLIC SYMBOL ORNAMENT SERIF

serif Garalde Old Style Th e serif, or cross-line at the end of a stroke probably Garalde include some of the most popular dates from early Rome. Father Edward Catich pro- serif types in use today. Th ey were designed during the posed in his seminal work, Th e origin of the Serif, that 16th and 17th century by such masters as the French the serif is an artifact of brushing letters onto stone printer Claud and the Venetian printer Al- before cutting them. Serif, or roman, types are useful dus Manutius. Th e distinguishing features of Garalde in text because the serifs help distinguish individual typefaces are apparent in Adobe Garamond, which has letters and lead the eye along a line of type. Serif type- a horizontal bar on the lowercase e, a slightly greater faces fall into four main categories: Venetian, Garalde, contrast between thick and thin strokes than Vene- Transitional, Didone (Modern) tian types, axis curves that are inclined to the left, and bracketed serifs. ALDUS venetian oldstyle NEW ASTER named after the fi rst typefaces that appeared in Venice in 1470, Venetian typefaces were initially designed to BERLING imitate the handwriting of Italian Renaissance scholars. CAXTON Th ese typefaces originated as book type and still serve CELESTIA ANTIQUA that function well because of their clarity and legibility. ITC BERKELEY OLDSTYLE ITC ESPIRIT ITC GALLIARD GUARDI GARAMOND 3 HADRIANO ADOBE GARAMOND ITALIA BERTHOLD GARAMOND MONOTYPE ITALIAN OLD STYLE ITC GARAMOND ADOBE JENSON SIMONICI GARAMOND ITC LEGACY SERIF STEMPEL GARAMOND RALEIGH GARTH GRAPHIC STEMPEL SCHNEIDLER ITC GIOVANNI ITC WEIDEMANN GOUDY MONOTYPE GOUDY MODERN GRANJON HIROSHIGE HORLEY OLD STYLE ITC LEAWOOD LUCIDA ITC MENDOZA ROMAN MINION ITC NOVARESE OCTAVIAN OLD CLAUDE SPECTRUM Organized by Type Styles based on standards of the Association of Typogrphic International. Note: many faces fi t into more than one category. TRUMP MEDIAVAL WEISS

1 All information in this handout was taken from the Adobe Type Library Type Guide book which is no longer in print. To seek further information, refer to www.adobe.com/type t y p e f a c e s Transitional Didone (Modern) In , the 18th century was a time Improvements in paper production, composition, print- of transition. Containing elements of both ing and binding in the late 18th century profoundly Garalde and Didone (

2 All information in this handout was taken from the Adobe Type Library Type Guide book which is no longer in print. To seek further information, refer to www.adobe.com/type t y p e f a c e s Slab Serif Grotesque Th e Industrial Revolution of the early 19th century en- Early sans serif designs such as News Gothic are called couraged the development of very bold printing types Grotesque, a name coined by the English, who consid- that could be used for a new vehicle of communication: ered the fi rst of these typefaces awkward and unappeal- advertising. Posters, fl yers, and broadsides competed ing because they lacked the traditional serif. for attention. Th ey were often created using slab serif DORIC BOLD typefaces, which, with their strong, square-fi nishing strokes, proved extremely eff ective for commanding the ITC FRANKLIN GOTHIC reader’s attention. GOTHIC 13 Th ere are actually three kinds of slab serif typefaces: slab serifs; Clarendons; and typewriter slabs. Slab NEWS GOTHIC serifs have square, unbracketed serif; Clarendons have TRADE GOTHIC a square, bracketed serif; and typewriter type features stems and serifs of similar weight as well as constant character widths. Neo-Grotesque More recent sans serif Swiss-style designs are called ITC AMERICAN TYPEWRITER Neo-Grotesque because they are more graceful versions BOTON of the earlier Grotesques. CALVERT CANDIDA AG BOOK ROUNDER CHAPARRAL AG OLD FACE ITC CHELTENHAM BERTHOLD AKZIDENZ-GROTESK COLASSALIS BERTHOLD AKZIDENZ-GROTESK SCHOOLBOOK ECCENTRIC ANTIQUE OLIVE EGYPTIENNE F CENTENNIAL EXCELSIOR GLYPHA BLOCK BERTHOLD JIMBO DIN SCHRIFTEN LINOLETTER FOLIO ITC LUBALIN GRAPH LUCIDA TYPEWRITER HELVETICA NEUE MELIOR NEUZEIT S MEMPHOS SPARTAN CLASSIFIED ITC OFFICINA SANS PMN CAECILIA VECTORA POSTINO PRESTIGE ELITE Geometric SERIFA Geometric sans serif typefaces were heavily infl uenced ITC STONE INFORMAL by the Bauhaus movement and are characterized by circular and otherwise geometric- or mechanical-look- ing o”s and other “bowl” and “arch” shapes. Arches are San Serif created where curves join the stems of h, m, n and u. Th ough the fi rst sans serif (without serif ) typeface was Geometrics often have a one-story a and g, as well as issued in 1816, another hundred years passed before very little modulation of stroke contrast. this style gained popularity. Th en, in the 1920’s. When ITC AVANT GARDE typography was heavily infl uenced by the “less is more” AVENIR philosophy of Germany’s Bauhaus school of design, BRIEM AKADEMI designers began creating typefaces without serifs. EUROSTILE Ornamentation almost vanished. Th ese typefaces are highly legible as display types and may also be used successfully in text. Th ey generally fall into one of four PENUMBRA categories: Grotesque, neo-Grotesque, Geometric and TEMPO HEAVY CONDENSED Humanist. VAG ROUNDED

3 All information in this handout was taken from the Adobe Type Library Type Guide book which is no longer in print. To seek further information, refer to www.adobe.com/type t y p e f a c e s Humanist Script and hand lettered Humanist sans serifs are characterized by non-circu- Since a Parisian printer created the fi rst one in 1643, lar, organic looking bowl and arch shapes. Th ey often script typefaces have become almost as numerous as the exhibit widely varying letter widths and at least some handwriting instruments—brush, broad-edged pen, modulation in stroke contrast. Th e a and g are usually and pointed pen—that they were designed to imitate. two-story. Script typefaces often mimic handwriting techniques BARMENO by joining letters with connecting lines. Th e variety of ITC BENGUIAT GOTHIC these freeform typefaces make them appropriate for CHRISTIANA anything from casual grocery store advertisements to CLEARFACE GOTHIC formal wedding invitations. COSMOS AJA CRONOS ALEXA DELTA JAEGER ARIADNE ITC ERAS ARKONA ITC FLORA ASHLEY SCRIPT FORMATA BALZANO FRUTIGER BANSHEE BELLEVUE ITC NEW BEROLINA HARDWOOD BICKHAM SCRIPT ITC HIGHLANDER BOSSA NOVA KOLO BRIEM SCRIPT LAUDATION BRUSH SCRIPT ITC LEGACY SANS CAFLISCH SCRIPT LETTER GOTHIC LUCIDA SANS CALIBAN LUCIDA SANS TYPEWRITER CAROLINA MYRIAD CASCADE SCRIPT OCEAN SANS CHARME ITC OFFICINA SANS CORONET OPTIMA DELPHIN ORATOR DISKUS RELIQ DOM CASUAL AGFA ROTIS SANS SERIF DORCHESTER SCRIPT AGFA ROTIS SEMISANS EL GRECO SHANNON EMMASCRIPT ITC STONE SANS EX PONTO ITC SYMBOL FLOOD SYNTAX FLORENS ITC TIEPOLO FREESTYLE SCRIPT GIDDYUP GRAPHITE IMMI 505 ITC ISADORA KAUFMANN KHAKI KUNSTLER SCRIPT LINOSCRIPT MARIGOLD MATURA MEDICI SCRIPT MERCURIUS BOLD SCRIPT MISTRAL MONOLINE SCRIPT NUPTIAL SCRIPT OXFORD PALACE SCRIPT PARK AVENUE PELICAN PEPITA POETICA POPPL EXQUISITE 4 All information in this handout was taken from the Adobe Type Library Type Guide book which is no longer in print. To seek further information, refer to www.adobe.com/type t y p e f a c e s POPPL RESIDENZ Blackletter PRESENT When Gutenberg produced his moveable type, the let- RELIQ terforms mimicked contemporary manuscript hand- REPORTER NO. 2 writing which was drawn with a wide, fl at pen. Th is RULING SCRIPT TWO hand originated in the Germanic countries and remains RUSSELL OBLIQUE popular there today. Th ese blackletter typefaces— RUZICKA FREEHAND sometimes referred to as old English or Gothic—were SANVITO used for text in Germany until World War II but are BERTHOLD SCRIPT now primarily used as display types. MONOTYPE SCRIPT BOLD SHELLEY ALLEGRO SCRIPT CLAIRVEAUX SHELLEY ANDANTE SCRIPT DUC DE BERRY SHELLEY VOLANTE SCRIPT FRETTE FRAKTUR SNELL ROUNDHAND GOUDY TEXT SPRING LINOTEXT TEKTON SAN MARCO VISIGOTH WILHEIM KLINGSPOR GOTISCH WATERS TITLING WITTENBERGER FRAKTUR WENDY HAND-TOOLED, INLINE AND STENCIL WIESBADEN SWING AG BOOK ROUNDED ITC ZAPF CHANCERY AG OLD FACE ZIPTY DO BERTHOLD AKZIDENZ-GROTESK BOOK STENCIL ANDREAS BERMUDA Glyphic CASLON OPEN FACE Unlike most typefaces, which are based on forms cre- CASTELLAR ated with pen or brush, glyphic designs are based on ITC CENTURY HANDTOOLED letters carved or chiselled in stone. Since most inscribed CLOISTER OPEN FACE letters are capitals, glyphic typefaces also tend to have CONCORDE CONDENSED only capitals. Some of these can be used eff ectively for CONGA BRAVA text, but most are better suited to display applications COPAL such as posters, packaging and book titles. CORIANDER DELTA JAEGER FORMATA OUTLINE CONGA BRAVA ITC GARAMOND HANDTOOLED COPPERPLATE GOTHIC GILL SANS DISPLAY FRIZ QUADRATA HELVETICA NEUE BOLD OUTLINE GALAHAD INDUSTRIA HERCULANUM MYRIAD SKETCH KIGALI NYX KINESIS MONOTYPE OLD STYLE BOLD OUTLINE LITHOS ROSEWOOD MANITO SASSAFRAS MEZZ SMARAGD NYX STENCIL POMPEIA INLINE VIVA RELIQ ZEBRAWOOD SASSAFRAS STRAYHORN TRAJAN

5 All information in this handout was taken from the Adobe Type Library Type Guide book which is no longer in print. To seek further information, refer to www.adobe.com/type t y p e f a c e s Decorative and Display While typefaces in this group incorporate elements from many diff erent styles, they all have one thing in common: they are most efective when used at large sizes for display purposes, such as headlines and titles. AACHEN BOLD HELVETICA INSERAT ITC OZWALD AG BOOK ROUNDED HELVETICA ROUNDED PARISIAN ALBERTUS HOBO PEIGNOT AMIGO IMPACT PENUMBRA ANDREAS INDUSTRIA PEPPERWOOD ITC ANNA INFLEX BOLD POMPEIA INLINE ARCADIA INSIGNIA POMPEIJANA ARNOLD BOCKLIN IRONWOOD PONDEROSA AURIOL ISABELLA PO;PLAR BAKER SIGNET JIMBO POST-ANTIQUA BANCO JUNIPER POST-MEDIAEVAL ITC BAUHAUS KHAKI QUAKE ITC BEESKNEES KINO ITC QUORUM BELWE KLANG RAD ITC BENGUIAT KOCH ANTIQUA RAPHAEL BERLINER GROTESK KOLO REVUE BERMUDA KOMPAKT ROMIC BERNHARD MODERN ITC KORINNA ROSEWOOD BIFFO LATIN RUNIC CONDENSED BIRCH LITHOS RUSSELL SQUARE BLACKOAK LO-TYPE RUSTICANA BRIEM AKADEMI ITC MACHINE ITC SERIF GOTHIC CANTORIA MADRONE SERILIO CASTELLAR MAGNOLIA SERPENTINE ITC CERIGO MANITO SHO CHARLEMAGNE MESQUITE SHURIKEN BOY COOPER BLACK MOJO SMARAGD COPAL ITC MONA LISA ITC SOUVENIR COOPER BLACK ITC MOTTER CORPUS SPUMONI CORIANDER MYRIAD TILT STENCIL COTTONWOOD MYTHOS STUDZ CRITTER NEUE HAMMER UNZIALE TRAJAN CUTOUT NEULAND TOOLBOX DIOTIMA NOTRE DAME UMBRA ECCENTRIC NUEVA UNIVERSITY ROMAN ENGAVERS BOLD FACE NYX VIVA FALSTAFF OLD CLAUDE WATERS TITLING FLYER OMNIA WILLOW FUSAKA ONDINE ZEBRAWOOD GIDDYUP ONYX HARDWOOD OUCH

6 All information in this handout was taken from the Adobe Type Library Type Guide book which is no longer in print. To seek further information, refer to www.adobe.com/type t y p e f a c e s Monospaced Also known as fi xed-pitch, monospaced type was popularized by the invention of the typewriter, which required all characters to use the same width. In fact, many monospaced designs aim to capture the familiar informality of typewritten text. Th ey can be especially useful wherever it helps to have the letters align verti- cally, such as in computer code-listings. COURIER LETTER GOTHIC LUCIDA TYPEWRITER LUCIDA SANS TYPEWRITER OCR-A OCR-B ORATOR PRESTIGE ELITE

Cyrillic Cyrillic typefaces are specifi cally designed to provide special characters and accents required by russian, Belorussian, Ukranian, Serbocroation, Bulgarian and macedonian.

Symbol Symbol typefaces were created for a variety of non- text uses: musical notation, ap making, mathematics, newspaper and commercial publishing, and desktop publishing.

7 All information in this handout was taken from the Adobe Type Library Type Guide book which is no longer in print. To seek further information, refer to www.adobe.com/type