Typesfaces by Style.Indd

t y p e f a c e s SERIF: VENETIAN, GARALDE, TRANSITIONAL, DIDONE (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 typefaces 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 Garamond 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 BEMBO 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. DANTE ITC BERKELEY OLDSTYLE ITC ESPIRIT CENTAUR 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 PALATINO PLANTIN SABON 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 typography, 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 (<Modern) typefaces aff ected the course of typography would take. It was such as ITC New Baskerville and Caslon possible to develop a type style with strong vertical are beautifully suited for text because of emphasis and fi ne hairlines; this is what the French their regularity and precision. Th e axis of family Didot did, and what the Italian printer Bodoni the round characters is vertical or barely perfected. It is for these designers that the Didone type inclined, the contrast between hairlines and category is named. Characteristics of Didone types main strokes is slightly pronounced, and include strong contrast between thick and thin strokes, serifs are thin, fl at and bracketed. curved strokes on a vertical axis, and often serifs with AMERICANA no brackets. APOLLO BERNHARD MODERN BERTHOLD BASKERVILLE BODONI BERTHOLD BASKERVILLE BOOK BAUER BODONI ITC NEW BASKERVILLE ITC BOOKMAN BERTHOLD BODONI ANTIQUA BULMER BERTHOLD BODONI OLD FACE CASLON 3 NEW CALEDONIA CASLON 540 LINOTYPE CENTENNIAL ADOBE CASLON CENTURY EXPANDED BERTHOLD CASLON BOOK ITC CENTURY ITC CASLON 224 NEW CENTURY SCHOOLBOOK CATULL LINOTYPE DIDOT CENTURY OLD STYLE ELECTRA ITC CLEARFACE ELLINGTON COCHIN ELSE NPL COMENIUS ANTIQUA FAIRFIELD CONCORDE ITC FENICE CONCORDE NOVA KEPLER CORONA MONOTYPE MODERN CREMONA NOFRET ITC CUSHING BERTHOLD WALBAUM BOOK JAEGER DAILY NEWS EHRHARDT FOURNIER GAZETTE IMPRESSUM JANSON TEXT JOANNA LIFE MAXIMUS MERIDIEN OLD STYLE 7 OLYMPIAN PERPETUA PHOTINA POPPL-PONTIFEX ROTATION AGFA ROTIS SEMISERIF AGFA ROTIS SERIF MONOTYPE SCOTCH ROMAN ITC SLIMBACH ITC STONE SERIF ITC TIFFANY TIMES EUROPA TIMES NEW ROMAN TIMES TEN UTOPIA ITC VELJOVIC VERSAILLES WILKE 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 FRANKLIN GOTHIC 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: MONOTYPE GROTESQUE 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 BELL CENTENNIAL EXCELSIOR BELL GOTHIC GLYPHA BLOCK BERTHOLD JIMBO DIN SCHRIFTEN LINOLETTER FOLIO ITC LUBALIN GRAPH HELVETICA LUCIDA TYPEWRITER HELVETICA NEUE MELIOR NEUZEIT S MEMPHOS SPARTAN CLASSIFIED ITC OFFICINA SANS UNIVERS PMN CAECILIA VECTORA POSTINO PRESTIGE ELITE ROCKWELL 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-looking 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 FUTURA highly legible as display types and may also be used KABEL 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 GILL SANS BELLEVUE ITC GOUDY SANS 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 FORTE 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

Load more