24 Logotypes &

by Kimber A. McDevitt 24 Logotypes & Typefaces 24 Copyright © 2017 by Kimber A. McDevitt Logotypes & Version 1.0

All rights reserved. Typefaces

Cover photo credit: Public Domain Pictures http://www.publicdomainpictures.net/view- image.php?image=106887&picture=geology

Leader page photos credit: Geoscience News and Information geology.com

Essays provided by students in by Kimber A. the Summer 1 Type 1 Course at Northeastern University and Isabella Mordini, a prior student of Mark McDevitt Laughlin, our instructor. A primary source is Wikipedia.org Contents San Serif

1 8 13 Akzidenz Grotesk Book 20 Gotham John Baskerville . 1750 Robert Slimbach . 1989 H Berthold AG . 1898 Tobias Frere-Jones . 2000 Quartz, p7 Malachite, p35 Zicron, p55 Amethyst, p83

2 9 14 DIN 21 Francesco Griffo . 1495 Herman Zapf . 1950 Deutsches Institut für Max Meidinger & Lapis, p11 Diorite, p39 Normung . 1931 Eduard Hoffman . 1957 Granite, p59 Jade, p87 3 10 Giambattista Bodoni 15 Franklin Gothic 22 1999 1934 Morris Fuller Benton Robert Slimbach & Talc, p15 Novaculite, p43 1902 Carol Twombly . 1992 Volcanic Rock, p63 Unakite, p91 4 11 William Caslon . 1722 . 1964 16 23 Chalk, p19 Flint, p47 . 1976 . 1950 Wollastonite, p67 Hematite, p95 5 12 Robert Beasley . 1845 Stanely Morison & 17 24 Nephelinite, p23 Victor Lardent . 1932 Paul Renner . 1928 Adrian Frutiger . 1957 Sand, p51 Ovaline Basalt, p71 Iron Pyrite, p99 6 Firman Didot . 1784 18 Bold Jaspilite, p27 . 1928 Kimberlite, p75 7 . 16C 19 Gill Sans Light Lava, p31 Eric Gill . 1928 Blairmorite, p79 Baskerville serif . transitional serif

John Baskerville designer Quartz Baskerville Baskerville is a serif typeface designed by John Baskerville. In 1750, Baskerville cut into metal and created a transitional typeface that contrasted between thick and thin strokes. The serifs in this typeface are sharper and more tapered and positioned in place to give a more rounded look to the letters. The curved strokes mimic circles and the comparison of the individual characters is more consistent across the entire set. The typeface is a popular choice for and the first book to use this typeface was an edition of Virgil. Baskerville was a wealthy teacher of and carver of gravestones. Baskerville made it a life ambition to create higher quality books and methods of printing. The key features of Baskerville include a capital “E” where the bottom arm projects further than the upper end. The capital “J” has a ball at the end a the bottom. In fact, many characters use the ball at the terminal feature. The capital “” is one with the longest descender that often appears to 8 connect to the next letter. Some examples of other works of art that use Baskerville include John Milton’s Paradise Lost (1758) and the 1760 Book of Common Prayer.

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTV ?>< WXYZ Q G QG QG QG Baskerville Baskerville is a serif Baskerville is a serif typeface designed Baskerville is a serif typeface designed by John Baskerville. In 1750, Baskerville typeface designed by John Baskerville. In 1750, by John Baskerville. In 1750, Baskerville cut into metal and created a transitional typeface that contrasted between thick cut into metal and created a transitional Baskerville cut into metal and thin strokes. The serifs in this typeface are sharper and more tapered and and created a transitional typeface that contrasted between thick and typeface that contrasted positioned in place to give a more rounded look to the letters. The curved strokes between thick and thin thin strokes. The serifs in this typeface are strokes. The serifs in sharper and more tapered and positioned mimic circles and the comparison of the individual characters is more consistent this typeface are sharper in place to give a more rounded look to the across the entire set. The typeface is a popular choice for book design and the and more tapered and positioned in place to give letters. The curved strokes mimic circles and first book to use this typeface was an edition ofVirgil. Baskerville was a wealthy the comparison of the individual characters a more rounded look to teacher of calligraphy and carver of gravestones. Baskerville made it a life the letters. The curved is more consistent across the entire set. strokes mimic circles and ambition to create higher quality books and methods of printing. The key features the comparison of the The typeface is a popular choice for book individual characters is design and the first book to use this typeface of Baskerville include a capital “E” where the bottom arm projects further than more consistent across the was an edition of Virgil. Baskerville was a the upper end. The capital “J” has a ball at the terminal end a the bottom. In entire set. The typeface is a popular choice for wealthy teacher of calligraphy and carver fact, many characters use the ball at the terminal feature. The capital “Q” is one of gravestones. Baskerville made it a life 9 book design and the first with the longest descender that often appears to connect to the next letter. Some 10 book to use this typeface ambition to create higher quality books was an edition of Virgil. examples of other works of art that use Baskerville include John Milton’s Paradise Baskerville was a wealthy and methods of printing. The key features teacher of calligraphy of Baskerville include a capital “E” where Lost (1758) and the 1760 Book of Common Prayer. and carver of gravestones. the bottom arm projects further than the Baskerville made it a life ambition to create upper end. The capital “J” has a ball at higher quality books and the terminal end a the bottom. In fact, methods of printing. The many characters use the ball at the terminal key features of Baskerville

6/7.5 8/10 9/12 Bembo serif . old-style

Francesco Griffo Giovanni Antonio Tagliente Lapis designer

Bembo was cut in 1495 by Francesco Griffo for Aldus Manutus, a Bembo Venetian printer. Griffo created his designs by utilizing steel and creating punches in the material. The was initially created to be used in Manutus’ first book, which was written by Pietro Bembo, a poet and cleric. Another name for the text, is “Aldine Roman,” based on the font being created for Aldus. In 1929, it was transformed into a typeface by the Monotype Corporation in a project supervised by Stanley Morrison. The typeface was created since the world of was refocusing on the influence of Italian Renaissance. It falls into a serif typeface, and its sub-categorized into the “old- style.” It follows its serif characteristics of: well-proportioned letterform, functional serifs, and lack of peculiarities. The use of Bembo is mainly in body text, though there is another version of the font in italic form by Alfred Fairbank. The second italic version is not as popular as Bembo, and thus does not receive as much popularity. Francesco Griffo, or Francesco da Bologna is a designer 12 during the Italian Renaissance. He was born in 1450 in Bologna, Italy. He became well known for his ability to show the humanist characteristics of the hand in type. Due to this major change in design that Griffo brought, he is now given the title of examining how to bring an “ideal balance of beauty and functionality.”

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Bembo was cut in 1495 Bembo was cut in 1495 by Francesco Bembo was cut in 1495 by Francesco Griffo for Aldus Manutus, a Venetian Bembo by Francesco Griffo for Griffo for Aldus Manutus, a Venetian printer. Aldus Manutus, a Venetian printer. Griffo created his designs by utilizing steel and creating punches in Griffo created his designs by utilizing steel printer. Griffo created his the material. The font was initially created to be used in Manutus’ first book, designs by utilizing steel and creating punches in the material. The and creating punches in font was initially created to be used in which was written by Pietro Bembo, a poet and cleric. Another name for the the material. The font was initially created to Manutus’ first book, which was written by text, is “Aldine Roman,” based on the font being created for Aldus. In 1929, be used in Manutus’ first Pietro Bembo, a poet and cleric. Another it was transformed into a typeface by the Monotype Corporation in a project book, which was written name for the text, is “Aldine Roman,” by Pietro Bembo, a poet supervised by Stanley Morrison. The typeface was created since the world based on the font being created for Aldus. and cleric. Another name of typography was refocusing on the influence of Italian Renaissance. It falls for the text, is “Aldine In 1929, it was transformed into a typeface Roman,” based on the font by the Monotype Corporation in a project into a serif typeface, and its sub-categorized into the “old-style.” It follows being created for Aldus. In 1929, it was transformed supervised by Stanley Morrison. The its serif characteristics of: well-proportioned letterform, functional serifs, and into a typeface by the typeface was created since the world of lack of peculiarities. The use of Bembo is mainly in body text, though there Monotype Corporation typography was refocusing on the influence in a project supervised by is another version of the font in italic form by Alfred Fairbank. The second of Italian Renaissance. It falls into a serif Stanley Morrison. The italic version is not as popular as Bembo, and thus does not receive as much 13 typeface was created since typeface, and its sub-categorized into the 14 the world of typography “old-style.” It follows its serif characteristics popularity. Francesco Griffo, or Francesco da Bologna is a designer during was refocusing on the influence of Italian of: well-proportioned letterform, functional the Italian Renaissance. He was born in 1450 in Bologna, Italy. He became Renaissance. It falls into serifs, and lack of peculiarities. The use well known for his ability to show the humanist characteristics of the hand a serif typeface, and its of Bembo is mainly in body text, though sub-categorized into the in type. Due to this major change in design that Griffo brought, he is now there is another version of the font in italic “old-style.” It follows its given the title of examining how to bring an “ideal balance of beauty and serif characteristics of: well- form by Alfred Fairbank. The second italic proportioned letterform, functionality.”

6/7.5 8/10 9/12 Bodoni serif .

Giambattista Bodoni Talc designer Bodoni Bodoni is a serif typeface first designed by Giambattista Bodoni in the late eighteenth century. It has been frequently revised since its first design and is classified as a modern typeface. Bodoni was influenced by Baskerville by increasing the stroke contrast and vertical axis but added his own influence by bringing these features to a more extreme version. His new typeface was more condensed with flat, unbracketed serifs and a greater contrast between the thick and thin strokes. Some digital versions of Bodoni are hard to read because of these features. This is most apparent when the font size is very small and gives the impression that the very thin strokes disappear. Even with this drawback Bodoni is viewed as a very elegant typeface and often used in headings, magazines and is especially beautiful on high gloss paper that retains and sets of the crisp detail of the fine strokes. An example of this is the Mama Mia! posters, Carnegie Mellon University’s wordmark Brandeis University’s wordmark, Tom Clancy novels and the Time Warner logo. 16

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTV ?>< WXYZ 7 4 7 4 4 7 4 7 Bodoni Bodoni is a serif typeface first Bodoni is a serif typeface first designed by Bodoni is a serif typeface first designed by Giambattista Bodoni in the late eighteenth designed by Giambattista Bodoni in the late eighteenth Giambattista Bodoni in the late eighteenth century. It has been frequently revised since its first design and is classifieds a a modern century. It has been frequently revised since century. It has been typeface. Bodoni was influenced by Baskerville by increasing the stroke contrast and frequently revised since its its first design and is classified as a modern first design and is classified vertical axis but added his own influence by bringing these features to a more extreme as a modern typeface. typeface. Bodoni was influenced by Baskerville Bodoni was influenced by by increasing the stroke contrast and vertical version. His new typeface was more condensed with flat, unbracketed serifs nda a greater Baskerville by increasing the axis but added his own influence by bringing contrast between the thick and thin strokes. Some digital versions of Bodoni are hard stroke contrast and vertical axis but added his own these features to a more extreme version. His to read because of these features. This is most apparent when the font size is very small new typeface was more condensed with flat, influence by bringing these and gives the impression that the very thin strokes disappear. Even with this drawback features to a more extreme unbracketed serifs and a greater contrast version. His new typeface Bodoni is viewed as a very elegant typeface and often used in headings, magazines and was more condensed with between the thick and thin strokes. Some digital flat, unbracketed serifs and a versions of Bodoni are hard to read because of is especially beautiful on high gloss paper that retains and sets of the crisp detail of the greater contrast between the these features. This is most apparent when the fine strokes. An example of this is the posters, Carnegie Mellon University’s thick and thin strokes. Some Mama Mia! digital versions of Bodoni font size is very small and gives the impression wordmark Brandeis University’s wordmark, Tom Clancy novels and the Time Warner that the very thin strokes disappear. Even with are hard to read because of logo. 18 17 these features. This is most this drawback Bodoni is viewed as a very elegant apparent when the font size is very small and gives the typeface and often used in headings, magazines impression that the very thin and is especially beautiful on high gloss paper strokes disappear. Even that retains and sets of the crisp detail of the with this drawback Bodoni is viewed as a very elegant fine strokes. An example of this is theMama typeface and often used in Mia! posters, Carnegie Mellon University’s headings, magazines and is wordmark Brandeis University’s wordmark, especially beautiful on high

6/7.5 8/10 9/12 Caslon OS serif . old-style

William Caslon Chalk designer Caslon Pro Caslon is a serif font designed by William Caslon I in 1722. Caslon began his career as an apprentice to an engraver of gunlocks and barrels. In 1716 he opened his own engraving shop in and soon began to make tools for bookbinders and silver chasers. When his work came to the attention of the printer John Watts, Caslon was given the task of cutting type punches for various presses in London. In 1720 he designed an “English Arabic” typeface used in a psalter and a New Testament. Caslon was used extensively throughout the British Empire in the early eighteenth century and in the early days of the American Colonies. Scientist, printer, and one of the founding fathers of the United States of America, Benjamin Franklin, liked the made by William Caslon so much that he hardly ever used any other typeface. Caslon was even used for both copies of the U.S. Declaration of Independence. It has been revived at various times, in particular during the British Arts and Crafts movement when 20 interest in eighteenth century printing increased, and again each time it went through a redesign for technological changes. Among the revivals of the typeface are two Adobe versions, called Adobe Caslon (1990) and Adobe Caslon Pro (which includes an extended character set). Caslon’s work helped to modernize the book, making it a separate creation rather than a printed imitation of the old hand- produced book. Caslon’s typefaces combined delicate modeling with

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTV ?>< WXYZ c a ca Caslon Pro Caslon is a serif font Caslon is a serif font designed by William Caslon is a serif font designed by William Caslon I in 1722. Caslon began his designed by William Caslon I in 1722. Caslon Caslon I in 1722. Caslon began his career career as an apprentice to an engraver of gunlocks and barrels. In 1716 he opened began his career as an as an apprentice to an engraver of gunlocks his own engraving shop in London and soon began to make tools for bookbinders apprentice to an engraver and barrels. In 1716 he opened his own of gunlocks and barrels. In and silver chasers. When his work came to the attention of the printer John Watts, 1716 he opened his own engraving shop in London and soon engraving shop in London began to make tools for bookbinders and Caslon was given the task of cutting type punches for various presses in London. and soon began to make silver chasers. When his work came to the In 1720 he designed an “English Arabic” typeface used in a psalter and a New tools for bookbinders and silver chasers. When his attention of the printer John Watts, Caslon Testament. Caslon was used extensively throughout the British Empire in the work came to the attention was given the task of cutting type punches early eighteenth century and in the early days of the American Colonies. Scientist, of the printer John Watts, for various presses in London. In 1720 he Caslon was given the task printer, and one of the founding fathers of the United States of America, Benjamin of cutting type punches for designed an “English Arabic” typeface used various presses in London. in a psalter and a New Testament. Caslon Franklin, liked the fonts made by William Caslon so much that he hardly ever used In 1720 he designed an was used extensively throughout the British any other typeface. Caslon was even used for both copies of the U.S. Declaration of “English Arabic” typeface used in a psalter and a Empire in the early eighteenth century Independence. It has been revived at various times, in particular during the British New Testament. Caslon and in the early days of the American 21 Arts and Crafts movement when interest in eighteenth century printing increased, 22 was used extensively Colonies. Scientist, printer, and one of the throughout the British and again each time it went through a redesign for technological changes. Among Empire in the early founding fathers of the United States of eighteenth century and America, Benjamin Franklin, liked the fonts the revivals of the typeface are two Adobe versions, called Adobe Caslon (1990) in the early days of the made by William Caslon so much that he and Adobe Caslon Pro (which includes an extended character set). Caslon’s work American Colonies. Scientist, printer, and one hardly ever used any other typeface. Caslon helped to modernize the book, making it a separate creation rather than a printed of the founding fathers was even used for both copies of the U.S. imitation of the old hand-produced book. Caslon’s typefaces combined delicate of the United States Declaration of Independence. It has been of America, Benjamin modeling with a typically Anglo-Saxon vigor. Caslon is a good font for body text.

6/7.5 8/10 9/12 Clarendon serif . slab serif

Robert Beasley Nephelinite designer

The typeface Clarendon is classified as a slab-serif Clarendon typeface and was designed by Robert Besley in 1845. It was created for the foundry Thorowgood and Besley which is also known as the Fann Street Foundry. Besley was an English typographer who was also the Lord Mayor of London in 1869. After designing the typeface he patented it and Clarendon was then known as the first registered typeface. There is little information about the origin of the name Clarendon, however there is speculation that it was named after the Clarendon Press at Oxford University where it was first used. It was “to serve as a display letter in a mass of text-type, and for side headings in dictionaries and books of reference.” In 1850, Besley himself advertised the typeface and described its strengths. He states that,“the most useful fonts that a printer can have 24 in his office are Clarendons: they make a striking word or line either in a Hand Bill or a Title Page and do not overwhelm the other lines.” Clarendon came to be known commonly as boldface and has a strong solid structure. It is classified as a slab-serif and was originally quite compressed but other later versions

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The typeface The typeface Clarendon is classified The typeface Clarendon is classified as a slab-serif typeface and was Clarendon Clarendon is classified as a slab-serif typeface and was as a slab-serif designed by Robert Besley in 1845. It was created for the foundry typeface and was designed by Robert Besley in 1845. Thorowgood and Besley which is also known as the Fann Street designed by Robert It was created for the foundry Besley in 1845. It Thorowgood and Besley which Foundry. Besley was an English typographer who was also the was created for the foundry Thorowgood is also known as the Fann Street Lord Mayor of London in 1869. After designing the typeface he and Besley which Foundry. Besley was an English patented it and Clarendon was then known as the first registered is also known as typographer who was also the Lord the Fann Street typeface. There is little information about the origin of the name Foundry. Besley Mayor of London in 1869. After Clarendon, however there is speculation that it was named after was an English designing the typeface he patented typographer who was it and Clarendon was then known as the Clarendon Press at Oxford University where it was first used. also the Lord Mayor of London in 1869. the first registered typeface. There It was “to serve as a display letter in a mass of text-type, and for After designing the is little information about the origin side headings in dictionaries and books of reference.” In 1850, typeface he patented of the name Clarendon, however it and Clarendon Besley himself advertised the typeface and described its strengths. was then known as there is speculation that it was He states that,“the most useful fonts that a printer can have in 25 the first registered named after the Clarendon Press at 26 typeface. There is Oxford University where it was first his office are Clarendons: they make a striking word or line either little information about the origin of used. It was “to serve as a display in a Hand Bill or a Title Page and do not overwhelm the other the name Clarendon, letter in a mass of text-type, and for lines.” Clarendon came to be known commonly as boldface and however there is side headings in dictionaries and speculation that it has a strong solid structure. It is classified as a slab-serif and was was named after the books of reference.” In 1850, Besley originally quite compressed but other later versions were widened. Clarendon Press at himself advertised the typeface and Oxford University

6/7.5 8/10 9/12 Didot serif . didone

Firman Didot designer Jaspilite Didot Didot is a modern typeface family that was developed between 1784 and 1811 by Adrian Frutiger. The typeface was inspired by the increasing stroke widths found in John Baskerville’s experiments and the high contrasts found in similar typefaces such as Bodoni. Didot is a neoclassical typeface developed for use in elegant design and other pieces that benefit from optical sizing required when metal type was used. Didot was considered an expensive looking typeface because of the use of lighter weights, serifs and its avoidance of using rounder terminals. Some notable uses of Didot can be found in design books and in the famous “eye” logo of CBS but there are also challenges when using Didot in digital versions. The elegant look with fine strokes can sometimes be lost in small sizes and cause the reader to have to concentrate on the reading rather than easily focusing on 28 the meaning of the content.

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTV ?>< WXYZ j 7 j7 Didot Didot is a modern Didot is a modern typeface family that Didot is a modern typeface family that was developed between 1784 and typeface family that was developed between was developed between 1784 and 1811 1811 by Adrian Frutiger. The typeface was inspired by the increasing by Adrian Frutiger. The typeface was 1784 and 1811 by stroke widths found in John Baskerville’s experiments and the high Adrian Frutiger. The inspired by the increasing stroke widths typeface was inspired contrasts found in similar typefaces such as Bodoni. Didot is a by the increasing found in John Baskerville’s experiments stroke widths found and the high contrasts found in similar neoclassical typeface developed for use in elegant design and other pieces in John Baskerville’s typefaces such as Bodoni. Didot is a that benefit from optical sizing required when metal type was used. Didot experiments and the high contrasts found in neoclassical typeface developed for use was considered an expensive looking typeface because of the use of in elegant design and other pieces that similar typefaces such lighter weights, serifs and its avoidance of using rounder terminals. Some as Bodoni. Didot is a benefit from optical sizing required neoclassical typeface notable uses of Didot can be found in design books and in the famous developed for use in when metal type was used. Didot elegant design and was considered an expensive looking “eye” logo of CBS but there are also challenges when using Didot in other pieces that typeface because of the use of lighter digital versions. The elegant look with fine strokes can sometimes be lost benefit from optical sizing required when weights, serifs and its avoidance of in small sizes and cause the reader to have to concentrate on the reading using rounder terminals. Some notable 29 metal type was used. rather than easily focusing on the meaning of the content. 30 Didot was considered uses of Didot can be found in design an expensive looking typeface because of books and in the famous “eye” logo the use of lighter of CBS but there are also challenges weights, serifs and its when using Didot in digital versions. avoidance of using rounder terminals. The elegant look with fine strokes can Some notable uses of sometimes be lost in small sizes and Didot can be found in cause the reader to have to concentrate design books and in

6/7.5 8/10 9/12 Garamond serif . old-style

Claude Garamond designer Lava Garamond Garamond is an old-style serif typeface designed by Claude Garamond and influenced sixty years later by Jean Jannon in sixteenth century France. Claude Garamond was an engraver who used stamp matrices, the boulds used to cast metal type, during the main years of his career. The period between 1520 and 1560 was a notable time for the development of typefaces in general and Garamond was focused on the work of his employer, the Venetian printer . The typeface designed for early books such as books produced by a Swiss and German team in 1470 and the book De Aetna in 1496. Garamond was the most imitated typeface of that time period. Garamond typeface was designed to resemble handwriting with a pen but with more structure and upright design. Some distinctive characteristics of Garamond are the small “eye” in the lower-case “e” and the sharp hook at the top left in the bowl of the lower-case “a”. The x-height of the lower-case letters is low thus giving the capital letters a larger more dominant appearance. In addition, the top serifs on letters with ascenders, such as the lower-case “d”, have a 32 downward slope and rise slightly above the . Garamond is a popular typeface when printing books and body text. It has been used consistently throughout the centuries and is most noted today for its beautiful italics and strong paring with Helvetica.

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTV ?>< WXYZ L E EL L L Garamond Garamond is an old-style Garamond is an old-style serif typeface Garamond is an old-style serif typeface designed by Claude Garamond and influenced serif typeface designed by Claude Garamond and designed by Claude Garamond and influenced sixty years later by Jean Jannon in sixteenth century France. Claude Garamond was sixty years later by Jean Jannon in sixteenth influenced sixty years later an engraver who used stamp matrices, the boulds used to cast metal type, during the by Jean Jannon in sixteenth century France. Claude Garamond was an century France. Claude main years of his career. The period between 1520 and 1560 was a notable time for Garamond was an engraver engraver who used stamp matrices, the boulds who used stamp matrices, used to cast metal type, during the main years the development of typefaces in general and Garamond was focused on the work of his the boulds used to cast metal of his career. The period between 1520 and employer, the Venetian printer Aldus Manutius. The typeface designed for early books type, during the main years 1560 was a notable time for the development of his career. The period such as books produced by a Swiss and German team in 1470 and the book De Aetna of typefaces in general and Garamond was between 1520 and 1560 in 1496. Garamond was the most imitated typeface of that time period. Garamond was a notable time for the focused on the work of his employer, the development of typefaces typeface was designed to resemble handwriting with a pen but with more structure and in general and Garamond Venetian printer Aldus Manutius. The was focused on the work of typeface designed for early books such as books upright design. Some distinctive characteristics of Garamond are the small “eye” in his employer, the Venetian produced by a Swiss and German team in 1470 the lower-case “e” and the sharp hook at the top left in the bowl of the lower-case “a”. printer Aldus Manutius. The typeface designed for and the book De Aetna in 1496. Garamond The x-height of the lower-case letters is low thus giving the capital letters a larger more was the most imitated typeface of that time early books such as books dominant appearance. In addition, the top serifs on letters with ascenders, such as the 33 produced by a Swiss and period. Garamond typeface was designed to 34 German team in 1470 and resemble handwriting with a pen but with more lower-case “d”, have a downward slope and rise slightly above the cap height. Garamond the book De Aetna in 1496. Garamond was the most structure and upright design. Some distinctive is a popular typeface when printing books and body text. It has been used consistently imitated typeface of that characteristics of Garamond are the small “eye” throughout the centuries and is most noted today for its beautiful italics and strong time period. Garamond typeface was designed to in the lower-case “e” and the sharp hook at the paring with Helvetica. resemble handwriting with a top left in the bowl of the lower-case “a”. The pen but with more structure x-height of the lower-case letters is low thus and upright design. Some

6/7.5 8/10 9/12 Minion Pro serif . garalde old-style

Robert Slimbach designer Malachite Minion Pro Minion is a serif typeface designed by Robert Slimbach in 1990. This typeface was inspired by late Renaissance-era type and is named after the traditional naming for typefaces. Slimbach was employed by Adobe at the time he created Minion. The typeface is classical in nature, practical in use and slightly condensed to save space. The typeface was created using new technology which eased the creation of various sizes, weights and became very useful when different text sizes are needed. As a result, Minion is a very large font family and includes Greek and Cyrillic alphabets, several optical sizes, condensed styles and stylistic alternatives such as capitals. Minion was an early addition to the Adobe Systems font families and was primarily used for books and in-print uses. Some other notable uses of Minion can be found at various Universities such as Brown University, Wake Forest University, Trinity College in Dublin, Purdue University and many others. Non-academic uses can be seen in the 1 Red Lobster logo, movie credits, and Ron Paul’s 2012 presidential 36 campaign logo.

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTV ?>< WXYZ M M M M V V V V Minion Pro Minion is a serif typeface Minion is a serif typeface designed by Minion is a serif typeface designed by Robert Slimbach in 1990. This typeface was designed by Robert Slimbach in 1990. This Robert Slimbach in 1990. This typeface inspired by late Renaissance-era type and is named after the traditional naming was inspired by late Renaissance-era type typeface was inspired system for typefaces. Slimbach was employed by Adobe at the time he created by late Renaissance-era and is named after the traditional naming type and is named after Minion. The typeface is classical in nature, practical in use and slightly condensed the traditional naming system for typefaces. Slimbach was system for typefaces. employed by Adobe at the time he created to save space. The typeface was created using new technology which eased the Slimbach was employed Minion. The typeface is classical in nature, creation of various sizes, weights and became very useful when different text sizes by Adobe at the time he created Minion. The practical in use and slightly condensed to are needed. As a result, Minion is a very large font family and includes Greek and save space. The typeface was created using typeface is classical in Cyrillic alphabets, several optical sizes, condensed styles and stylistic alternatives nature, practical in use new technology which eased the creation and slightly condensed to such as swash capitals. Minion was an early addition to the Adobe Systems font save space. The typeface of various sizes, weights and became very was created using new useful when different text sizes are needed. families and was primarily used for books and in-print uses. Some other notable technology which eased As a result, Minion is a very large font family uses of Minion can be found at various Universities such as Brown University, the creation of various sizes, weights and became and includes Greek and Cyrillic alphabets, Wake Forest University, Trinity College in Dublin, Purdue University and many several optical sizes, condensed styles and very useful when different others. Non-academic uses can be seen in the Red Lobster logo, movie credits, and 37 text sizes are needed. As stylistic alternatives such as swash capitals. 38 a result, Minion is a very Ron Paul’s 2012 presidential campaign logo. large font family and Minion was an early addition to the Adobe includes Greek and Cyrillic Systems font families and was primarily alphabets, several optical used for books and in-print uses. Some sizes, condensed styles and stylistic alternatives other notable uses of Minion can be found such as swash capitals. at various Universities such as Brown Minion was an early University, Wake Forest University, Trinity addition to the Adobe

6/7.5 8/10 9/12 Palatino serif . old-style

Herman Zapf designer Diorite Palatino Hermann Zapf is a German typographer and calligrapher born in 1918. His love for font-making started as a young child when he made an alphabet that allowed him to communicate secretly with his brother. During World War II Zapf was a cartographer and was taken prisoner by the French. After the war Zapf designed the Palatino typeface in 1949 for the Stempel foundry and later a more notable company, the Mergenthaler Linotype Company. Typefaces that Zapf designed include Palatino, Optima and , as well as Zapf , a collection of symbols. Palatino is an old-style serif typeface that was named after Giambattista Palatino, an Italian master of calligraphy in the 16th century. The design was influenced by humanist types of the Italian Renaissance. Palatino was originally designed for headings, advertisements and display printing. It was created with 40 a solid and wide structure with low x-height so it could be easily read at a distance. The light lines and large letter size make it legible for newspaper and magazine print. Palatino was not meant to be used as body text because of its calligraphic design features that tended to stand out. Regardless of this feature, it still gained popularity for body text. This led Zapf to redesign the typeface with less of

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTVW ?>< XYZ D P PD D D Palatino Hermann Zapf is a Hermann Zapf is a German Hermann Zapf is a German typographer and calligrapher born in 1918. German typographer and calligrapher born typographer and calligrapher born His love for font-making started as a young child when he made an in 1918. His love for in 1918. His love for font-making alphabet that allowed him to communicate secretly with his brother. font-making started as started as a young child when he a young child when During World War II Zapf was a cartographer and was taken prisoner by he made an alphabet made an alphabet that allowed him to that allowed him to communicate secretly with his brother. the French. After the war Zapf designed the Palatino typeface in 1949 for communicate secretly During World War II Zapf was a the Stempel foundry and later a more notable company, the Mergenthaler with his brother. During World War II Zapf was cartographer and was taken prisoner by Linotype Company. Typefaces that Zapf designed include Palatino, a cartographer and the French. After the war Zapf designed Optima and Zapfino, as well as , a collection of symbols. was taken prisoner by the Palatino typeface in 1949 for the the French. After the Palatino is an old-style serif typeface that was named after Giambattista war Zapf designed the Stempel foundry and later a more Palatino typeface in notable company, the Mergenthaler Palatino, an Italian master of calligraphy in the 16th century. The design 1949 for the Stempel Linotype Company. Typefaces that was influenced by humanist types of the Italian Renaissance. Palatino was foundry and later a more notable company, Zapf designed include Palatino, Optima originally designed for headings, advertisements and display printing. It the Mergenthaler and Zapfino, as well as Zapf Dingbats, a 41 was created with a solid and wide structure with low x-height so it could 42 Linotype Company. collection of symbols. Palatino is an old- Typefaces that Zapf be easily read at a distance. The light lines and large letter size make it designed include style serif typeface that was named after Palatino, Optima and Giambattista Palatino, an Italian master legible for newspaper and magazine print. Palatino was not meant to be Zapfino, as well as Zapf of calligraphy in the 16th century. The used as body text because of its calligraphic design features that tended Dingbats, a collection of symbols. Palatino is an design was influenced by humanist to stand out. Regardless of this feature, it still gained popularity for old-style serif typeface types of the Italian Renaissance. body text. This led Zapf to redesign the typeface with fewer calligraphic that was named after Palatino was originally designed for Giambattista Palatino, features. Zapf continued to update the typeface until 2006, over 50 years

6/7.5 8/10 9/12 Rockwell serif . slab serif

Frank Hinman Pierpont novaculite designer

Rockwell is a slab serif typeface designed by Frank Hinman Rockwell Pierpont who was employed by the Monotype Corporation. The typeface was released by the foundry in 1934 to be used primarily for display or items requiring small size print. It was not intended to be used for lengthy bodies of text due to the reduced readability of the typeface in condensed texts. The inspiration for Rockwell came from Litho Antique, a more condensed slab serif. Rockwell is a geometric slab serif with a monoline construction with all the strokes appearing to be identical. In addition, the width of the letters and numbers are the same. Because the typeface is composed almost entirely of circles, straight lines and right angles it feels very mechanical, yet friendly, warm and playful. It’s condensed, slender individual letter width, and taller lower-case letters helped create an alternative to preceding geometric typefaces such as Futura. 44 The tall x-height and even stroke width creates a blocky feel that helps make Rockwell an easy to digitize typeface. Some significant uses of Rockwell include early editions of the Guinness World Records book and signage at Expo 86. The Docklands Light Railway used the typeface in the early 1980’s and 1990’s. It also appears on may vintage posters and storefronts. Rockwell has been the inspiration for other

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Rockwell is a slab serif Rockwell is a slab serif typeface Rockwell is a slab serif typeface designed by Frank Hinman Pierpont Rockwell typeface designed by designed by Frank Hinman Pierpont Frank Hinman Pierpont who was employed by the Monotype Corporation. The typeface was who was employed who was employed by the Monotype released by the foundry in 1934 to be used primarily for display or by the Monotype Corporation. The typeface was Corporation. The released by the foundry in 1934 to be items requiring small size print. It was not intended to be used for typeface was released by the foundry in 1934 used primarily for display or items lengthy bodies of text due to the reduced readability of the typeface in to be used primarily requiring small size print. It was not condensed texts. The inspiration for Rockwell came from Litho Antique, for display or items intended to be used for lengthy bodies requiring small a more condensed slab serif. Rockwell is a geometric slab serif with a size print. It was not of text due to the reduced readability monoline construction with all the strokes appearing to be identical. In intended to be used of the typeface in condensed texts. The for lengthy bodies of inspiration for Rockwell came from addition, the width of the letters and numbers are the same. Because text due to the reduced readability of the Litho Antique, a more condensed slab the typeface is composed almost entirely of circles, straight lines and typeface in condensed serif. Rockwell is a geometric slab serif right angles it feels very mechanical, yet friendly, warm and playful. It’s texts. The inspiration with a monoline construction with all for Rockwell came condensed, slender individual letter width, and taller lower-case letters from Litho Antique, the strokes appearing to be identical. helped create an alternative to preceding geometric typefaces such as 45 a more condensed In addition, the width of the letters 46 slab serif. Rockwell and numbers are the same. Because Futura. The tall x-height and even stroke width creates a blocky feel that is a geometric slab serif with a monoline the typeface is composed almost helps make Rockwell an easy to digitize typeface. Some significant uses construction with all the entirely of circles, straight lines and of Rockwell include early editions of the Guinness World Records book strokes appearing to be right angles it feels very mechanical, identical. In addition, and signage at Expo 86. The Docklands Light Railway used the typeface the width of the letters yet friendly, warm and playful. It’s in the early 1980’s and 1990’s. It also appears on may vintage posters and and numbers are the condensed, slender individual letter same. Because the storefronts. Rockwell has been the inspiration for other geometric fonts

6/7.5 8/10 9/12 Sabon serif

Jan Tschichold flint designer

Jan Tschichold designed Sabon, an old-style typeface, between Sabon 1964 and 1967 for the Linotype, Monotype and Stempel type foundries. Tschichold’s inspiration came from earlier typefaces such as Garamond, and in particular a specimen printed by the printer Konrad Berner who had married Jacques Sabon’s wife after his death. Sabon is a tribute to Jacques work. The Sabon typeface has long-standing popularity because of it’s ability to meet a tight set of business requirements. The intent was to create a typeface that could be used by a coalition of printers and equipment thus simplifying the process of planning lines and pagination when printing a book. One feature that leads to this efficiency is that the bold and italic styles are equivalent in space requirements to the original typeface. A notable use of this typeface was in the Washburn College Bible published in 1973. It also appears in the Book of Common Prayer, published in 1979 by the Episcopal Church 48 of the United States and is used in the official logo for until 2012.

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Jan Tschichold designed Jan Tschichold designed Sabon, an Jan Tschichold designed Sabon, an old-style typeface, between 1964 and Sabon Sabon, an old-style old-style typeface, between 1964 and typeface, between 1967 for the Linotype, Monotype and Stempel type foundries. Tschichold’s 1964 and 1967 for the 1967 for the Linotype, Monotype and inspiration came from earlier typefaces such as Garamond, and in particular Linotype, Monotype Stempel type foundries. Tschichold’s and Stempel type inspiration came from earlier typefaces a specimen printed by the Frankfurt printer Konrad Berner who had married foundries. Tschichold’s inspiration came from such as Garamond, and in particular a Jacques Sabon’s wife after his death. Sabon is a tribute to Jacques work. earlier typefaces such specimen printed by the Frankfurt printer The Sabon typeface has long-standing popularity because of it’s ability to as Garamond, and in Konrad Berner who had married Jacques particular a specimen meet a tight set of business requirements. The intent was to create a typeface printed by the Frankfurt Sabon’s wife after his death. Sabon is that could be used by a coalition of printers and equipment thus simplifying printer Konrad Berner a tribute to Jacques work. The Sabon who had married Jacques typeface has long-standing popularity the process of planning lines and pagination when printing a book. One Sabon’s wife after his death. Sabon is a tribute because of it’s ability to meet a tight set feature that leads to this efficiency is that the bold and italic styles are to Jacques work. The of business requirements. The intent was equivalent in space requirements to the original typeface. A notable use of Sabon typeface has to create a typeface that could be used long-standing popularity this typeface was in the Washburn College Bible published in 1973. It also because of it’s ability by a coalition of printers and equipment appears in the Book of Common Prayer, published in 1979 by the Episcopal 49 to meet a tight set of thus simplifying the process of planning 50 business requirements. lines and pagination when printing a Church of the United States and is used in the official logo for Stanford The intent was to create a typeface that could be book. One feature that leads to this University until 2012. used by a coalition of efficiency is that the bold and italic styles printers and equipment are equivalent in space requirements thus simplifying the process of planning to the original typeface. A notable use lines and pagination of this typeface was in the Washburn when printing a book.

6/7.5 8/10 9/12 Times New Roman serif

Stanley Morison & Victor Lardent designer sand Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper in 1931. It was designed by , an advisor to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, an artist in the Times’ advertising department. The British newspaper, The Times, commissioned Times New Roman in 1931 after Stanley Morison wrote an article criticizing the newspaper for being badly printed and typographically antiquated. The font was supervised by Morison and drawn by Victor Lardent (an artist from the advertising department of the Times) at the English branch of Monotype. Morison used an older font named as the basis for his design but made revi- sions for legibility and economy of space. Since the previous type used by the newspaper had been called Times Old Roman Morison’s revision became Times New Roman and made its debut in the 3 Oc- tober 1932 issue of The Times newspaper. The design was released for commercial sale after a year of use by the newspaper. The Times 52 used Times New Roman for 40 years but new production techniques and the 2004 format change from broadsheet to tabloid caused the newspaper to switch fonts five times since 1972. However, all the new fonts were variants of the original New Roman font. Although no longer used by The Times, Times New Roman is still widely used for book typography partly because Word defaults to this

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTVW ?>< XYZ S R RS Times New Roman Times New Roman is a Times New Roman is a serif typeface com- Times New Roman is a serif typeface commissioned by the British newspaper serif typeface commis- sioned by the British missioned by the British newspaper The The Times in 1931. It was designed by Stanley Morison, an advisor to the British Times in 1931. It was designed by Stanley newspaper The Times in branch of the printing equipment company Monotype, in collaboration with Victor 1931. It was designed by Morison, an advisor to the British branch of Stanley Morison, an advi- Lardent, an artist in the Times’ advertising department. The British newspaper, The sor to the British branch the printing equipment company Monotype, of the printing equipment in collaboration with Victor Lardent, an Times, commissioned Times New Roman in 1931 after Stanley Morison wrote an company Monotype, artist in the Times’ advertising department. article criticizing the newspaper for being badly printed and typographically anti- in collaboration with Victor Lardent, an artist The British newspaper, The Times, com- quated. The font was supervised by Morison and drawn by Victor Lardent (an artist missioned Times New Roman in 1931 after in the Times’ advertising from the advertising department of the Times) at the English branch of Monotype. department. The British Stanley Morison wrote an article criticizing newspaper, The Times, Morison used an older font named Plantin as the basis for his design but made commissioned Times the newspaper for being badly printed and New Roman in 1931 after typographically antiquated. The font was revisions for legibility and economy of space. Since the previous type used by Stanley Morison wrote supervised by Morison and drawn by Victor the newspaper had been called Times Old Roman Morison’s revision became an article criticizing the newspaper for being badly Lardent (an artist from the advertising de- Times New Roman and made its debut in the 3 October 1932 issue of The Times partment of the Times) at the English branch printed and typographi- newspaper. The design was released for commercial sale after a year of use by 53 cally antiquated. The font of Monotype. Morison used an older font 54 was supervised by Morison the newspaper. The Times used Times New Roman for 40 years but new produc- and drawn by Victor named Plantin as the basis for his design but Lardent (an artist from the made revisions for legibility and economy tion techniques and the 2004 format change from broadsheet to tabloid caused the advertising department of of space. Since the previous type used by newspaper to switch fonts five times since 1972. However, all the new fonts were the Times) at the English branch of Monotype. the newspaper had been called Times Old variants of the original New Roman font. Although no longer used by The Times, Roman Morison’s revision became Times Morison used an older font Times New Roman is still widely used for book typography partly because Micro- named Plantin as the basis New Roman and made its debut in the 3 for his design but made soft Word defaults to this typeface when creating a new document. The result is

6/7.5 8/10 9/12 Akzidenz Grotesk Book san serif Grotesque sans serif

H Berthold AG zircon designer

Akzidenz-Grotesk is a sans-serif typeface originally released Akzidenz Grotesk Book by H. Berthold of . Akzidenz means “commercial” in German and this typeface is traditionally used in publicity materials, advertising, tickets and forms. It is not a decorative typeface so it is rarely used in books. The typeface has unadorned simplicity that is characterized by narrow apertures and strokes that curl towards the vertical. The capital letters have relatively little variation in width and in fact, some letters such as the capital “E” and “F” are wider than expected. Akzidenz-Grotesk uses and oblique style rather than a true italic where the letters are slanted instead of using a handwriting form. Akzidenz-Grotesk Book is a variation designed by Gunter Gerhard Lange between 1969 and 1973. Notably, this variation was designed after Helvetica and incorporates some of the features used by this popular typeface. Akzidenz-Grotesk is used as the official font of the American Red Cross and the 56 Arizona State University. NASCAR Sprint Cup Series also used the typeface for the drivers surname placed on the windshield of the race cars. Most recently, it has been used by The Weather Channel for it’s on-screen graphics.

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Akzidenz-Grotesk is Akzidenz-Grotesk is a sans-serif typeface Akzidenz-Grotesk is a sans-serif typeface originally released by H. Berthold Akzidenz Grotesk Book a sans-serif typeface originally released by H. Berthold Type originally released by H. Type Foundry of Berlin. Akzidenz means “commercial” in German and this Berthold Type Foundry Foundry of Berlin. Akzidenz means typeface is traditionally used in publicity materials, advertising, tickets and of Berlin. Akzidenz “commercial” in German and this typeface means “commercial” in is traditionally used in publicity materials, forms. It is not a decorative typeface so it is rarely used in books. The German and this typeface is traditionally used advertising, tickets and forms. It is not a typeface has unadorned simplicity that is characterized by narrow apertures in publicity materials, decorative typeface so it is rarely used and strokes that curl towards the vertical. The capital letters have relatively advertising, tickets in books. The typeface has unadorned and forms. It is not a little variation in width and in fact, some letters such as the capital “E” and decorative typeface simplicity that is characterized by narrow “F” are wider than expected. Akzidenz-Grotesk uses and oblique style rather so it is rarely used in apertures and strokes that curl towards books. The typeface the vertical. The capital letters have than a true italic where the letters are slanted instead of using a handwriting has unadorned simplicity that is characterized by relatively little variation in width and in fact, form. Akzidenz-Grotesk Book is a variation designed by Gunter Gerhard narrow apertures and some letters such as the capital “E” and Lange between 1969 and 1973. Notably, this variation was designed after strokes that curl towards “F” are wider than expected. Akzidenz- the vertical. The capital Helvetica and incorporates some of the features used by this popular typeface. letters have relatively Grotesk uses and oblique style rather than Akzidenz-Grotesk is used as the official font of the American Red Cross 57 little variation in width a true italic where the letters are slanted 58 and in fact, some letters instead of using a handwriting form. and the Arizona State University. NASCAR Sprint Cup Series also used the such as the capital “E” and “F” are wider than Akzidenz-Grotesk Book is a variation typeface for the drivers surname placed on the windshield of the race cars. expected. Akzidenz- designed by Gunter Gerhard Lange Most recently, it has been used by The Weather Channel for it’s on-screen Grotesk uses and oblique between 1969 and 1973. Notably, this style rather than a true graphics. italic where the letters variation was designed after Helvetica are slanted instead of and incorporates some of the features using a handwriting form.

6/7.5 8/10 9/12 DIN san serif

Deutsches Institut für Normung granite designer DIN DIN is a bold sans-serif typeface that is widely used for traffic and administrative signage. In addition, its use in technical applications as increased due to the designs legibility and uncomplicated unadorned style. Many adaptations have been expanded to include digital forms. The original DIN 1451 typeface includes both a medium and condensed version. The older extended version is no longer available or used since the early 1980’s. DIN is used on German road signs as well as car license plates. This change was initiated to make the plates more tamper-proof and optimize use by automatic character recognition. In 1923, Stemple Foundry was the first type foundry to produce printing types according to a DIN standard. Early versions of these typefaces were used on technical drawings, engraved templates and celluloid lettering stencils. During the 1920’s and 1930’s geometric sans-serif typefaces were popular at the . Since that time there have been many releases 60 and third-party adaptations. Notable uses of the typeface include logotypes for Paramount Channel, JetBlue Airways, the on-screen branding of Channel 4 (a British television station), the on-air typeface for ABC News, PBS NewsHour, and CBS Sports.

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q g q gq q DIN DIN is a bold sans-serif DIN is a bold sans-serif typeface that is DIN is a bold sans-serif typeface that is widely used for traffic and typeface that is widely used for traffic and widely used for traffic and administrative administrative signage. In addition, its use in technical applications as signage. In addition, its use in technical administrative signage. increased due to the designs legibility and uncomplicated unadorned style. In addition, its use in applications as increased due to the technical applications Many adaptations have been expanded to include digital forms. The original as increased due to the designs legibility and uncomplicated designs legibility and unadorned style. Many adaptations DIN 1451 typeface includes both a medium and condensed version. The older uncomplicated unadorned have been expanded to include digital extended version is no longer available or used since the early 1980’s. DIN is style. Many adaptations have been expanded to forms. The original DIN 1451 typeface used on German road signs as well as car license plates. This change was includes both a medium and condensed include digital forms. initiated to make the plates more tamper-proof and optimize use by automatic The original DIN 1451 version. The older extended version is typeface includes both a character recognition. In 1923, Stemple Foundry was the first type foundry to medium and condensed no longer available or used since the version. The older early 1980’s. DIN is used on German produce printing types according to a DIN standard. Early versions of these extended version is no road signs as well as car license plates. typefaces were used on technical drawings, engraved templates and celluloid longer available or used since the early 1980’s. This change was initiated to make the lettering stencils. During the 1920’s and 1930’s geometric sans-serif typefaces plates more tamper-proof and optimize DIN is used on German were popular at the Bauhaus. Since that time there have been many releases 61 road signs as well as use by automatic character recognition. 62 car license plates. This and third-party adaptations. Notable uses of the typeface include logotypes for change was initiated In 1923, Stemple Foundry was the first to make the plates type foundry to produce printing types Paramount Channel, JetBlue Airways, the on-screen branding of Channel 4 (a more tamper-proof and according to a DIN standard. Early British television station), the on-air typeface for ABC News, PBS NewsHour, optimize use by automatic character recognition. In versions of these typefaces were used on and CBS Sports. 1923, Stemple Foundry technical drawings, engraved templates was the first type foundry and celluloid lettering stencils. During the to produce printing

6/7.5 8/10 9/12 Franklin Gothic san serif . grotesque Volcanic Morris Fuller Benton Rock designer Franklin Gothic Franklin Gothic and its related faces are a large family of realist sans-serif typefaces developed by the type foundry and credited to its head designer Morris Fuller Benton. Benton was an American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer from 1900 to 1937. “Gothic” was a contemporary term meaning sans-serif. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards. The original family is a set of solid designs, particularly suitable for display and trade use such as headlines rather than for extended text. Many versions and adaptations have been made since its original design. Franklin Gothic itself is an extra-bold sans-serif type. It can be distinguished from other sans-serif typefaces by its more traditional double-storey lower-case “a” and “g”, the 64 tail of the capital “Q” and the ear of the lower-case “g”. The tail of the “Q” curls down from the bottom center of the letterform in the book weight and shifts slightly to the right as in bolder fonts. Barnhart Brothers & Spindler copied the face as Gothic #1, while both Linotype and Intertype, called their copies Gothic #16. Monotype’s copy kept the name Franklin Gothic, but

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTVWX ?>< YZ K V KV KV KV Franklin Gothic Franklin Gothic and its Franklin Gothic and its related faces are a Franklin Gothic and its related faces are a large family of realist sans-serif related faces are a large family of realist sans-serif large family of realist sans-serif typefaces typefaces developed by the type foundry American Type Founders and credited developed by the type foundry American typefaces developed to its head designer Morris Fuller Benton. Benton was an American typeface by the type foundry Type Founders and credited to its head American Type Founders designer who headed the design department of the American Type Founders and credited to its head designer Morris Fuller Benton. Benton designer Morris Fuller was an American typeface designer who (ATF), for which he was the chief type designer from 1900 to 1937. “Gothic” Benton. Benton was headed the design department of the was a contemporary term meaning sans-serif. Franklin Gothic has been used an American typeface designer who headed American Type Founders (ATF), for which in many advertisements and headlines in newspapers. The typeface continues he was the chief type designer from 1900 the design department to maintain a high profile, appearing in a variety of media from books to of the American Type to 1937. “Gothic” was a contemporary Founders (ATF), for which billboards. The original family is a set of solid designs, particularly suitable for he was the chief type term meaning sans-serif. Franklin Gothic designer from 1900 has been used in many advertisements display and trade use such as headlines rather than for extended text. Many to 1937. “Gothic” was and headlines in newspapers. The versions and adaptations have been made since its original design. Franklin a contemporary term meaning sans-serif. typeface continues to maintain a high Gothic itself is an extra-bold sans-serif type. It can be distinguished from other profile, appearing in a variety of media Franklin Gothic has sans-serif typefaces by its more traditional double-storey lower-case “a” and 65 been used in many from books to billboards. The original 66 advertisements and “g”, the tail of the capital “Q” and the ear of the lower-case “g”. The tail of the headlines in newspapers. family is a set of solid designs, particularly The typeface continues suitable for display and trade use such “Q” curls down from the bottom center of the letterform in the book weight to maintain a high profile, as headlines rather than for extended and shifts slightly to the right as in bolder fonts. Barnhart Brothers & Spindler appearing in a variety of media from books to text. Many versions and adaptations copied the face as Gothic #1, while both Linotype and Intertype, called their have been made since its original design. billboards. The original copies Gothic #16. Monotype’s copy kept the name Franklin Gothic, but family is a set of solid Franklin Gothic itself is an extra-bold designs, particularly modified their version because of the demands of mechanical composition.

6/7.5 8/10 9/12 Frutiger san serif . humanist

Adrian Frutiger Wollastonite designer

Frutiger is a humanist sans-serif typeface designed in Frutiger 1975 by the Swiss designer Adrian Frutiger (pronounced with a hard “g”) and released in 1976 by the Stempel type foundry in conjunction with Linotype. His intent was to design a typeface that was clear and highly legible at both a distance and in small text sizes. It is a very versatile typeface that can be used in any situation where legibility is a necessity. As a result, Frutiger is used by many institutions around the world in their branding. Frutiger is a simple and legible typeface that is a popular choice in advertising and when small print is needed. For example, many corporations use the typeface in their branding and logos. Raytheon, the British Royal Navy and the British Army use Frutiger as part of their corporate identity and Switzerland uses the typeface on road signs around the country. Frutiger has distinctive characteristics 68 in the lowercase, uppercase and oblique letters. The lowercase “i” has a square dot over the letter, the “a” is a double-storey letter while the “g” is a single-storey letter. The apertures on the letters are wide and the x-height is high to increase clarity when it is used for headings. The uppercase “A” has a very low center bar while the

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Frutiger is a humanist Frutiger is a humanist sans-serif Frutiger is a humanist sans-serif typeface designed in 1975 by the Swiss Frutiger sans-serif typeface designed in 1975 by typeface designed in 1975 by the Swiss designer Adrian Frutiger (pronounced with a hard “g”) and released the Swiss designer designer Adrian Frutiger (pronounced in 1976 by the Stempel type foundry in conjunction with Linotype. Adrian Frutiger with a hard “g”) and released in (pronounced with His intent was to design a typeface that was clear and highly legible a hard “g”) and 1976 by the Stempel type foundry released in 1976 by in conjunction with Linotype. His at both a distance and in small text sizes. It is a very versatile typeface the Stempel type intent was to design a typeface that that can be used in any situation where legibility is a necessity. As a foundry in conjunction with Linotype. His was clear and highly legible at both result, Frutiger is used by many institutions around the world in their intent was to design a a distance and in small text sizes. It is branding. Frutiger is a simple and legible typeface that is a popular typeface that was clear a very versatile typeface that can be and highly legible at choice in advertising and when small print is needed. For example, both a distance and used in any situation where legibility in small text sizes. is a necessity. As a result, Frutiger is many corporations use the typeface in their branding and logos. It is a very versatile used by many institutions around Raytheon, the British Royal Navy and the British Army use Frutiger as typeface that can be used in any situation the world in their branding. Frutiger part of their corporate identity and Switzerland uses the typeface on where legibility is a is a simple and legible typeface that road signs around the country. Frutiger has distinctive characteristics 69 necessity. As a result, is a popular choice in advertising 70 Frutiger is used by in the lowercase, uppercase and oblique letters. The lowercase “i” has many institutions and when small print is needed. For around the world example, many corporations use the a square dot over the letter, the “a” is a double-storey letter while the in their branding. typeface in their branding and logos. “g” is a single-storey letter. The apertures on the letters are wide and Frutiger is a simple and legible typeface Raytheon, the British Royal Navy the x-height is high to increase clarity when it is used for headings. that is a popular choice and the British Army use Frutiger as The uppercase “A” has a very low center bar while the “Q” has a in advertising and part of their corporate identity and when small print is stroke that is only below the circle. The “M” has be viewed as Univers-

6/7.5 8/10 9/12 Futura san serif . geometric sans serif Ovaline Paul Renner Basalt designer Futura Futura is a geometric sans-serif typeface designed in 1927 by Paul Renner and expanded upon by Edwin W. Shaar and Tommy Thompson. Renner designed the typeface as a contribution to the New Frankfurt-project and based the style on geometric shapes that became representative of visual elements of the Bauhaus design style of 1919 to 1933. The typeface was commissioned by the Bauer Type Foundry in 1922. Futura is efficient, modern and is often used in sign painting. The condensed lettering favoured simple geometric forms of nearly perfect circles, triangles and squares. The strokes are nearly even in weight which provides low contrast. The lowercase letters have tall ascenders which rise above the cap line. The uppercase characters resent proportions similar to those found in Roman capitals. The family was originally released in a Light, Medium, Bold and Bold Oblique fonts. Other variations were added later 72 and included Light Oblique, Medium Oblique, Demibold, and Demibold Oblique. The design of Futura avoids decorative elements but does make subtle departures from pure geometric designs that improve letterform balance. The low x-height increases its suitability for body text and the typeface does include small capitals and old-style figures.

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTVW ?>< XYZ P B BP BP BP Futura Futura is a geometric Futura is a geometric sans-serif Futura is a geometric sans-serif typeface designed in 1927 by Paul sans-serif typeface designed in 1927 typeface designed in 1927 by Renner and expanded upon by Edwin W. Shaar and Tommy Thompson. Paul Renner and expanded upon by Paul Renner and Renner designed the typeface as a contribution to the New Frankfurt- expanded upon by by Edwin W. Shaar and Tommy Edwin W. Shaar and project and based the style on geometric shapes that became Tommy Thompson. Thompson. Renner designed the Renner designed typeface as a contribution to the New representative of visual elements of the Bauhaus design style of 1919 the typeface as a Frankfurt-project and based the style to 1933. The typeface was commissioned by the Bauer Type Foundry contribution to the New Frankfurt-project on geometric shapes that became in 1922. Futura is efficient, modern and is often used in sign painting. representative of visual elements of and based the style on The condensed lettering favoured simple geometric forms of nearly geometric shapes that the Bauhaus design style of 1919 to became representative perfect circles, triangles and squares. The strokes are nearly even in of visual elements of 1933. The typeface was commissioned the Bauhaus design by the Bauer Type Foundry in 1922. weight which provides low contrast. The lowercase letters have tall style of 1919 to 1933. Futura is efficient, modern and is often ascenders which rise above the cap line. The uppercase characters The typeface was commissioned by the used in sign painting. The condensed resent proportions similar to those found in Roman capitals. The family lettering favoured simple geometric Bauer Type Foundry was originally released in a Light, Medium, Bold and Bold Oblique 74 73 in 1922. Futura is forms of nearly perfect circles, triangles efficient, modern fonts. Other variations were added later and included Light Oblique, and is often used in and squares. The strokes are nearly sign painting. The even in weight which provides low Medium Oblique, Demibold, and Demibold Oblique. The design of condensed lettering contrast. The lowercase letters have Futura avoids decorative elements but does make subtle departures from favoured simple geometric forms of tall ascenders which rise above the pure geometric designs that improve letterform balance. The low x-height cap line. The uppercase characters nearly perfect circles, increases its suitability for body text and the typeface does include small triangles and squares. resent proportions similar to those The strokes are nearly capitals and old-style figures. Futura remains an important typeface and

6/7.5 8/10 9/12 Gill Sans Bold san serif . humanist

Eric Gill Kimberlite designer Gill Sans Bold Gill Sans was designed by Eric Gill who made the entire font in metal in the 1930’s. The work was commissioned by Stanley Morrison, a Monotype employee, with the goal to rival the German sans- serif fonts by providing a typeface with greater style focus on geometry. Upper case Gill Sans characters were influenced by the capitals from Roman letters and the lower case characters were influenced by “old-style” lettering. Roman letters were preferred due to the popular and indistinguishable reputation for producing letters known for their beauty and readability. They defined the typeface as one with “classic simplicity and real beauty” that could be used in any size for a variety of projects. The initial release of the font consisted of titling capital letters later followed by a series of lower-case letters. The 76 various shapes of the type are characteristically different across the styles in the font family. For example, the main difference between Extra Bold and Extra Condensed is the width of the letters. The font quickly became the preferred font choice in England and eventually was given the title “English Helvetica.”

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K M KM KM KM Gill Sans Bold Gill Sans was Gill Sans was designed by Eric Gill Sans was designed by Eric Gill who made the entire font in designed by Eric Gill who made the entire Gill who made the entire font in metal in the 1930’s. The work was commissioned by Stanley metal in the 1930’s. The work font in metal in the Morrison, a Monotype employee, with the goal to rival the 1930’s. The work was was commissioned by Stanley commissioned by German sans-serif fonts by providing a typeface with greater Stanley Morrison, a Morrison, a Monotype employee, Monotype employee, with the goal to rival the German style focus on geometry. Upper case Gill Sans characters were with the goal to sans-serif fonts by providing a influenced by the capitals from Roman letters and the lower rival the German sans-serif fonts by typeface with greater style focus case characters were influenced by “old-style” lettering. Roman on geometry. Upper case Gill Sans providing a typeface letters were preferred due to the popular and indistinguishable with greater style characters were influenced by focus on geometry. reputation for producing letters known for their beauty and Upper case Gill Sans the capitals from Roman letters characters were and the lower case characters readability. They defined the typeface as one with “classic influenced by the were influenced by “old-style” simplicity and real beauty” that could be used in any size for a capitals from Roman letters and the lower lettering. Roman letters were variety of projects. The initial release of the font consisted of preferred due to the popular case characters titling capital letters later followed by a series of lower-case 77 were influenced by and indistinguishable reputation 78 “old-style” lettering. letters. The various shapes of the type are characteristically Roman letters were for producing letters known for preferred due to their beauty and readability. They different across the styles in the font family. For example, the the popular and defined the typeface as one with main difference between Extra Bold and Extra Condensed is the indistinguishable reputation for “classic simplicity and real beauty” width of the letters. The font quickly became the preferred font that could be used in any size for producing letters choice in England and eventually was given the title “English known for their a variety of projects. The initial beauty and Helvetica.”

6/7.5 8/10 9/12 Gill Sans san serif . humanist

Eric Gill blairmorite designer Gill Sans Gill Sans was designed by Eric Gill who made the entire font in metal in the 1930’s. The work was commissioned by Stanley Morrison, a Monotype employee, with the goal to rival the German sans-serif fonts by providing a typeface with greater style focus on geometry. Upper case Gill Sans characters were influenced by the capitals from Roman letters and the lower case characters were influenced by “old-style” lettering. Roman letters were preferred due to the popular and indistinguishable reputation for producing letters known for their beauty and readability. They defined the typeface as one with “classic simplicity and real beauty” that could be used in any size for a variety of projects. The initial release of the font consisted of titling capital letters later followed by a series of lower-case letters. The various shapes of the type are characteristically different across the styles in the font family. For example, the main difference between Extra Bold and Extra Condensed is the width of the letters. The font quickly became the preferred font choice in England and eventually was given 80 the title “English Helvetica.”

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b g bg Gill Sans Gill Sans was designed Gill Sans was designed by Eric Gill who Gill Sans was designed by Eric Gill who made the entire font in metal in the 1930’s. by Eric Gill who made the entire font in metal made the entire font in metal in the 1930’s. The work was commissioned by Stanley Morrison, a Monotype employee, with the The work was commissioned by Stanley in the 1930’s. The work goal to rival the German sans-serif fonts by providing a typeface with greater style was commissioned by Morrison, a Monotype employee, with the Stanley Morrison, a focus on geometry. Upper case Gill Sans characters were influenced by the capitals Monotype employee, goal to rival the German sans-serif fonts by with the goal to rival the providing a typeface with greater style focus from Roman letters and the lower case characters were influenced by “old-style” German sans-serif fonts on geometry. Upper case Gill Sans characters lettering. Roman letters were preferred due to the popular and indistinguishable by providing a typeface with greater style focus were influenced by the capitals from Roman reputation for producing letters known for their beauty and readability. They defined letters and the lower case characters were on geometry. Upper case the typeface as one with “classic simplicity and real beauty” that could be used in Gill Sans characters were influenced by “old-style” lettering. Roman influenced by the capitals any size for a variety of projects. The initial release of the font consisted of titling from Roman letters and letters were preferred due to the popular the lower case characters and indistinguishable reputation for producing capital letters later followed by a series of lower-case letters. The various shapes were influenced by “old- letters known for their beauty and readability. of the type are characteristically different across the styles in the font family. For style” lettering. Roman letters were preferred They defined the typeface as one with example, the main difference between Extra Bold and Extra Condensed is the “classic simplicity and real beauty” that could due to the popular and width of the letters. The font quickly became the preferred font choice in England 81 indistinguishable reputation be used in any size for a variety of projects. 82 for producing letters and eventually was given the title “English Helvetica.” known for their beauty and The initial release of the font consisted of readability. They defined titling capital letters later followed by a series the typeface as one with of lower-case letters. The various shapes of “classic simplicity and real beauty” that could be used the type are characteristically different across in any size for a variety of the styles in the font family. For example, projects. The initial release the main difference between Extra Bold and of the font consisted of

6/7.5 8/10 9/12 amethyst

Gotham san serif . geometric sans serif

Tobias Frere-Jones designer Gotham Gotham is a family of typefaces designed by Tobias Frere-Jones in 2000. The family is a geometric sans- serif option that was developed specifically for digital use. Gotham has a relatively broad design with a high x-height and wide apertures. It has a very large family with a wide variety of styles eventuating various features. The family includes versions with various widths, weights and separate designs develope for specific purposes in screen display. The typeface can be seen in notable places such as Barack Obama’s 2008 presidential campaign and by use of the Australian Labor Party. In addition, you can see it used in the cornerstone of the One World Trade Center in . The typeface was originally commissioned by GQ magazine by editors who wanted a masculine font that gave a new and fresh look to the magazine. Frere-Jones used the city of Manhattan 84 to find his inspiration. He looked at lettering on old buildings, bus terminals and other facades. In addition, he was inspired by the Futura typeface that mimicked architecture and had an organization like society itself. He limited the design features to bare, efficient essentials and avoided any ethic elements,

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTVW ?>< XYZ a a a a a a a a Gotham Gotham is a family of Gotham is a family of typefaces Gotham is a family of typefaces designed by Tobias Frere-Jones typefaces designed by Tobias Frere- designed by Tobias Frere-Jones in in 2000. The family is a geometric sans-serif option that was 2000. The family is a geometric Jones in 2000. The developed specifically for digital use. Gotham has a relatively family is a geometric sans-serif option that was developed sans-serif option broad design with a high x-height and wide apertures. It has a that was developed specifically for digital use. Gotham specifically for digital has a relatively broad design with a very large family with a wide variety of styles eventuating various use. Gotham has high x-height and wide apertures. features. The family includes versions with various widths, weights a relatively broad design with a high It has a very large family with a and separate designs develope for specific purposes in screen wide variety of styles eventuating x-height and wide display. The typeface can be seen in notable places such as Barack apertures. It has a various features. The family includes very large family with Obama’s 2008 presidential campaign and by use of the Australian a wide variety of styles versions with various widths, weights eventuating various and separate designs develope for Labor Party. In addition, you can see it used in the cornerstone features. The family specific purposes in screen display. of the One World Trade Center in New York. The typeface was includes versions with various widths, The typeface can be seen in notable originally commissioned by GQ magazine by editors who wanted places such as Barack Obama’s weights and separate a masculine font that gave a new and fresh look to the magazine. 85 designs develope for 2008 presidential campaign and by 86 specific purposes in Frere-Jones used the city of Manhattan to find his inspiration. He screen display. The use of the Australian Labor Party. In typeface can be seen addition, you can see it used in the looked at lettering on old buildings, bus terminals and other facades. in notable places such cornerstone of the One World Trade In addition, he was inspired by the Futura typeface that mimicked as Barack Obama’s 2008 presidential Center in New York. The typeface architecture and had an organization like society itself. He limited was originally commissioned by GQ campaign and by use the design features to bare, efficient essentials and avoided any ethic of the Australian Labor magazine by editors who wanted a Party. In addition, elements,

6/7.5 8/10 9/12 Helvetica san serif . neo-grotesque sans serif

Max Meidinger & Eduard Hoffman designer jade Helvetica Helvetica is one of the most popular typefaces in the world. This sans serif typeface was marketed as a of cutting edge Swiss technology. Helvetica Light is one of the variations in Helvetica family, designed by Stempel’s artistic director Erich Schultz-Anker, in conjunction with Arthur Ritzel. The original Helvetica was designed in Switzerland in 1957 by Max Miedinger and Eduard Hoffmann at the (Haas’sche Schriftgiesserei). Haas was controlled by the type foundry Stempel, which was in turn controlled by Linotype. Helvetica was originally called Die Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was created specifically to be neutral and not to give any impression or have any meaning in itself. This neutrality was paramount and based on the idea that type itself should give no meaning. The marketing director at Stempel decided to change the name to Helvetica in 1960 to make the font more marketable 88 internationally.

8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTVW ?>< XYZ y j yj Helvetica Helvetica is one of the Helvetica is one of the most popular Helvetica is one of the most popular typefaces in the world. This sans serif most popular typefaces in the world. This sans typefaces in the world. This sans serif typeface was marketed as a symbol of cutting edge Swiss technology. typeface was marketed as a symbol serif typeface was Helvetica Light is one of the variations in Helvetica family, designed by marketed as a symbol of cutting edge Swiss technology. of cutting edge Swiss Stempel’s artistic director Erich Schultz-Anker, in conjunction with Arthur technology. Helvetica Helvetica Light is one of the variations in Light is one of the Helvetica family, designed by Stempel’s Ritzel. The original Helvetica was designed in Switzerland in 1957 by Max variations in Helvetica artistic director Erich Schultz-Anker, Miedinger and Eduard Hoffmann at the Haas type foundry (Haas’sche family, designed by Stempel’s artistic in conjunction with Arthur Ritzel. The Schriftgiesserei). Haas was controlled by the type foundry Stempel, which original Helvetica was designed in director Erich Schultz- was in turn controlled by Linotype. Helvetica was originally called Die Anker, in conjunction Switzerland in 1957 by Max Miedinger with Arthur Ritzel. The Neue Haas Grotesk, and was closely based on Schelter-Grotesk. It was original Helvetica was and Eduard Hoffmann at the Haas type designed in Switzerland foundry (Haas’sche Schriftgiesserei). created specifically to be neutral and not to give any impression or have in 1957 by Max Haas was controlled by the type foundry any meaning in itself. This neutrality was paramount and based on the idea Miedinger and Eduard Hoffmann at the Haas Stempel, which was in turn controlled that type itself should give no meaning. The marketing director at Stempel by Linotype. Helvetica was originally type foundry (Haas’sche decided to change the name to Helvetica in 1960 to make the font more 90 89 Schriftgiesserei). called Die Neue Haas Grotesk, and was Haas was controlled marketable internationally. by the type foundry closely based on Schelter-Grotesk. It Stempel, which was was created specifically to be neutral in turn controlled by and not to give any impression or have Linotype. Helvetica was originally called Die any meaning in itself. This neutrality was Neue Haas Grotesk, paramount and based on the idea that and was closely based type itself should give no meaning. The on Schelter-Grotesk. It

6/7.5 8/10 9/12 Myriad san serif . humanist

Robert Slimbach & Carol Twombly Unakite designer

Myriad was designed in 1992 for Adobe Systems Incorporated Myriad by Robert Slimbach and Carol Twombly along with assistance from Fred Brady and Summer Stone. Myriad, a versatile sans-serif font was released in 2000 as part of an OpenType font family. Included in the family were versions and extensions that adapt to different languages such as Arabic and Latin. Myriad Pro, introduced as part of this family of typefaces, was used by Apple Inc., replacing Apple Garamond. Myriad is similar to Frutiger with two main differences appearing in the descender of the lower- case “y” as well as the cut of the lower-case “e”. Myriad is clean and uses simple lines. It is inspired by typographic and calligraphic traditions of the Renaissance. The two designers, Slimbach and Twombly, met while working for the Adobe Systems foundry. Slimbach was born in Evanston, Illinois in 1956, graduated from UCLA and became a type designer with Autologic Incorporation. In 1991, he received the Prix Charles Pignut award from the 92 Association Typographique Internationale for excellence in . He then became a type designer at Adobe Systems. Carol Twombly attended Rhode Island School of Design and Stanford University. After being taught by Charles Bigelow, she worked for Bigelow and Holmes type design studio. Her first design was the upright italic Myriad and she was awarded the prestigious Marisa

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Myriad was designed in Myriad was designed in 1992 for Adobe Myriad was designed in 1992 for Adobe Systems Incorporated by Robert Myriad 1992 for Adobe Systems Incorporated by Robert Systems Incorporated by Robert Slimbach Slimbach and Carol Twombly along with assistance from Fred Brady and Slimbach and Carol and Carol Twombly along with assistance Summer Stone. Myriad, a versatile sans-serif font was released in 2000 as part of Twombly along with from Fred Brady and Summer Stone. assistance from Fred an OpenType font family. Included in the family were versions and extensions Brady and Summer Myriad, a versatile sans-serif font was Stone. Myriad, a versatile released in 2000 as part of an OpenType that adapt to different languages such as Arabic and Latin. Myriad Pro, sans-serif font was font family. Included in the family were introduced as part of this family of typefaces, was used by Apple Inc., replacing released in 2000 as part of an OpenType font versions and extensions that adapt to Apple Garamond. Myriad is similar to Frutiger with two main differences family. Included in the different languages such as Arabic and appearing in the descender of the lower-case “y” as well as the cut of the lower- family were versions and Latin. Myriad Pro, introduced as part extensions that adapt case “e”. Myriad is clean and uses simple lines. It is inspired by typographic and to different languages of this family of typefaces, was used by such as Arabic and Latin. Apple Inc., replacing Apple Garamond. calligraphic traditions of the Renaissance. The two designers, Slimbach and Myriad Pro, introduced Myriad is similar to Frutiger with two main Twombly, met while working for the Adobe Systems foundry. Slimbach was as part of this family of typefaces, was used by differences appearing in the descender born in Evanston, Illinois in 1956, graduated from UCLA and became a type Apple Inc., replacing of the lower-case “y” as well as the cut designer with Autologic Incorporation. In 1991, he received the Prix Charles 93 Apple Garamond. of the lower-case “e”. Myriad is clean 94 Myriad is similar to Pignut award from the Association Typographique Internationale for excellence Frutiger with two main and uses simple lines. It is inspired by differences appearing typographic and calligraphic traditions in type design. He then became a type designer at Adobe Systems. Carol in the descender of the of the Renaissance. The two designers, Twombly attended Rhode Island School of Design and Stanford University. lower-case “y” as well as the cut of the lower-case Slimbach and Twombly, met while working After being taught by Charles Bigelow, she worked for Bigelow and Holmes “e”. Myriad is clean and for the Adobe Systems foundry. Slimbach type design studio. Her first design was the upright italic Myriad and she was uses simple lines. It is was born in Evanston, Illinois in 1956, inspired by typographic awarded the prestigious Marisa Typeface Design Competition in 1984.

6/7.5 8/10 9/12 Optima san serif . humanist

Hermann Zapf Hematite designer Optima Optima is a humanist sans-serif typeface designed between 1952-1958 by Hermann Zapf. His inspiration came from the Roman capital model but Zapf wanted to avoid the monotony of a square base for all the capital letters. As a result, Optima’s capitals vary in the space they occupy. Like Roman capitals, Optima’s “E” and “R” occupy one half of the square while the “M” is wide and its sides flare outward. Other capital letters provide variation from half and full spaces. Optima is the first German typeface that is not based on the standard alignment that had been used up until that point in time. Although the typeface took nearly a decade for Zapf to fully develop, it was first released by the D. Stempel AG Foundry located in Frankfurt in 1955. Soon thereafter, it was used by an American Foundry and at a public exhibition in Düsseldorf. Optima has been used for notable purposes such as the Vietnam Veterans Memorial, the institutional images 96 for the Mexican Social Security Institute, John McCain’s 2008 Presidential Campaign, The University of Calgary, and Aston Martin. Optima’s design is humanistic thus suggesting it’s capitals originate from the classic Roman monumental capital model however, it has subtle swelling at the terminals which suggest a glyphic serif. Zapf intended that Optima could be

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4 h 4h Optima Optima is a humanist Optima is a humanist sans-serif typeface Optima is a humanist sans-serif typeface designed between 1952-1958 by sans-serif typeface designed between 1952- designed between 1952-1958 by Hermann Zapf. His inspiration came from the Roman capital model but Hermann Zapf. His inspiration came 1958 by Hermann Zapf. Zapf wanted to avoid the monotony of a square base for all the capital letters. His inspiration came from the Roman capital model but Zapf from the Roman capital As a result, Optima’s capitals vary in the space they occupy. Like Roman model but Zapf wanted wanted to avoid the monotony of a to avoid the monotony square base for all the capital letters. As capitals, Optima’s “E” and “R” occupy one half of the square while the “M” is of a square base for all a result, Optima’s capitals vary in the wide and its sides flare outward. Other capital letters provide variation from the capital letters. As a result, Optima’s capitals space they occupy. Like Roman capitals, half and full spaces. Optima is the first German typeface that is not based Optima’s “E” and “R” occupy one half vary in the space they on the standard baseline alignment that had been used up until that point in occupy. Like Roman of the square while the “M” is wide and capitals, Optima’s “E” time. Although the typeface took nearly a decade for Zapf to fully develop, and “R” occupy one half its sides flare outward. Other capital of the square while the letters provide variation from half and it was first released by the D. Stempel AG Foundry located in Frankfurt “M” is wide and its sides full spaces. Optima is the first German Germany in 1955. Soon thereafter, it was used by an American Foundry flare outward. Other capital letters provide typeface that is not based on the standard and at a public exhibition in Düsseldorf. Optima has been used for notable baseline alignment that had been used variation from half and purposes such as the Vietnam Veterans Memorial, the institutional images 98 97 full spaces. Optima is up until that point in time. Although the the first German typeface for the Mexican Social Security Institute, John McCain’s 2008 Presidential that is not based on typeface took nearly a decade for Zapf the standard baseline to fully develop, it was first released Campaign, The University of Calgary, and Aston Martin. Optima’s design alignment that had been by the D. Stempel AG Foundry located is humanistic thus suggesting it’s capitals originate from the classic Roman used up until that point in time. Although the in Frankfurt Germany in 1955. Soon monumental capital model however, it has subtle swelling at the terminals thereafter, it was used by an American typeface took nearly which suggest a glyphic serif. Zapf intended that Optima could be used a decade for Zapf to Foundry and at a public exhibition in fully develop, it was for a body of text as well as titles. Optima’s italic version was originally an

6/7.5 8/10 9/12 Univers san serif . neo-grotesque sans serif

Adrian Frutiger iron pyrite designer

Adrian Frutiger began work on Univers while he was Universe a student in Zurich. The typeface would eventually be released in 1957 by the Deberny & foundry in Paris. Univers is part of a group of neo-grotesque sans- serif typefaces released in 1957 that also includes Folio and Neue Haas Grotesk (later named Helvetica). Neo- grotesque type began in the 1990’s with the emergence of the International Typographic Style or Swiss Style. Its members were inspired by the clear lines of Akzidenz Grotesk (1896) and created rational, almost neutral typefaces. With the release of Univers, Frutiger began using numbers rather than names to designate variations of weight, width, and slope. The full Univers family consists of twenty-one typefaces all with distinct numbers in the name. Frutiger used this numerical system on other designs including Serifa and Frutiger. Linotype also 100 has adopted this numerical system for other typefaces. All twenty-one Univers typefaces were designed to work together so they can be mixed in a variety of ways and accentuate various aspects of a project. Their legibility lends itself to a variety of applications from text and headlines to packaging and signage. The goal

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Adrian Frutiger began Adrian Frutiger began work on Adrian Frutiger began work on Univers while he was a student in Universe work on Univers while Univers while he was a student in he was a student in Zurich. The typeface would eventually be released in 1957 by the Zurich. The typeface Zurich. The typeface would eventually Deberny & Peignot foundry in Paris. Univers is part of a group of would eventually be released in 1957 by the Deberny be released in 1957 & Peignot foundry in Paris. Univers neo-grotesque sans-serif typefaces released in 1957 that also includes by the Deberny & Peignot foundry in is part of a group of neo-grotesque Folio and Neue Haas Grotesk (later named Helvetica). Neo-grotesque Paris. Univers is part sans-serif typefaces released in 1957 type began in the 1990’s with the emergence of the International of a group of neo- that also includes Folio and Neue grotesque sans-serif Typographic Style or Swiss Style. Its members were inspired by the typefaces released in Haas Grotesk (later named Helvetica). clear lines of Akzidenz Grotesk (1896) and created rational, almost 1957 that also includes Neo-grotesque type began in the Folio and Neue 1990’s with the emergence of the neutral typefaces. With the release of Univers, Frutiger began using Haas Grotesk (later named Helvetica). International Typographic Style numbers rather than names to designate variations of weight, width, Neo-grotesque type or Swiss Style. Its members were and slope. The full Univers family consists of twenty-one typefaces began in the 1990’s inspired by the clear lines of Akzidenz with the emergence all with distinct numbers in the name. Frutiger used this numerical of the International Grotesk (1896) and created rational, system on other designs including Serifa and Frutiger. Linotype also 101 Typographic Style almost neutral typefaces. With the 102 or Swiss Style. Its release of Univers, Frutiger began has adopted this numerical system for other typefaces. All twenty-one members were inspired by the clear using numbers rather than names to Univers typefaces were designed to work together so they can be lines of Akzidenz designate variations of weight, width, mixed in a variety of ways and accentuate various aspects of a project. Grotesk (1896) and and slope. The full Univers family created rational, Their legibility lends itself to a variety of applications from text and almost neutral consists of twenty-one typefaces headlines to packaging and signage. The goal of developing Universe typefaces. With the all with distinct numbers in the release of Univers, was to supersede Futura as a sans serif for phototypesetter machines.

6/7.5 8/10 9/12 This book was designed by Kimber A. McDevitt. It was printed and bound using Blurb.com for the Northeastern University Typography 1 course taught by Mark Laughlin in Summer 2017.

The typeface is Optima and is used for the typeface names and some of the contents. The history and sample texts are in the typeface that is the focus of study.

The geographic study includes photographs of rocks and minerals that are labeled for noncommercial reuse . The typeface used to identify the rock or mineral name is the same as the focus of study. Thank you to Steven P. McDevitt for you deep devotion and support throughout my journey to my Masters in Fine Arts in Information Design and Visualization. Your advice, guidance and countless loads of laundry are appreciated beyond what can be expressed with mere words. This journey was truly shared with my best friend and the love of my life.