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Logotypes & Typefaces by Kimber A. Mcdevitt

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Logotypes & Typefaces by Kimber A. Mcdevitt 24 Logotypes & Typefaces 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 Serif San Serif 1 Baskerville 8 Minion 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 Bembo 9 Palatino 14 DIN 21 Helvetica 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 Bodoni 10 Rockwell Giambattista Bodoni Frank Hinman Pierpont 15 Franklin Gothic 22 Myriad 1999 1934 Morris Fuller Benton Robert Slimbach & Talc, p15 Novaculite, p43 1902 Carol Twombly . 1992 Volcanic Rock, p63 Unakite, p91 4 Caslon 11 Sabon William Caslon . 1722 Jan Tschichold . 1964 16 Frutiger 23 Optima Chalk, p19 Flint, p47 Adrian Frutiger . 1976 Hermann Zapf . 1950 Wollastonite, p67 Hematite, p95 5 Clarendon 12 Times New Roman Robert Beasley . 1845 Stanely Morison & 17 Futura 24 Univers Nephelinite, p23 Victor Lardent . 1932 Paul Renner . 1928 Adrian Frutiger . 1957 Sand, p51 Ovaline Basalt, p71 Iron Pyrite, p99 6 Didot Firman Didot . 1784 18 Gill Sans Bold Jaspilite, p27 Eric Gill . 1928 Kimberlite, p75 7 Garamond Claude Garamond . 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 book design and the first book to use this typeface was an edition of Virgil. Baskerville was a wealthy teacher of calligraphy 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 terminal end a the bottom. In fact, many characters use the ball at the terminal feature. The capital “Q” 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 of Virgil. 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 font 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 typography 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.” 8/10 1234567890 abcdefghijklmnopqrstuvwxyz !@#$%^&*()_+|}{:” ABCDEGHIJKLMNOPQRSTV ?>< WXYZ r l lr lr lr 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.
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