Typeface: Caslon aCategory: Transitional

A“Golden Ratio” by Prof john De Santis, 3 is licensed under CC BY-NC-ND 4.0 Universe abcdefghijklmnopqrstuvwxyz 1957 ABCDEFGHIJKLMNOPQRSTUVWXYZ by Adrian Sans &!?$¶§( )[]@#% ‹› «»:;.,- – — /“”’”*

A typeface family de- the actual typeface names signed by Adrian Frutiger within family and released by his em- include both number and ployer Deberny & Pei- letter suffixes. The design gnot in 1957 was developed from 1953 a b c d Based on the model of to a final release in 1957. 0123456789 nineteenth-century Ger- man typefaces such as Like most grotesque and Akzidenz-Grotesk, it was neo-grotesque sans-serifs, notable for its availability Univers’s slanted form is from the moment of its an oblique, in which the launch in a comprehen- letterforms are slanted, sive range of weights and with minor correc- widths. tions but no other major The design concept of alterations. This is dif- Univers was intended to ferent from a true italic, take advantage of the new in which the letterforms e f g h technology of phototype- become modified to setting, in which resemble handwriting were stored as glass discs more.[8] In the original rather than as solid metal design, Frutiger chose type and matrices for obliques with the ex- every size to be used. tremely aggressive slant of sixteen degrees, which Different weights and was reduced to twelve in variations within the type some later releases. family are designated by the use of numbers rather Frutiger himself has com- i j k l than names, a system mented: “ is the since adopted by Frutiger jeans, and Univers the for other type designs. dinner jacket. Frutiger envisioned a large family with mul- tiple widths and weights &!?$¶§( )[]@#% ‹› that maintained a unified design idiom. However,

«»:;.,- – — “Golden/“”’”* Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 A typeface family designed by Adrian handwriting more.[8] In the original Frutiger and released by his employer design, Frutiger chose obliques with Deberny & Peignot in 1957 the extremely aggressive slant of sixteen Based on the model of nineteenth- degrees, which was reduced to twelve in century German typefaces such as some later releases. Akzidenz-Grotesk, it was notable for its availability from the moment of its Frutiger himself has commented: “Hel- launch in a comprehensive range of vetica is the jeans, and Univers the din- weights and widths. ner jacket. A typeface family designed “The quick brown fox jumps over the lazy dog” The design concept of Univers was by Adrian Frutiger and released by his intended to take advantage of the new employer Deberny & Peignot in 1957 technology of , in Based on the model of nineteenth- which fonts were stored as glass discs century German typefaces such as A typeface family designed by Adrian Frutiger and released by his employer De- rather than as solid metal type and ma- Akzidenz-Grotesk, it was notable for berny & Peignot in 1957 trices for every size to be used. its availability from the moment of its Based on the model of nineteenth-century German typefaces such as Akzidenz- launch in a comprehensive range of Grotesk, it was notable for its availability from the moment of its launch in a com- Different weights and variations within weights and widths. prehensive range of weights and widths. the type family are designated by the The design concept of Univers was The design concept of Univers was intended to take advantage of the new technol- use of numbers rather than names, a intended to take advantage of the new ogy of phototypesetting, in which fonts were stored as glass discs rather than as solid system since adopted by Frutiger for technology of phototypesetting, in metal type and matrices for every size to be used. other type designs. Frutiger envisioned which fonts were stored as glass discs a large family with multiple widths and rather than as solid metal type and ma- Different weights and variations within the type family are designated by the use of weights that maintained a unified design trices for every size to be used. numbers rather than names, a system since adopted by Frutiger for other type de- idiom. However, the actual typeface signs. Frutiger envisioned a large family with multiple widths and weights that main- names within Univers family include Different weights and variations within tained a unified design idiom. However, the actual typeface names within Univers both number and letter suffixes. The- de the type family are designated by the family include both number and letter suffixes. The design was developed from 1953 sign was developed from 1953 to a final use of numbers rather than names, a to a final release in 1957. release in 1957. system since adopted by Frutiger for other type designs. Frutiger envisioned Like most grotesque and neo-grotesque sans-serifs, Univers’s slanted form is an Like most grotesque and neo-grotesque a large family with multiple widths and oblique, in which the letterforms are slanted, with minor corrections but no other sans-serifs, Univers’s slanted form is an weights that maintained a unified design major alterations. This is different from a true italic, in which the letterforms become oblique, in which the letterforms are idiom. However, the actual typeface modified to resemble handwriting more.[8] In the original design, Frutiger chose slanted, with minor corrections but no names within Univers family include obliques with the extremely aggressive slant of sixteen degrees, which was reduced other major alterations. This is different both number and letter suffixes. The- de to twelve in some later releases. from a true italic, in which the letter- sign was developed from 1953 to a final forms become modified to resemble release in 1957. Frutiger himself has commented: “Helvetica is the jeans, and Univers the dinner &!?$¶§( ) [ jacket. ] @ #% ‹› « abcdefghijklmnopqrstuvwxyz » :;.,- – — ABCDEFGHIJKLMNOPQRSTUVWXYZ A“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 /“”’”* A typeface family designed by is different from a true italic, in sign idiom. However, the actual A typeface family designed by is different from a true italic, in sign idiom. However, the actual Adrian Frutiger and released which the letterforms become typeface names within Univers Adrian Frutiger and released which the letterforms become typeface names within Univers by his employer Deberny & modified to resemble hand- family include both number by his employer Deberny & modified to resemble hand- family include both number Peignot in 1957 writing more.[8] In the original and letter suffixes. The design Peignot in 1957 writing more.[8] In the original and letter suffixes. The design Based on the model of design, Frutiger chose obliques was developed from 1953 to a Based on the model of design, Frutiger chose obliques was developed from 1953 to a nineteenth-century German with the extremely aggressive final release in 1957. nineteenth-century German with the extremely aggressive final release in 1957. typefaces such as Akzidenz- slant of sixteen degrees, which typefaces such as Akzidenz- slant of sixteen degrees, which Grotesk, it was notable for its was reduced to twelve in some Like most grotesque and neo- Grotesk, it was notable for its was reduced to twelve in some Like most grotesque and neo- availability from the moment later releases. grotesque sans-serifs, Univers’s availability from the moment later releases. grotesque sans-serifs, Univers’s of its launch in a compre- slanted form is an oblique, in of its launch in a compre- slanted form is an oblique, in hensive range of weights and Frutiger himself has com- which the letterforms are slant- hensive range of weights and Frutiger himself has com- which the letterforms are slant- widths. mented: “Helvetica is the jeans, ed, with minor corrections but widths. mented: “Helvetica is the jeans, ed, with minor corrections but The design concept of Univers and Univers the dinner jacket. no other major alterations. This The design concept of Univers and Univers the dinner jacket. no other major alterations. This was intended to take advan- A typeface family designed by is different from a true italic, in was intended to take advan- A typeface family designed by is different from a true italic, in tage of the new technology Adrian Frutiger and released which the letterforms become tage of the new technology Adrian Frutiger and released which the letterforms become of phototypesetting, in which by his employer Deberny & modified to resemble hand- of phototypesetting, in which by his employer Deberny & modified to resemble hand- fonts were stored as glass discs Peignot in 1957 writing more.[8] In the original fonts were stored as glass discs Peignot in 1957 writing more.[8] In the original rather than as solid metal type Based on the model of design, Frutiger chose obliques rather than as solid metal type Based on the model of design, Frutiger chose obliques and matrices for every size to nineteenth-century German with the extremely aggressive and matrices for every size to nineteenth-century German with the extremely aggressive be used. typefaces such as Akzidenz- slant of sixteen degrees, which be used. typefaces such as Akzidenz- slant of sixteen degrees, which Grotesk, it was notable for its was reduced to twelve in some Grotesk, it was notable for its was reduced to twelve in some Different weights and varia- availability from the moment later releases. Different weights and varia- availability from the moment later releases. tions within the type family are of its launch in a compre- tions within the type family are of its launch in a compre- designated by the use of num- hensive range of weights and Frutiger himself has com- designated by the use of num- hensive range of weights and Frutiger himself has com- bers rather than names, a sys- widths. mented: “Helvetica is the jeans, bers rather than names, a sys- widths. mented: “Helvetica is the jeans, tem since adopted by Frutiger The design concept of Univers and Univers the dinner jacket. tem since adopted by Frutiger The design concept of Univers and Univers the dinner jacket. for other type designs. Frutiger was intended to take advan- A typeface family designed by for other type designs. Frutiger was intended to take advan- A typeface family designed by envisioned a large family with tage of the new technology Adrian Frutiger and released envisioned a large family with tage of the new technology Adrian Frutiger and released multiple widths and weights of phototypesetting, in which by his employer Deberny & multiple widths and weights of phototypesetting, in which by his employer Deberny & that maintained a unified de- fonts were stored as glass discs Peignot in 1957 that maintained a unified de- fonts were stored as glass discs Peignot in 1957 sign idiom. However, the actual rather than as solid metal type Based on the model of sign idiom. However, the actual rather than as solid metal type Based on the model of typeface names within Univers and matrices for every size to nineteenth-century German typeface names within Univers and matrices for every size to nineteenth-century German family include both number be used. typefaces such as Akzidenz- family include both number be used. typefaces such as Akzidenz- and letter suffixes. The design Grotesk, it was notable for its and letter suffixes. The design Grotesk, it was notable for its was developed from 1953 to a Different weights and varia- availability from the moment was developed from 1953 to a Different weights and varia- availability from the moment final release in 1957. tions within the type family are of its launch in a compre- final release in 1957. tions within the type family are of its launch in a compre- designated by the use of num- hensive range of weights and designated by the use of num- hensive range of weights and Like most grotesque and neo- bers rather than names, a sys- widths. Like most grotesque and neo- bers rather than names, a sys- widths. grotesque sans-serifs, Univers’s tem since adopted by Frutiger The design concept of Univers grotesque sans-serifs, Univers’s tem since adopted by Frutiger The design concept of Univers slanted form is an oblique, in for other type designs. Frutiger was intended to take advan- slanted form is an oblique, in for other type designs. Frutiger was intended to take advan- which the letterforms are slant- envisioned a large family with tage of the new technology which the letterforms are slant- envisioned a large family with tage of the new technology ed, with minor corrections but multiple widths and weights of phototypesetting, in which ed, with minor corrections but multiple widths and weights of phototypesetting, in which no other major alterations. This that maintained a unified de- fonts were stored as glass discs no other major alterations. This that maintained a unified de- fonts were stored as glass discs

“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 a b c d e f g h i j k l m n o p A typeface family designed stored as glass discs rather a b c d e f g h i j k l m n o p r s t u v w x y z • A B C by Adrian Frutiger and Like most grotesque and than as solid metal type and q r s t u v w x y z • A B C D E F G H I J K L M N O D E F G H I J K L M N O P Q R S T U V W X Y Z • released by his employer De- neo-grotesque sans-serifs, matrices for every size to be P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p berny & Peignot in 1957 Univers’s slanted form is used. a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C Based on the model of an oblique, in which the q r s t u v w x y z • A B C D E F G H I J K L M N O nineteenth-century German letterforms are slanted, with Different weights and varia- D E F G H I J K L M N O P Q R S T U V W X Y Z • P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p typefaces such as Akzidenz- minor corrections but no tions within the type family a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C Grotesk, it was notable for other major alterations. This are designated by the use of q r s t u v w x y z • A B C D E F G H I J K L M N O its availability from the is different from a true italic, numbers rather than names, D E F G H I J K L M N O P Q R S T U V W X Y Z • moment of its launch in in which the letterforms be- a system since adopted P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o A typeface family designed by widths and weights that a b c d e f g h i j k l m n o p q r s t u v w x y z • A B a comprehensive range of come modified to resemble by Frutiger for other type p q r s t u v w x y z • A B C D E F G H I J K L M N weights and widths. handwriting more.[8] In designs. Frutiger envisioned Adrian Frutiger and released maintained a unified design C D E F G H I J K L M N O P Q R S T U V W X Y Z The design concept of the original design, Frutiger a large family with multiple by his employer Deberny & idiom. However, the ac- O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p Univers was intended to chose obliques with the widths and weights that Peignot in 1957 tual typeface names within a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C Based on the model of Univers family include both q r s t u v w x y z • A B C D E F G H I J K L M N O take advantage of the new extremely aggressive slant of maintained a unified design D E F G H I J K L M N O P Q R S T U V W X Y Z • technology of phototypeset- sixteen degrees, which was idiom. However, the actual nineteenth-century German number and letter suffixes. P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p ting, in which fonts were reduced to twelve in some typeface names within Univ- typefaces such as Akzidenz- The design was developed a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C stored as glass discs rather later releases. ers family include both Grotesk, it was notable for its from 1953 to a final release q r s t u v w x y z • A B C D E F G H I J K L M N O availability from the moment in 1957. D E F G H I J K L M N O P Q R S T U V W X Y Z • than as solid metal type and number and letter suffixes. P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p matrices for every size to be Frutiger himself has com- The design was developed of its launch in a compre- a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C used. mented: “Helvetica is the from 1953 to a final release hensive range of weights and Like most grotesque and q r s t u v w x y z • A B C D E F G H I J K L M N O widths. neo-grotesque sans-serifs, D E F G H I J K L M N O P Q R S T U V W X Y Z • The design concept of Univ- Univers’s slanted form is an P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C ers was intended to take oblique, in which the let- q r s t u v w x y z • A B C D E F G H I J K L M N O advantage of the new technol- terforms are slanted, with D E F G H I J K L M N O P Q R S T U V W X Y Z • ogy of phototypesetting, in minor corrections but no P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p which fonts were stored as other major alterations. a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C q r s t u v w x y z • A B C D E F G H I J K L M N O glass discs rather than as solid This is different from a true D E F G H I J K L M N O P Q R S T U V W X Y Z • metal type and matrices for italic, in which the letter- P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o p every size to be used. forms become modified to a b c d e f g h i j k l m n o p q r s t u v w x y z • A B C resemble handwriting more. q r s t u v w x y z • A B C D E F G H I J K L M N O “The quick D E F G H I J K L M N O P Q R S T U V W X Y Z • jeans, and Univers the din- in 1957. Different weights and varia- [8] In the original design, P Q R S T U V W X Y Z • a b c d e f g h i j k l m n o Different weights and varia- ner jacket. A typeface family tions within the type family Frutiger chose obliques with a b c d e f g h i j k l m n o p q r s t u v w x y z a b c d tions within the type family designed by Adrian Frutiger Like most grotesque and are designated by the use of the extremely aggressive slant p q r s t u v w x y z a b c d e f g h i j k l m n o p q r s t numbers rather than names, of sixteen degrees, which was e f g h i j k l m n o p q r s t u v w x y z • A B C D E F are designated by the use of and released by his employer neo-grotesque sans-serifs, u v w x y z • A B C D E F G H I J K L M N O P Q R S numbers rather than names, Deberny & Peignot in 1957 Univers’s slanted form is a system since adopted reduced to twelve in some G H I J K L M N O P Q R S T U V W X Y Z • a b c d a system since adopted Based on the model of an oblique, in which the by Frutiger for other type later releases. T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t by Frutiger for other type nineteenth-century German letterforms are slanted, with designs. Frutiger envisioned e f g h i j k l m n o p q r s t u v w x y z • A B C D E F a large family with multiple Frutiger himself has com- u v w x y z • A B C D E F G H I J K L M N O P Q R S designs. Frutiger envisioned typefaces such as Akzidenz- minor corrections but no G H I J K L M N O P Q R S T U V W X Y Z • a b c d a large family with multiple Grotesk, it was notable for other major alterations. This T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t widths and weights that its availability from the is different from a true italic, e f g h i j k l m n o p q r s t u v w x y z • A B C D E F maintained a unified design moment of its launch in in which the letterforms be- u v w x y z • A B C D E F G H I J K L M N O P Q R S G H I J K L M N O P Q R S T U V W X Y Z • a b c d idiom. However, the actual a comprehensive range of come modified to resemble T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t typeface names within Univ- weights and widths. handwriting more.[8] In e f g h i j k l m n o p q r s t u v w x y z • A B C D E F ers family include both The design concept of the original design, Frutiger u v w x y z • A B C D E F G H I J K L M N O P Q R S number and letter suffixes. Univers was intended to chose obliques with the G H I J K L M N O P Q R S T U V W X Y Z • a b c d T U V W X Y Z • a b c d e f g h i j k l m n o p q r s t The design was developed take advantage of the new extremely aggressive slant of e f g h i j k l m n o p q r s t u v w x y z • A B C D E F from 1953 to a final release technology of phototypeset- sixteen degrees, which was u v w x y z • A B C D E F G H I J K L M N O P Q R S brown fox G H I J K L M N O P Q R S in 1957. ting, in which fonts were reduced to twelve in some jumps over the lazy dog” “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 A typeface family designed by Adrian “Helvetica is the jeans, and Univers the A typeface family designed by Adrian “Helvetica is the jeans, and Univers the Frutiger and released by his employer dinner jacket. A typeface family de- Frutiger himself has commented: Frutiger and released by his employer dinner jacket. A typeface family de- Frutiger himself has commented: Deberny & Peignot in 1957 signed by Adrian Frutiger and released “Helvetica is the jeans, and Univers the Deberny & Peignot in 1957 signed by Adrian Frutiger and released “Helvetica is the jeans, and Univers the Based on the model of nineteenth- by his employer Deberny & Peignot in dinner jacket. A typeface family de- Based on the model of nineteenth- by his employer Deberny & Peignot in dinner jacket. A typeface family de- century German typefaces such as 1957 signed by Adrian Frutiger and released century German typefaces such as 1957 signed by Adrian Frutiger and released Akzidenz-Grotesk, it was notable for Based on the model of nineteenth- by his employer Deberny & Peignot in Akzidenz-Grotesk, it was notable for Based on the model of nineteenth- by his employer Deberny & Peignot in its availability from the moment of its century German typefaces such as 1957 its availability from the moment of its century German typefaces such as 1957 launch in a comprehensive range of Akzidenz-Grotesk, it was notable for Based on the model of nineteenth- launch in a comprehensive range of Akzidenz-Grotesk, it was notable for Based on the model of nineteenth- weights and widths. its availability from the moment of its century German typefaces such as weights and widths. its availability from the moment of its century German typefaces such as The design concept of Univers was launch in a comprehensive range of Akzidenz-Grotesk, it was notable for The design concept of Univers was launch in a comprehensive range of Akzidenz-Grotesk, it was notable for intended to take advantage of the new weights and widths. its availability from the moment of its intended to take advantage of the new weights and widths. its availability from the moment of its technology of phototypesetting, in The design concept of Univers was launch in a comprehensive range of technology of phototypesetting, in The design concept of Univers was launch in a comprehensive range of which fonts were stored as glass discs intended to take advantage of the new weights and widths. which fonts were stored as glass discs intended to take advantage of the new weights and widths. rather than as solid metal type and technology of phototypesetting, in The design concept of Univers was rather than as solid metal type and technology of phototypesetting, in The design concept of Univers was matrices for every size to be used. which fonts were stored as glass discs intended to take advantage of the new matrices for every size to be used. which fonts were stored as glass discs intended to take advantage of the new rather than as solid metal type and technology of phototypesetting, in rather than as solid metal type and technology of phototypesetting, in Different weights and variations with- matrices for every size to be used. which fonts were stored as glass discs Different weights and variations with- matrices for every size to be used. which fonts were stored as glass discs in the type family are designated by rather than as solid metal type and in the type family are designated by rather than as solid metal type and the use of numbers rather than names, Different weights and variations with- matrices for every size to be used. the use of numbers rather than names, Different weights and variations with- matrices for every size to be used. a system since adopted by Frutiger for in the type family are designated by a system since adopted by Frutiger for in the type family are designated by other type designs. Frutiger envisioned the use of numbers rather than names, Different weights and variations with- other type designs. Frutiger envisioned the use of numbers rather than names, Different weights and variations with- a large family with multiple widths a system since adopted by Frutiger for in the type family are designated by a large family with multiple widths a system since adopted by Frutiger for in the type family are designated by and weights that maintained a unified other type designs. Frutiger envisioned the use of numbers rather than names, and weights that maintained a unified other type designs. Frutiger envisioned the use of numbers rather than names, design idiom. However, the actual a large family with multiple widths a system since adopted by Frutiger for design idiom. However, the actual a large family with multiple widths a system since adopted by Frutiger for typeface names within Univers family and weights that maintained a unified other type designs. Frutiger envisioned typeface names within Univers family and weights that maintained a unified other type designs. Frutiger envisioned include both number and letter suf- design idiom. However, the actual a large family with multiple widths include both number and letter suf- design idiom. However, the actual a large family with multiple widths fixes. The design was developed from typeface names within Univers family and weights that maintained a unified fixes. The design was developed from typeface names within Univers family and weights that maintained a unified 1953 to a final release in 1957. include both number and letter suf- design idiom. However, the actual 1953 to a final release in 1957. include both number and letter suf- design idiom. However, the actual fixes. The design was developed from typeface names within Univers family fixes. The design was developed from typeface names within Univers family Like most grotesque and neo-gro- 1953 to a final release in 1957. include both number and letter suf- Like most grotesque and neo-gro- 1953 to a final release in 1957. include both number and letter suf- tesque sans-serifs, Univers’s slanted fixes. The design was developed from tesque sans-serifs, Univers’s slanted fixes. The design was developed from form is an oblique, in which the letter- Like most grotesque and neo-gro- 1953 to a final release in 1957. form is an oblique, in which the letter- Like most grotesque and neo-gro- 1953 to a final release in 1957. forms are slanted, with minor correc- tesque sans-serifs, Univers’s slanted forms are slanted, with minor correc- tesque sans-serifs, Univers’s slanted tions but no other major alterations. form is an oblique, in which the letter- Like most grotesque and neo-gro- tions but no other major alterations. form is an oblique, in which the letter- Like most grotesque and neo-gro- This is different from a true italic, in forms are slanted, with minor correc- tesque sans-serifs, Univers’s slanted This is different from a true italic, in forms are slanted, with minor correc- tesque sans-serifs, Univers’s slanted which the letterforms become modi- tions but no other major alterations. form is an oblique, in which the letter- which the letterforms become modi- tions but no other major alterations. form is an oblique, in which the letter- fied to resemble handwriting more.[8] This is different from a true italic, in forms are slanted, with minor correc- fied to resemble handwriting more.[8] This is different from a true italic, in forms are slanted, with minor correc- In the original design, Frutiger chose which the letterforms become modi- tions but no other major alterations. In the original design, Frutiger chose which the letterforms become modi- tions but no other major alterations. obliques with the extremely aggressive fied to resemble handwriting more.[8] This is different from a true italic, in obliques with the extremely aggressive fied to resemble handwriting more.[8] This is different from a true italic, in slant of sixteen degrees, which was re- In the original design, Frutiger chose which the letterforms become modi- slant of sixteen degrees, which was re- In the original design, Frutiger chose which the letterforms become modi- duced to twelve in some later releases. obliques with the extremely aggressive fied to resemble handwriting more.[8] duced to twelve in some later releases. obliques with the extremely aggressive fied to resemble handwriting more.[8] slant of sixteen degrees, which was re- In the original design, Frutiger chose slant of sixteen degrees, which was re- In the original design, Frutiger chose Frutiger himself has commented: duced to twelve in some later releases. obliques with the extremely aggressive Frutiger himself has commented: duced to twelve in some later releases. obliques with the extremely aggressive

“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 Universe 1957 Universe by Adrian Frutiger 1957 Sans Serif “The quick brown fox jumps over the lazy dog” Universe “The quick brown fox jumps over the lazy dog” 1957 Adrian Frutiger “The quick brown Sans Serif fox jumps over the lazy dog”

“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 a b c d e A B C D f g h i j k E F G H I l m n o p J K L M N O P Q R S q r s t u v T U V W w x y z

X Y Z “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 & ! ? $ ¶ § ( ) [] @ # % ‹› «» : ; . , - – — / “”’” * 0 1 2 3 4 5 6 7 8 9 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 The Golden Section Divine Proportion visual representation of a number called Phi (pronouned fi)

The Golden Section Divine Proportion

This proportio is a visual representation of a number called Phi (pronouned fi).

Phi is 1.618033988749895, or by the numerical se- quence called the Fibonacci sequence.

Phi creates the Divine Proportion (so called by the re- Phi is 1.618033988749895, or by the numerical naissance artists because of it’s abundance in the known sequence called the Fibonacci sequence. universe, they thought it was created by God), the Divine Proportion is used by artists and designers. Phi Creates the Divine Proportion Called by Renaissance artists because of it’s abundance in the known Using the Divine Proportion as a guide to your compo- universe, they thought it was created by God. sitions can improve the communication of your design. Multiply (or divide by 1.62) and place guides Using the Divine Proportion as a guide in compositions can improve layouts and design.

Multiply (or divide by 1.62) and place guides

“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 Van de Graaf canon Van de Graaf devised this construction to show how Gutenberg and others may have divided their page to achieve margins of one-ninth and two-ninths and a type area in the same proportions as the page.

The Van de Graaf canon is a historical reconstruction of a method that may have been used in book design to divide a page in pleasing proportions.[5] This canon is also known as the “secret canon” used in many medieval manuscripts and incunabula.

“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 “Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 Baseline Grids Serve To Anchor Lay- out Elements To A Common Rhythm.

Create a baseline grid by choosing the heads, and 8/12 for captions. typesize and leading of your text, such Where possible, position all page ele- as 10-pt Scala Pro with 12 pts leading ments in relation to the baseline grid. (10/12). Use this line space increment Don’t force it, though. Sometimes a to set the baseline grid in your docu- layout works better when you override ment preferences. the grid. View the baseline grid when To style headlines, captions, and other you want to check the position of ele- elements, choose line spacing that ments; turn it off when it’s distracting. Create a baseline grid by choosing the works with the baseline grid, such as 18/24 for headlines, 14/18 for sub- typesize and leading of your text, such as 10-pt Scala Pro with 12 pts leading Baseline grids serve to anchor layout ele- (10/12). Use this line space increment ments to a common rhythm. Create a base- to set the baseline grid in your docu- line grid by choosing the typesize 14/18 and ment preferences. leading of your text, such as 10-pt Scala Pro To style headlines, captions, and other with 12 pts leading (10/12). Use this line elements, choose line spacing that space increment to set the baseline grid in works with the baseline grid, such as your document preferences. 18/24 for headlines, 14/18 for sub- To style headlines, captions, and other ele- heads, and 8/12 for captions. ments, choose line spacing that works with Where possible, position all page ele- the baseline grid, such as 18/24 for head- ments in relation to the baseline grid. lines, 14/18 for subheads, and 8/12 for cap- Don’t force it, though. Sometimes a tions. layout works better when you override Where possible, position all page elements the grid. View the baseline grid when in relation to the baseline grid. Don’t force you want to check the position of ele- it, though. Sometimes a layout works better ments; turn it off when it’s distracting. when you override the grid. View the base- line grid when you want to check the position of elements; turn it off when it’s distracting.

“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0 Baseline Grids Serve To Anchor Lay- out Elements To A Common Rhythm.

Create a baseline grid by choosing the heads, and 8/12 for captions. typesize and leading of your text, such Where possible, position all page ele- as 10-pt Scala Pro with 12 pts leading ments in relation to the baseline grid. (10/12). Use this line space increment Don’t force it, though. Sometimes a to set the baseline grid in your docu- layout works better when you override ment preferences. the grid. View the baseline grid when To style headlines, captions, and other you want to check the position of ele- elements, choose line spacing that ments; turn it off when it’s distracting. Create a baseline grid by choosing the works with the baseline grid, such as 18/24 for headlines, 14/18 for sub- typesize and leading of your text, such as 10-pt Scala Pro with 12 pts leading Baseline grids serve to anchor layout ele- (10/12). Use this line space increment ments to a common rhythm. Create a base- to set the baseline grid in your docu- line grid by choosing the typesize 14/18 and ment preferences. leading of your text, such as 10-pt Scala Pro To style headlines, captions, and other with 12 pts leading (10/12). Use this line elements, choose line spacing that space increment to set the baseline grid in works with the baseline grid, such as your document preferences. 18/24 for headlines, 14/18 for sub- To style headlines, captions, and other ele- heads, and 8/12 for captions. ments, choose line spacing that works with Where possible, position all page ele- the baseline grid, such as 18/24 for head- ments in relation to the baseline grid. lines, 14/18 for subheads, and 8/12 for cap- Don’t force it, though. Sometimes a tions. layout works better when you override Where possible, position all page elements the grid. View the baseline grid when in relation to the baseline grid. Don’t force you want to check the position of ele- it, though. Sometimes a layout works better ments; turn it off when it’s distracting. when you override the grid. View the base- line grid when you want to check the position of elements; turn it off when it’s distracting.

“Golden Ratio” by Prof john De Santis, Typography 3 is licensed under CC BY-NC-ND 4.0